£11.00
Our Products are generally provided as Zip file downloads which in all cases will need to be extracted and saved to your hard drive prior to installation. Details on the different file type provided and what to do with them are below.
.alp Files – These are Ableton Live Packs and will install directly into the Packs Section of the browser of Ableton Live. When you double click on them you will see a pop up window asking you to confirm that installation is ok as the files are described as “Legacy”. This is fine and you are ok to proceed, the packs are created using the format for an earlier version of Live and so remain compatible with the current version.
.amxd files – These are individual MaxforLive Devices and can be stored anywhere on your hard drive. We’d advise creating a folder for them and then adding that folder as a location within the Places section of Lives Browser.
Control Surface Scripts – Please refer to the individual User Guides provided with your download, an abridged version of the installation will be shown further down this page.
ClyphX Pro – Please refer directly to the manual and installation video for this specific product.
Novation Circuit Packs – These are provided as individual Sysex Files and as a complete bank file. All are to be installed using a version of the Circuit Editor and not via Novations Components back up utility.
The G-Delay unit dynamically generates up to 24 taps inside the patch so that any sound coming in will pass from one tap to the next. Since we are not relying on a continuous loop, we have a lot more control in how each tap will play the repeated sound. The obvious advantage, and the inspiration behind the device, is that we are not limited to a single fixed delay duration, but can alter the time of each delay tap. We can achieve the bouncing ball effect easily and other similar gravity based effects. The device has 5 time modes – Normal, Gravity, Antigravity, Downup and Updown.
The feedback amount and the rate of gravity can be fine-tuned to craft a perfectly decaying sound. We can also add an offset to the right channel to create more width, and since we have more control of the taps, we can set the device to gradually increase the width of the sound as it flows from the first to the final tap. This creates a unique expanding effect on any sound coming in to the delay unit.
Going even further, the spatial modes allow us to set changes in the panning through the array of taps. Using the presets, we can easily have the sound flow from left to right or from centred to pingpong. There are 8 spatial modes to choose from, all of which can be attenuated using the width slider to limit the stereo field. We can also add a random variation to the frequency of each tap to further add interest to the sound.
Finally, we also have a lowpass and highpass filter so that we can limit the frequency range of the output, and a Dry-Wet control.
The G-Delay makes it easy to sculpt dynamic undulating sounds which flow across the soundspace, great for adding interesting and unique sound design to any sound.
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