Granular delays are the most complex delay plug-ins and can warp and mangle audio into a completely different sound. Most granular delays also incorporate pitch-shifters, which allow them to change the pitch of each slice. Grain delays slice the input audio into extremely short segments, then delay each slice by a slightly different time. Its practical significance is that larger grains (lower frequencies) are more stable when you use feedback, pitch-shifting or jittering with the Spray and Random Pitch controls. But you don’t need to be overly concerned with grain size.
For example, at a tempo of 120 bpm, a frequency of 4Hz (four grains per second) captures a half-beat (an eighth-note) per grain. You can calculate the grain size in fractions of a beat at your song’s tempo by dividing the tempo by 60 times the frequency. You can think of as grains per second - higher frequencies mean larger and lower frequencies smaller grains. The grain size is usually presented in in Hertz (Hz) using the Frequency control. They may play at different speeds, phases, volume, and frequency, among other parameters. Multiple grains may be layered on top of each other. However, the samples are not played back conventionally but are instead split into small pieces of around 1 to 50 ms. It works on the same principle as sampling. Granular synthesis is a type of basic sound synthesis method that operates on the microsecond time scale.
Since then granular synthesis has become available to a growing number of musicians. He was the first person to implement granular sound processing in the digital domain.įollowing that in the mid-1980’s a Canadian composer named Barry Truax began developing a way to create a granular synthesis in real time.
Shortly after that, inspired by Xenakis works, Curtis Roads began experimenting with this idea on a computer. His first works involved granular synthesis created by splicing magnetic tape into very small segments, rearranging those segments and taping the new string of the segments together. He used it to create a musical application based on the principle. In later years Greek-French composer and musical theorist Iannis Xenakis got in touch with Gabor`s work. With this work, he came up with the system that uses grain system to reproduce a sound. It all started in 1946 when a physicist called Dennis Gabor published his work about applying quantum physics methods to the sound signal. Grain delay effect draws its roots from granular synthesis.
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