ROB WARMOWSKI: Okay. So what we have here is a -- we're along the way on our synthesis patch, demonstrating synthesis capabilities in Audiomulch, and what we are going to be doing here is we have a test. Back in part one, we actually opened up the document and put in a test contraption that is currently sending out a 440-volt -- not volt -- a 440-Hz pure tone to mixer channel 1. Let's listen to that tone. There it is.

[ROB PLAYS A 440-Hz PURE TONE]

Now, there's some things that we can do to this, obviously, because this is Audiomulch and we can take audio and mulch it. We can do an insert after, and we can put in a filter. Let's say for example we'll put in the -- Let's start comb filtering this; let's we what we can get out of it.

[ROB APPLIES FIVE COMBS FILTER PLUGIN]

Okay, the Five Comb Filter. What a comb filter actually is it is a serious -- well, this contraption contains five comb filters, and what these comb filters are are five instancesof individual filter stages that have different values attached to them. Right now, the -- Right now, what we're looking at is -- Here, hold on a second here -- let's cancel that out and we'll change that back to A. There we go.

The -- here we're going to turn this down right now. The master gain control for the comb filter is it controls how much signal has passed into the contraption from the top end here, from the input, and then that internally to the Five Combs device, that signal is passed to the filtering points, and each of these filter points had been pre-selected at the various octaves for the pitch of A, so A3 is a pitch of 110 Hz, A4 is a pitch of 220, A5 is a pitch of 440 etc., etc. So, what a comb actually does is that it picks a certain spot on the -- you set it to a certain spot on the frequency -- in the frequency range, and you can tell the five combs to accentuate by using the gain or to tear apart what he -- how much it actually gets passed that filter point an each individual stage.