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Products of Interest

Products of Interest of two instrument layers. The layers can also be adjusted. The timbre of Expressive E Imagine Software combine two resonant bodies (tubes, instruments played by noise can be Instrument strings, bars, or skins) and excites adjusted using Color, Resonance, these using a mallet, a noise signal, and Grain knobs. The noise can also Expressive E, creator of the Touche or a sequence. Layers can be swapped be modulated by a low-frequency MIDI/CV controller and the Osmose out to create new combinations. The oscillator (LFO), with controls for the keyboard synthesizer/controller, has sound engine behind the resonant shape, rate, and amount. There is a teamed up with Applied Acoustics bodies and mallets are based on double arpeggiator for instruments Systems (AAS), renowned for their physical modeling of real-world that are played with a sequence, with physical modeling software instru- instruments by AAS. timbre knobs for each arpeggiator and ments, to create a new software The user can control the charac- a randomizer. plug-in instrument called Imagine teristics and intensity at which the An Intensity knob controls the (see Figure 1). resonant bodies are excited, and a overall intensity of the excitation Imagine allows the user to cre- modulation system can http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Computer Music Journal MIT Press

Products of Interest

Computer Music Journal , Volume 45 (2): 16 – Jun 1, 2021

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References (2)

Publisher
MIT Press
Copyright
© 2022 Massachusetts Institute of Technology
ISSN
0148-9267
eISSN
1531-5169
DOI
10.1162/comj_r_00601
Publisher site
See Article on Publisher Site

Abstract

of two instrument layers. The layers can also be adjusted. The timbre of Expressive E Imagine Software combine two resonant bodies (tubes, instruments played by noise can be Instrument strings, bars, or skins) and excites adjusted using Color, Resonance, these using a mallet, a noise signal, and Grain knobs. The noise can also Expressive E, creator of the Touche or a sequence. Layers can be swapped be modulated by a low-frequency MIDI/CV controller and the Osmose out to create new combinations. The oscillator (LFO), with controls for the keyboard synthesizer/controller, has sound engine behind the resonant shape, rate, and amount. There is a teamed up with Applied Acoustics bodies and mallets are based on double arpeggiator for instruments Systems (AAS), renowned for their physical modeling of real-world that are played with a sequence, with physical modeling software instru- instruments by AAS. timbre knobs for each arpeggiator and ments, to create a new software The user can control the charac- a randomizer. plug-in instrument called Imagine teristics and intensity at which the An Intensity knob controls the (see Figure 1). resonant bodies are excited, and a overall intensity of the excitation Imagine allows the user to cre- modulation system can

Journal

Computer Music JournalMIT Press

Published: Jun 1, 2021

There are no references for this article.