“Rabbit Hole” is derived from research on modulation delays that began with “Simbiosi”, Culto’s first M4L device. The aesthetic inspiration behind it includes glitch, IDM, and electroacoustic music.
It uses the saturated feedback and cross-feedback chains from “Simbiosi” and applies them to a brand-new set of modulators. These modulators are phase-locked and bound to a primary noise — a random function, resulting in effects that range from subtle flanging to impactful detuning and chorusing. Controlled feedback is combined with this approach to generate a continuously variable sound stream. The built-in Low-Cut & High-Cut filter nested inside the delay’s feedback chain can also be used to further sculpt these textures, and the Reverse parameter can be used to mix the delayed sound with its reversed copy.
The engine of “Rabbit Hole” is designed entirely in Gen~ for accurate signal processing and control. The random function lets users set a Seed to generate different sequences of numbers at a sample rate resolution. The sequence is then downsampled with the Rate parameter for more suitable values for LFO usage. Rate, Depth, and Smooth control a set of parallel LFOs linked to the primary random function. These LFOs have slightly different phases and rates, contributing to the richness of the sound. Before modulating the delay lines, they are distorted by a set of dividers that continuously scale their amplitude, resulting in a series of springy jumps. The Smooth switch can be used to turn this off. The Visualizer shows all six LFOs in action, as well as the Random function progress that keeps track of the Seed.
“Rabbit Hole” can add vitality to drum beats with its unpredictable behavior, which can be managed by limiting its action with the Loop function. Starting with the Sync button turned on, users can set desired Delay Size, Rate, and Depth values, and finally, set the Loop duration to a larger value. Factory presets that have the Sync active can provide a good starting point for this method. Regulating the filters and feedback will help users achieve a more refined result.
When used with sounds other than a drum beat, it may work better without the Sync option, allowing users to fully adjust the parameters according to absolute values. Long delays with slow, high-depth modulations can create eerie glissandi, while short delays with high feedback values can produce howling effects. Depth can be used to constrain the tonal range of modulations, which also varies depending on the main Delay size.
Extra controls allow users to adjust the wet signal to the desired ratio with the dry one. Pre-Delay adjusts the “slapback effect” between dry and wet Gain affects the output gain of the wet signal, which can lose energy when filtered. Swap can be used to swap the left and right channels’ modulations, while Mono reduces stereo processing into a single channel.
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