ROB WARMOWSKI: Hello again everybody. This is Rob for Gearwire.Com and we are going to take a look at Audiomulch today. We’re specifically going to look at a preset in Audiomulch that comes with the program. It’s called Pulsar. And Pulsar is a nice way to demonstrate the power of the crossfading contraption in Audiomulch as well as show some of Mulch’s capabilities when handed a basic drum pattern, create basic drum pattern within it. We’re going to hear one play one back and we’re going to get to see some of the mangling, mulching properties of the program in action.

We’ve got the Pulsar patch loaded up right now and it consists just of these FOUR contraptions. Sound out of course is our sound card so we don’t count that. It’s got a drum part. It’s got in our drums there’s dual routing going on. One is -- the output is going to the Pulse Comb filter number 1. And that path continues on Stereo Delay which then continues into the right side of the channel 3 or 4 of the crossfader. And then there is a clean signal. Just the drums going right to the crossfader alone.

When we start the patch, we’re going to hear the drums kind of clean, not wet. And we’re going to watch as the crossfader moves over from the one on the left side to the right side. The automation for that is over here. Crossfader 1 fade and as you can see, there’s going to be a fade evolving up to that point. Anyway, let’s give it a try.

[ROB WARMOWSKI PLAYS AUDIOMULCH PROJECT]

You can see the sort of a clean drum sound is giving way to the effected drum sound that is going through the pulse comb channel. And now we see the smoothing variable start to be pulled down, and the dry signal disappears underneath all of the mulch.

[ROB WARMOWSKI PLAYING AUDIOMULCH PROJECT]

You can see. Wow, what was that? So let’s stop the patch and see exactly what happened just there. If we scroll up, we can see where we are relative to the rest of the track. And this is our playback position. We can see that there is a pretty extreme curve that happened right here. This is in the Frequency slider for the pulse comb filter. Here is that slider. So let’s go back a little bit and watch that do its thing as we hear it.

[ROB WARMOWSKI PLAYING AUDIOMULCH PROJECT]

As you can see, these faders are being controlled by this automation here. They’re the duty cycle and the smoothing faders. And now here comes this big slide. Watch here.

[ROB WARMOWSKI PLAYING AUDIOMULCH PROJECT]

Now, what we just accomplished there,or as I should say the automation did, is that it brought the input -- the frequency operation variable of the pulse comb filter all the way down to a much lower frequency which means that the filter is now only allowing low frequency sounds generally through its main gate. And as the frequency rises, I should say the comb filtering effect is actually the time domain of the comb filtering effect is being affected by the frequency sliding. And what ends up happening is that this basic drum beat that we are used to back in the beginning is turning into a real hash of strange noise as we play with the aperture that the pulse comb filter allows through itself. And of course since we are hard-panned to the right, that’s all we’re hearing, is the pulse comb channel.

[ROB WARMOWSKI PLAYING AUDIOMULCH PROJECT]

Well that is just a little taste of what Audiomulch can do. This has been a Gearwire video. Keep it on Gearwire for more cool videos in the future. Thanks for watching.