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The X and Y values themselves can also be modulated, bringing to mind the vector synthesis instruments of the past. Other, far more specialised modes blend between more specific controls, such as the parameters of certain elements or envelope times. So, if one Source is tuned down an octave, morphing between that and one that isn't will result in a smooth pitchbend rather than a crossfade between the two signals. More intriguing still are the morphing modes - for example, select Morph and a single Source is heard at once, with the X and Y controls being used to change between the parameters of each generating module. This has nine different modes, the simplest of which, Xfade, mixes the output of the Sources together, with the X and Y axes controlling the balance between all four. The outputs of the four Sources can be combined in various ways using the Morph panel. In addition, there are 15 different filter modes, including the usual low-/high-/band-pass options, and less common ones like ring modulation and tube emulation.
#Alchemy vst library series#
Further tweakingĪs well as these sound-generating elements, there's also a section for applying up to three filters in series or parallel to each Source. Straightforward, non-granular sample playback is also available. Many soft samplers feature granular processing capabilities, but Alchemy is particularly adept, offering eight different window types (which affect each grain's amplitude envelope), a Density control (with low values creating unnatural stuttering effects) and a grain Size parameter.Įach Source has Stretch and Position knobs that can be modulated to create outlandish effects, such as slowing the audio down until it becomes a single, repeating waveform. If Granular analysis is selected, the audio is sliced into thousands of tiny chunks, enabling tempo and pitch to be adjusted independently of one another.
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While this isn't the most precise way of doing things - you can't realistically draw in chords or melodies - it's possible to enhance transients with a specialised brush, and you can copy and paste by selecting an area of the spectral display as a brush.
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It's possible to set this element to use just sine resynthesis (or only noise) to create unusual effects, and audio can be edited with a spectral display showing frequency over time.Įditing is done graphically, using a variety of brushes, just like a paint program. The Spectral element works well on complex samples, using a combination of noise and sine waves to resynthesise the audio. This area includes an envelope that can be used to view the volume, pitch variation, pan and phase characteristics of individual partials over time, along with a typical additive synthesis harmonics editor for altering these values. Not only does this process sound great, but the volume, pitch, pan and phase of the individual harmonics (aka partials) can be edited in a separate panel. These determine how the audio is analysed and which of the modules are most appropriate.įor example, Additive mode works well with single-note samples, where the frequencies present in the audio are analysed over time and resynthesised. When importing a sample, you're presented with a choice of modes that correspond to Alchemy's elements: Additive, Spectral, Additive and Spectral, or Granular. However, it's not possible to create your own keyzones within a Source module.Īlchemy will load SFZ files (SoundFonts), though, so the truly dedicated could create their own multisampled patches with the help of an external editor.
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Alchemy has a built-in library of instruments, effects and loops in audio format, and you can import your own WAV or AIFF files.