The Grain effect breaks the selected portion of the sound file into grains that are then fed into and played out of the “grain engine” at different rates. In the process, the playback order can be randomized to varying degrees. This can produce everything from subtle time-shifting effects—when the in and out rates are close and little or no randomization is present—to complete mangling of the sound file with widely varying in and out rates and heavy randomization.

Try processing the Inertia-processed composite bass loop in two halves as follows: set the grain size to quarter-note length (if you have eight two-bar loops as above, this amounts to dividing the entire sound file length by 64). Set the Input Step and Output Step to one-quarter of this value and set Randomization to zero. Audition the loop, and you’ll hear little if any difference from the original. Now select the first half of the sound file, increase the Input Step setting slightly, and apply the Grain effect. Next select the sound file’s second half, decrease the Input Step to as much below the Output Step value as it was above it, and apply the Grain effect. Finally select “Mix 50%” from the Morph menu and mix the sound file with the Inertia-processed sound file on disk.

Using Cross Convolution, Inertia, and Grain one after the other as described here may be a bit over the top, but it shows that you can get intelligible results even with that much processing. Nevertheless, when it comes to effects processing—in MetaSynth as with any application—less is usually more.

Two Steps Forward
This article began with sound-file analysis, which produced sonograms in the Image Synth. This is an excellent way to get a sense of what kind of graphic is needed to produce a specific type of sound. Sound-file analysis is also a powerful tool for rhythm, pitch, and harmonic analysis. In the section “Analyze this,” you glimpsed several analysis and resynthesis processes that are greatly facilitated with graphic tools, and in some cases impossible without them. Next I looked at sound painting using the model of additive synthesis. In addition to using the standard overtone series, I employed custom-designed harmonic structures, including those derived by analyzing other sounds. I then used both graphic- and audio-filtering techniques to modify the sounds before assembling them as multisamples for use in MetaSynth Instruments or other samplers.

Finally I explored a few of MetaSynth’s vast array of DSP processes, which range from the standard to the exotic. Here I used a subtle mix of additive synthesis and cross convolution to produce variations on a bass loop. I then strung the variations together and processed the result with resonating and granular effects. A functional bass loop with the same pitch and rhythm remained, but with a lot of harmonic variation.

MetaSynth is a deep and complex program, and this article is a bit like skipping a stone across a pond’s surface. Although I’ve touched on the program’s basic elements, much time can be spent exploring any feature without mastering it completely. As seen here, you can also get usable (and unique) results quickly. So don’t be put off by the program’s complexity; roll up your sleeves and get started.

Please click on the following links for information on "Audio Sequencing With Metasynth and Metatrack" and "Midi Sequencing With Metasynth and Xx".

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Reprinted with permission from Magazine, February, 2001
© 2001, Intertec Publishing, A Primedia Company All Rights Reserved