ROB WARMOWSKI: Hey everybody. Thanks for checking in with Gearwire.Com. I'm Rob Warmowski, and we're going to take a look at Audiomulch again today. Right now, we've got the Beat Process preset patch loaded up, and we're going to take a slow drive through this preset and take a look at the signal flow, also take a look at the automation, and be able to, at the end of it, match what we see with what we hear.

We're going to just hit play right now, and the loop section that is currently enabled is going to be where we will start so here we go. We have the loop playback button pushed as you can see so here we go.

[ROB STARTS PLAYING DRUM SEQUENCE]

What we're listening to right now is a combination of two rough stereo signal paths that are appearing at the mixer here. The mixer has a wet side and a dry side the way it is currently set up. On the left hand side, we've got the wet side, so if we solo that we will hear just the wet part of the signal...

[ROB SOLOS WET SIDE]

...and if we solo the right side, we'll hear just dry only.

[ROB SOLOS DRY SIDE]

SO, what's really going on here? As you can tell from the dry soloing, we've got the source; it is a drum beat. Now let's take a look at the drums contraption as we've currently got it here. There are four channels open in the drum contraption, and here are their relative volume levels, and we can hear the hats ticking along. It doesn't seem to be anything under hat open so we'll leave that alone, but we also have a hard kick on the one and a snare on the two. Now, if we take a look at the signal path, we can see that the drums head into two different processing chains. One chain is defined by the flanger, five combs filter, granulator, and then into the mixer; this side of it is what we would call the wet side. In other words, we're not hearing this chain right now. We're hearing the other chain, and the other chain is drums into stereo delay 1, stereo delay 1 is coming into the mixer, and that's channel 3 and 4 and that's what we've got soloed currently.

So let's unsolo the wet side -- or dry side rather and focus on what exactly is making these modulating sounds. The very stage that we go to is the flanger, and the flanger is not actually being -- there are no parameters being modulated by the flanger. It's just set at a range of where you could see the image here. The range, the rate, and the feedback, and the wet and dry mix are all set in this screen here.

But the most interesting part of this chain is the five combs filter. Now what is the five combs? Five combs is a resonant filter. It's actually a grouping of five resonant filters but we're hearing one out of the five. Here are the five and as you can see, the gain is very high on the first frequency and not so high on the other frequencies. So, as a result, we're hearing the modulation of the flanged drums is being taken care of by the first frequency, and it's moving -- the actual change of basic note is coming from this value here which is changing. Right now, it's at C in the fourth octave, and now it's modulated down to B-flat in the third octave.