Martin Walker 检查了 Steinberg 的一套四个插件（带通、梳状滤波器、PitchAccum 和 Shuffling）：GRM Tools。
这套由法国 GRM 集团（Steinberg 代理）开发的插件包含四个，包括带通滤波器、梳状滤波器、音高累积器和混音器，提供单声道和立体声版本。尽管所用算法质量上乘（以及拥有优雅的金属效果图形），但真正让它们栩栩如生的还是用户界面。每个 GRM工具窗口的右侧都有 16 个编号的预设按钮，排列成两个垂直的长条，每个长条上有 8 个按钮。您可以在关联的过渡推子设置的时间段内（最长 30 秒）改变预设之间每个控件的位置。每个目标预设的变形速率都会保存，并在推子下方的按钮激活时使用。您可以通过停用此按钮用推子的当前设置覆盖已保存的速率。在变形过程中的任何时候重新打开按钮，都会冻结该点的设置——您可以将“冻结”的设置保存为预设，以备您偶然发现绝妙的音色。
使用每个窗口底部的长水平插值推子可以实现进一步的极端操控。它的轨道上有 8 个编号位置，每个位置都可以存储 16 个预设中的任意一个，也可以设置为关闭。通过拖动滑块沿其轨道移动，您可以手动在预设选择之间变形，在任何“中间变形”位置停止，或者通过点击立即跳转到推子轨道上的任意点。将一些中间按钮设置为关闭，可以让您在推子轨道上剩余的活动预设之间进行更精细的控制。虽然您可以将 PC 版本与Wavelab一起使用，但 GRM工具在Cubase VST中发挥了作用，因为您可以将它们用作通道、插入或主效果器，并将任何控制移动作为混音的一部分自动化。
带通滤波器拥有独立的低通和高通部分，频率范围从 23Hz 到 22kHz，完全可调。使用图形窗口中的超级手柄，您可以通过水平拖动来并行扫描滤波器频率，也可以通过垂直拖动来改变它们之间的距离（带宽）。通过图形窗口上方的一个小按钮可以在“通过”和“拒绝”模式之间切换。立体声版本增加了第二个图形窗口，以便您可以为每个通道设置不同的响应——所有这些都与变形功能相结合！它有用于复制或交换通道设置的开关，以及用于组合立体声操作的“链接”开关。我在舞曲中听过很多变形滤波器扫描，而这款软件可以轻松完成所有这些操作。
Comb Filters拥有五个并联的滤波器，每个滤波器都配有频率、共振和低通滤波器（位于反馈环路中，用于控制振铃量）的推子。此外，还有一组三个主控，它们可作为下方设置值的乘数——对于主频率推子，其值可以在 2.00（高八度）和 0（五个推子中均为最低频率）之间变化。由于共振设置范围广泛，您可以创建振铃的泛音簇或和弦，并将鼓循环转换为触发式嗡嗡声。太棒了！
PitchAccum由两个“移调器”组成，每个移调器最多可上下移调两个八度，延迟时间最长可达 2972 毫秒，并通过增益推子将其输出混音到基本信号中。图形窗口和超级手柄功能可让您同时更改两个移调值（水平拖动）并设置音高差异（垂直拖动）。这种可控的混音效果可以通过各种调制形式进一步增强：周期性调制允许您使用低频振荡器 (LFO) 改变移调值和移调器之间的相位差，而随机调制则提供各种高级选项。移调延迟器具有反馈和立体声像宽度推子——您可以使用窗口和交叉淡入淡出控制来设置移调算法所用片段的大小和重叠度。可用的音效种类繁多，从延迟和回声到标准的音高变换，再到难以描述的 Radiophonic Workshop 风格的处理。
Shuffler将音频切分成多个短片段，进行随机播放，然后以不同的时间间隔输出。每个片段的片段长度和包络形状均可调整，每个片段输出前的随机延迟量也同样可以调整。每个片段都有一个简单的音高包络，可以使用“起始”、“终止”和“随机”音高值滑块进行设置。“整体反馈”控制重复次数，而“密度”则决定片段的输出频率，范围从 100%（每个片段）到 0%（静音）。效果范围广泛，从空间和相位效果到移调、复节奏片段爆发以及卡通风格的音高扫描。
对于那些喜欢以创意方式（但又能精准控制）处理音频的人来说，这款产品几乎拥有无限可能，而且它的功能远超包装盒上的宣传。强烈推荐。Martin Walker
Martin Walker checks out a suite of four plug‑ins (Band Pass, Comb Filters, PitchAccum and Shuffling) from Steinberg: GRM Tools.
This suite of four plug‑ins from French group GRM (marketed by Steinberg) comprises Band Pass, Comb Filters, PitchAccum, and Shuffling, provided in both mono and stereo versions. Despite the quality of the algorithms involved (and the elegant metallic‑effect graphics), it is the user interface that really brings them all to life. On the right‑hand side of each GRM Tools window are 16 numbered preset buttons, arranged in two vertical strips of eight. You can morph the position of every control between presets, over a period of time set by the associated Transition Fader (up to a maximum of 30 seconds). This morphing rate is saved for each target preset and used if the button beneath the fader is activated. You can override the saved rate with the current setting of the fader by deactivating this button. Switching the button back on, at any time during the morphing process, freezes the settings at that point — you can save the 'frozen' settings as a preset, should you stumble upon a killer patch.
Further extremes of manipulation can be achieved using the long horizontal Interpolation Fader along the bottom of each window. This has eight numbered positions along its track, each of which can store any of the 16 presets or be set to Off. By dragging the slider along its track you can morph between your preset selections manually, stop at any position 'mid‑morph', or instantly jump to any point on the fader's track by clicking there. Setting some of the intermediate buttons to Off gives you finer control between the remaining active presets along the fader's track. Although you can use the PC version with Wavelab, GRM Tools come into their own with Cubase VST, because you can then use them as channel, insert or master effects with any control movement automated as part of the mix.
The Band Pass filter has separate low‑pass and high‑pass sections, fully variable from 23Hz to 22kHz. With the Super Handle in the graphic window, you can sweep the filter frequencies in parallel by dragging horizontally and also vary the distance between them (the bandwidth) by dragging vertically. Switching between Pass and Reject modes is done with a small button above the graphic window. The stereo version adds a second graphic window so that you can set different responses for each channel — and all this in conjunction with the morphing! There are switches to copy or swap channel settings and a Link switch for ganged stereo operation. I've heard plenty of morphed filter sweeps in dance music, and this can do them all with ease.
Comb Filters features five filters in parallel, each with faders for frequency, resonance, and low‑pass filter (placed in the feedback loop to control the amount of ringing). There is a further set of three Master controls, which act as multipliers for the values set beneath — in the case of the Master Frequency fader, this can be varied between 2.00 (an octave above) and zero (minimum frequency in all five cases). Due to the wide range of available resonance settings you can create ringing harmonic clusters or chords, and turn drum loops into triggered drones. Great stuff!
PitchAccum consists of two 'transposers', each of which can transpose up or down by a maximum of two octaves, delay by up to 2972 milliseconds and mix their output into the basic signal with a gain fader. A graphic window and Super Handle let you change both transpose values simultaneously (horizontal drag) and set the pitch difference (vertical drag). This controlled mayhem can be further enhanced by various forms of modulation: Periodic modulation allows you to vary the transpose value and inter‑transposer phase difference using an LFO, while Random modulation offers various esoteric options. The transposed delay has feedback and stereo image‑width faders — the size and overlap of the fragments used by the transpose algorithms can be set using the Window and Cross‑fade controls. The sounds available range from delays and echos to standard pitch‑shifting and Radiophonic Workshop‑style treatments that defy description.
The Shuffler slices up the audio into short sections, shuffles them around and then spits them out at varying time‑intervals. The Fragment length and Envelope shape of each fragment can be varied, as can the amount of randomised Delay before the output of each fragment. There is a simple pitch envelope for each fragment, which can be set using Initial, Final, and Random pitch‑value sliders. Overall Feedback controls the number of repeats, while Density determines how often the fragments are output, from 100 percent (every single one) to 0 percent (silence). The results range from space and phasing effects to transposition, polyrhythmic fragment bursts, and cartoon‑style pitch sweeps.
For those who love mangling their audio in creative ways (but with excellent control) the possibilities are almost endless and, for once, the product does far more than it says on the box. Highly recommended. Martin Walker |
