Synthesists are quite familiar with resonant filters. “Resonant filter”, on the other hand, that’s a real thing. But that’s perfectly OK, because if you’re going to invent something new and unique, what choice do you have but to make up a new term to describe it? So “resonance engine” it is. So back to the website I went, to dissect the explanations there more closely, starting with Charles’ description: a “resonance engine” consisting of “a thousand resonant filters”.Ĭorrect me if I’m wrong, but I think the first part of that, is totally made-up there is no such thing as a “resonance engine” in audio. Let’s just say that a few more “huh?” moments followed, as I transformed innocent bass, guitar, string, synth and vocal tracks into unrecognizable roadkill.
So I downloaded the demo and experimented. What I found there was less than enlightening: “Moodal is an audio plugin that modelizes objects and spaces to be excited by the sounds you will run through it.” Huh, again.īut being a fan of tritik’s tkDelay plug-in and its developer Charles Gondre, I assumed that whatever Moodal turned out to be, there was a good chance it would be something cool. When I first read the product announcement for Moodal, my first reaction was “huh?” My second was to visit the tritik website for an explanation. That’s what we’re going to do in this article. Now, that’s all fine and good, but unless you’re willing to rely entirely on serendipity to accidentally come up with a pleasant sound or two, you’re going to have to first wrap your head around what it actually does and how it does it. It can also create colorful reverb-like effects, or it can subtly alter the character of any instrument or voice. It can radically mangle sound in unexpected ways, e.g. This is Moodal from tritik who previously brought you the delay bargain of 2014, tkDelay. Kind of a reverb, kind of a tonal shaper, kind of an extreme sonic mangler. And now, for something completely different.
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