Spectral layers

To your track. For example:- Click Layer: Use a high-frequency click layer for clarity in the mix.- Body Layer: Add mid-range frequencies to fill out the sound.- Sub Layer: Enhance the low end for a rich, full bass presence.Each layer has its own adjustable parameters, including level and phase alignment. Combining layers allows you to create detailed, complex kicks that can either sit subtly in the mix or punch through with power and clarity. Layering can also help you adapt your kick’s sound for different genres, from the clean punch of EDM to the thick low-end of trap and hip-hop.Expanded Effects SuiteThe effects suite in KICK 3 brings a broad array of sound-shaping tools, making it possible to add texture and character to each kick. This section includes:- Distortion and Bit-Crushing: These effects add aggression and grit to the sound, which is ideal for high-energy genres.- Ring Modulation: Introduces subtle harmonic complexity, which can give kicks a metallic edge.- Delay and Reverb: Can add space or ambiance to specific layers, though typically used sparingly in kick synthesis.- Filtering and Compression: Allows for precise control over tone and dynamics, ensuring each layer sits perfectly in the overall sound.Applying effects to individual layers or the master channel lets you explore different tonal possibilities. For instance, you might add distortion to the click layer while keeping the body layer clean, resulting in a kick that retains clarity without overwhelming the mix. This suite also allows for experimentation with unconventional sounds that push beyond typical kick characteristics.Advanced EQ with Spectral AnalysisIn this section, you’ll find a 4-band EQ equipped with real-time spectral analysis, allowing precise frequency adjustments. The EQ’s spectral display is invaluable for understanding how each layer contributes to the overall sound, helping you avoid clashing frequencies and ensure a balanced mix.For instance,

SYNTH ANATOMY uses affiliation & partner programs (big red buttons) to finance a part of the activity. If you use these, you support the website. Thanks! Dawesome Novum is a new innovative Synthesizer plugin where granular and spectral synthesis collide in a very colorful, playful way.If subtractive synthesizers are too classic and unexciting for you, you should take a look at the developments of the young company Dawesome. With the Abyss, the developers have released a wavetable Synthesizer plugin with many special features, an organic sound, and a very unusual user interface.For the last few months, they have been working on their next product release. It’s called Novum and this time they’re exploring granular and spectral synthesis. Again in a very special novel way.Dawesome NovumNovum is a granular Synthesizer plugin that does many things differently than its competition. Rather than offering more of the same, Novum tries to bring granular synthesis further with new options. Let’s say an innovative touch on granular synthesis.The core engine is based on sound decomposition. More precisely, you can drag and drop any sample source in the plugin window and Novum will decompose it into 6 layers of sound. You get a unique colorful representation of sound where the different timbres are separated. This analysis is stored in the plugin and represented as a spectral list in the sidebar.It becomes super wild if you use this data to create new sounds. For example, you can exchange timbres and envelopes from different samples in seconds. This can be done simply by drag and drop them from the sidecar. So you dive into the spectral layers of individual samples and manipulate the spectral content but also the temporal evolution of a sound. So you can, for example, take a flute sample but hear it with the timbre of a piano.Of course, the plugin also has the usual granular processing tools per layer including grain size speed, jitter position and time, skew, pan… You can also draw a new envelope per layer with two loop points and an offset parameter.Timbre Flower & SyntifyThere are also more extravagant features.

Several canopy layers (Figure 1). MART3D constructs disturbed forest scenes by combining elementary landscape components, such as trees and shrubs, with parameters that quantify forest disturbance. Typically, an undisturbed forest plot is initially produced by incorporating parameters related to the forest canopy structure and leaf biochemical properties, including the leaf area index (LAI), forest canopy cover (FCC), leaf chlorophyll content (LCC) and leaf water content. Using these parameters, MART3D automatically generates a 3D virtual landscape. Depending on the type and severity of forest disturbance, this undisturbed forest plot is then modified by adjusting its structural and spectral parameters, upon which the reflectance of the disturbed scene is simulated. Since the canopy shapes are relatively regular and the layers of the forest are moderately complex, this framework is more applicable for temperate forests, the vertical structure of which generally consists of distinct layers dominated by arboreous layers. The specific process is as follows: (1) First, an undisturbed canopy scene is constructed, including individual trees with crowns, leaves and branches, as well as grass, shrubs and soil layers. (2) Subsequently, according to the characteristics of the forest disturbance types, we embark on forest disturbance parametrization. For instance, the simulation of forest fires entails the canopy’s structural and spectral alterations, while simulating forest insects and diseases primarily involves spectral alterations (due to changes in LCC, etc.). (3) On the basis of the constructed 3D heterogeneous disturbed scene, we simulate the radiative transfer to derive the reflectance. Further elaboration on each part will be provided in the subsequent Section 2.2, Section 2.3 and Section 2.4. 2.2. Structure of Landscape ComponentsUnlike 1D radiative transfer models that abstract tree crowns into homogeneous layers, MART3D takes into account the heterogeneous structures of individual trees, as well as the within-crown clustering. Specifically, each individual tree is depicted with explicitly described branches and turbid medium-based leaf clusters [34]. Three crucial factors are considered in this study to construct a parametric tree model for easing the use of MART3D and strike a balance between complexity and accuracy; they are, respectively, the shape of the crown, the arrangement of branches and the distribution of leaves. 2.2.1. Modeling of Tree Crown and BranchThe crown shape is commonly modeled as simple geometries, including ellipsoid (e.g., Quercus palustris Münchh.), cone (e.g., Larix principis-rupprechtii Mayr), cylinder (e.g., Taxus baccata L.) and cube (e.g., pruned Betula pendula Roth). However, to represent more diverse crowns, a minimalistic tree generator model, TAG (Tree Generation based on Asymmetric generalized Gaussian), proposed by [35] is employed to produce crown contours with a greater degree of flexibility than simple geometries. By tweaking its shape parameter α and two scaling parameters σ l and σ r , TAG can model a wide

Authentic Expression Technology (AET) in Kontakt, we’d like to introduce a radically different approach. The core of this technology is an FFT filter with a very high resolution, which is able to “imprint” frequency responses of almost any complexity on your signal. These frequency responses are derived from other samples in your patch via spectral analysis. For instance, the currently playing velocity layer could be filtered with the spectral information of the layer just above it to sonically shift it closer to the latter. By dynamically varying the amount of processing with the help of a modulation source (such as the velocity), you can thereby pass through any number of intermediate stages between two samples, thus “morphing” between them in real-time.The process is not limited to dynamic layers, either: You can morph between different playing techniques of an instrument (such as a trumpet playing with and without mute) or even between different signals. This opens up a whole range of sound design possibilities — fancy a morph between a piano and a celesta!The functionality of AET is split up into two logically separate parts. In the analysis phase, you tell Kontakt which Samples should be taken into consideration; it will then generate spectral “fingerprints” of these and save them for later use. This selection and setup process takes place in the Mapping Editor. Once the fingerprints have been created, they become available for selection within the AET Filter module, which you can insert into a Group Insert FX slot just like any other effect module. Here’s where the actual filtering takes place: With just a single parameter, you can control which of the stored frequency responses will be imparted to which amount on the currently playing sample.Before we dive head-first into an actual use case of AET, we should explain two of the logical building blocks you’ll encounter in the setup process:A Morph Layer is a group of non-overlapping Zones whose samples are directly related in some way; these are often stacks of velocity layers or multi-sampled Zones that cover a certain key range, or in other words, blocks of adjacent Zones in the Mapping Editor.A Morph Map is a collection of one or more Morph Layers. This is what’s ultimately loaded into the AET Filter module, and its contents decide what the Morph knob on the module’s control panel will do. A Morph Map that contains only one Morph Layer is called a velocity map; in this case, the target frequency response will be derived from the Zone whose keyboard range matches the currently pressed key, and whose velocity range corresponds to the setting of the Morph knob. A Morph Map with multiple Morph Layers is the basis of

The Sample that was triggered when you pressed the key.Creating an Articulation MorphSetting up a simple velocity morph as described above is easy enough. There are times, though, when you need a more flexible way of configuring the morph filter. For example, you might want to set up a dynamically playable morph between two different, but musically related articulations of the same sound source, such as a choir singing “ahh” and “ooh”. This requires some more manual intervention. The procedure can be broken down into the following steps:Create one Morph Layer for each of the Groups that the articulations are assigned to,Combine two or more of these layers into a Morph Map, andLoad this map into an AET Filter module that you place in the Group Insert FX chain of the Group that should be processed.In our example, we assume that the “ahh” and the “ooh” Zones are neatly split up into two different Groups, as would be the natural structure of a Kontakt patch. In a first step, select all Zones from the “ahh” Group (using the Selected Groups only function if needed), then choose Create AET morph layer from the Edit menu. A dialog window with a few options will appear.Enter a descriptive name for your layer (such as “ahh”) and make sure that both the Tonal option is activated and the Smoothing parameter is set to its default value of 0.5, then click OK. Kontakt will now generate spectral fingerprints of all Zones and save them in a new Morph Layer. Once it has finished, repeat the process with the Zones in the other group. You have now created two new Morph Layers that contain spectral information which will be used in the resulting morph.In order to tell Kontakt which morph layers you’d like to use in your morph, you’ll have to create a new Morph Map and add those layers to it.To add a new Morph Map:Open the AET Morph Map Editor from the Edit menu; a dialog window with an input line on top will appear. Combine your Morph Layers into Morph Maps with the AET Morph Map Editor.Enter a descriptive name here (such as “ahh -> ooh morph”) and click the Add: button. The Morph Layers you just prepared will now turn up in the right one of two lists at the bottom of the dialog, meaning that they’re available for inclusion in your new Morph Map. Select them one-by-one in the right list and move them into your map by clicking the left arrow button. Note that the order in which you include them is important; in our example, we want the filter to morph the original “ahh” samples into the frequency response

In kick customization, some users have noted minor limitations:1. Small Text Size: The interface text can be difficult to read, making precise adjustments challenging.2. Lack of Browser for Sample Selection: KICK 3 does not currently include a built-in browser for selecting sub and click samples, which some users feel would enhance workflow.Despite these minor drawbacks, KICK 3 is still celebrated for its extensive customization options and high-quality sound output, which make it a worthwhile investment for serious producers.Practical Tips for Mastering KICK 3If you’re just getting started with KICK 3 or want to explore its full potential, here are some practical tips:- Experiment with Layers: Each layer can play a specific role in shaping your kick’s sound. Try using distinct layers for attack, body, and sub to balance clarity and depth.- Use Spectral Analysis for Precision: The real-time spectral display helps you make precise EQ adjustments to keep your kick balanced in the mix.- Apply Effects Sparingly: Overusing effects can muddy the sound, so consider adding subtle touches of distortion or filtering to enhance without overwhelming.- Tune Your Kick with Keytracking: For genres requiring pitched kicks, use keytracking to keep the kick musically in sync with the rest of the track.ConclusionKICK 3 by Sonic Academy is a powerful kick drum synthesizer that gives producers an unprecedented level of control over every aspect of their sound. Priced at £79.95, it provides a comprehensive set of tools for crafting custom kicks that are versatile enough to fit any genre. Whether you’re looking to add a new level of punch to your EDM tracks or need a deep, resonant kick for hip-hop, KICK 3’s feature set has something to offer.For those committed to crafting unique, high-quality kicks, KICK 3 is an essential plugin that enhances your workflow and allows for infinite creative possibilities.Lofi