VReorder 2 (ALPHA)

Vellocet
Format: VST Plugin

Review by The Puppeteer
Sunday, March 11, 2001

The plug-in revolution is upon us. Synthesis methods are changing right before our eyes with our computers shouldering even more of our music writing load. The vast majority of plug-ins created for VST are created by rank amateurs and unfortunately sound it. Every now and then something really stands out from the crowd, and this is what we have on our hands here with VReorder II.

Following on from the success of VReorder 1, which is a free form delay for Cubase, allowing the pan and relative amplitude of 16 delay segments to be set independently to create what is essentially a 16 tap delay which syncs to the time signature by typing the tempo (as VST1 did not allow midi sync). VReorder II takes this concept to the next level, with integration of sound files and a synthesis engine, with two of the best filters I've had the pleasure of listening to.

The sound can be loaded into the plug-in and then split into any number of segments (up to 64) that you desire. The playback tempo can be synced to midi or run free, as can the individual segments, which can be set to one shot or loop, and granular like textures can be created if the loop length and phrase size are set to small enough values. The segments can also be set to equal lengths or to find the peaks (as is done in Recycle). Unfortunately the midi note lengths and positions are not written to a Cubase track when the second option is selected, but by using Recycle this limitation is easily overcome. The number of voices is variable to allow one shot tails and loops to be heard, if desired, while other notes are sounding.

The midi notes that are fed into the VReorder II determine the segment that is played back with the two octaves above the normal play back, allowing the segments to be played back in reverse. The loop lengths (as is the case with all time-based values) can be set from 0 to infinity (DC offset) with logical midi note values in between, with the maximum resolution being 3/256 of a clock (1/32768 of a note)

There are 4 physically-modelled oscillators to choose from which work independently of the sample source and can play at the same time, though this would rarely be used in practice. The oscillators available are: Off, Sine, Triangle, Saw Up (for those Jupiter pads), Saw Down, Square, Sine HW, Sine HB, Random W (White Noise), Random B (Pink Noise). The square wave may be pulse width modulation with zero crossing calculation taken into account, and it is rumoured that the full version will include pulse width modulation for all physical modelled waveforms. These oscillators can also be modulated using the generous modulation matrix (which I have been told is to be expanded to Kurzweil-like proportions). These oscillators are capable of some earth shattering bases and ear splitting highs.

The oscillator (or sample) is then fed through two filters either in series, added or subtracted. Each multimode filter has a F, Q and T control which varies the frequency, resonance and either the peak width, 2nd peak offset or morph. All of these filters are capable of self oscillation (and boy do they scream) and also have a variable filter fat controller to change between active filters (such as those on the Kurzweil) and passive filters such as many analogue synths that suck the bottom end out when the resonance is increased). Both filters can be linked (by frequency) and they are all very smooth with the all parameters (including modulators) being calculated on a sample-accurate basis. To help with designing weird filters (and many combinations are possible with the 2 filters) a realtime filter display is provided which has one pixel per semitone and is updated in realtime, including the modulators.

Now if this isn't enough to whet your appetite, there is also an incredible delay line which includes a dedicated lowpass and highpass control and variable delay time and delay rate controllers. This delay is capable of the same range of times as the other controllers (such as the three envelopes, global and local LFO, key follow, envelope follower and velocity sensitivity) in that the minimum time is 0 and it has incredible resolution allowing flangers, choruses, echos and delays to be simply made. It has a pingpong control to control the panning and is also synced to midi.

While still in the alpha state and having the normal bugs that programs do at alpha stage, it is still the most useful plugin in my arsenal to date, easily eclipsing SF Acid in its loop-handling capabilties, coupled with the state variable filters. I would happily put up with occasional crashes in its alpha state, let alone when this thing is finished. I haven't commented on the layout of the plugin because the final version will look nothing like the current test version, except for the waveform display and the filter display. I can't wait for the final version of this plug-in, which is akin to a sofware Kurzweil with acid waveform manipulation.

The Puppeteer