ROB WARMOWSKI: Hello everybody. Welcome to Gearwire.Com, and we're going to take a look today at the synthesis capabilities of Audiomulch. What we're going to do is we're going to do a semi-structured exercise where we're going to grab some Audiomulch contraptions and we're going to manipulate them in real time to produce a synthesis result and explain what's going on and why.

So, first thing we're going to do, when I open up a new Audiomulch document, one of the very first things I like to do when I'm in a quasi-random situation such as we are now is I like to look around for things that are by default set in the program and reset them, change them. One of the most common things is, as users of the software will know, users of music software will recognize is the 120 BPM tempo figure. We're going to change that just to something else. We're just going to say 150 for giggles.

And the next thing we're going to do is we're going to grab some signal-generating contraptions. The signal generators that we can choose from in Audiomulch are the 10 Harmonics, the Arpeggiator, the Bassline, the Bubbleblower, Drums, File Player, Loop Player, Risset Tones, and Test Generating contraption.

Let's start with something very simple and get the Test contraption going here. Double click that and we can see its control surface here. Since what we're going to be doing is making composite sounds, we're going to want a mixer. So, somewhere between the Test Generating contraption and the sound card, we're going to want to have a mixing device to handle the other contraptions that we're going to be feeding into the sound card. So let's do a new mixer, and lets make this a mono, eight-channel mixer. There it is. Double click it, and give it its -- You can see it's control surface here.

Another thing I'd like to do right away is I'd like to name things, and we'll do the same thing for Test Gen. We'll bring up the main fader in the mono mixer and bring up -- actually we'll do the connection first. Also, we'll do a mono out the Mono Mixer output into the Sound Out, bring up the volume of the contraption, and here we have a, that is to say the pitch of 440 Hz. We can of course change this manually go up to 800 Hz, etc. Oops, just type in 440; that's fine. We can also select noise, and you'll notice that this parameter doesn't actually change anything under noise. Basically, that's because this switch turns this test generation contraption into a noise generator and not a tone generator.

so, what are we going to do with this? Well, let's take a look at some options about how we can route the test signal into the mixer and what we may be able to process it with.