Apple Mac OS X Version 10.5 Leopard
Cell SynthLiving Memory Review by sineqube July 1, 2002 CellSynth -- Virtual modular synthesis at its easiest Of all the features Logic users enjoy, perhaps the apogee is its environment. The flexibility and customization that the application affords in terms of emulating an existing hardware rig, or the ability to create innovative clusters of transformers to alter vst instruments are examples that merely scratch the surface of what Logic can do. And this certainly sets the sequencer leaps and bounds above the alternatives. It is this intense level of user control over how one chooses to work with the program that will make computer musicians want to check out CellSynth.
The program contains 14 basic cells: oscillator, envelope, filter, lp filter, noise/random, phaser, mixer, router, delay, reverb, panner, sample, comb, and vocoder. Up to 36 of these can be clustered to form a matrix, CellSynth's name for the different saved creations. These files can be exchanged between users in much the same way that Reaktor ensembles are distributed. Just drop a new matrix into the appropriate folder, and one has a brand new instrument for sonic sculpture. The cells themselves each have a window for editing its parameters that pops open once the cell is clicked. Cells can be soloed, copied, and cut and pasted, allowing for smaller clusters of cells to be rearranged within several different matrices. Imagine you've designed the perfect synth for the track you're working on, but want to test its sound within the context of another matrix. Just drop it in and you're good to go. There exists a mixer window in CS, similar to the track or audio mixer in Logic. But within CellSynth, the mixer channels reflect the structure of the matrix, and will update automatically to adapt to any changes the user makes to their construction. Drop in another square wave or sample cell, and immediately the mixer will create a channel for each. The channels themselves contain the standard volume, solo, and mute settings, as well as some knobs and buttons unique to each particular cell. There is even an 'edit' button present, so one can work solely from the mixer without having to return to the matrix itself to alter any settings of the individual cells. One of the really nice features of CellSynth is the ability to peel off elements of each cell's editor parameters and turn them into control panels. In this way, one can create a customized user interface for whatever matrix they happen to be working on. If you prefer tweaking knobs and faders rather than working within the editor windows, this feature alone may add CS to your arsenal of sound sculpting tools. Not only can CS be used to create new virtual instruments that can be triggered via midi keyboard or its own built-in 32-step sequencer, but it functions as a sample player which can be modulated by any other cell. Samples can be looped, reversed, synced to tempo, stretched and pitch-shifted, loop points can be altered, and some basic editing features are offered. Matrices can be constructed which run as stand-alone composers. These can be great for creating ambient work, or interesting studies in random composition. All work in CellSynth can be bounced as 16-bit, 44100, stereo files, which can be imported into Logic for further manipulation and sequencing, or within CS itself. Logic and CS can be linked via iac bus, and ReWire support is currently in development. (Living Memory is waiting for Logic 5 for full implementation). More information, a demo, tutorials, and how to purchase can be found at http://www.cellsynth.co.uk. With a price tag under $100, and extensive support for registered users, there is little reason not to add CellSynth to one's virtual studio. |
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