Sound on Sound (July 2004)

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Though the manual describes the Windowing size choice as a trade-off between accuracy and time resolution, I found in practice that the larger sizes almost invariably produced a more faithful rendering of imported timbres. Conversely, smaller sizes sounded rather more coarse, but were generally less CPU-intensive to synthesize, as fewer partials were being used to cover the full frequency range. Which of the four windowing types — Bartlett, Hamming, Hanning or Blackman — will be most appropriate for your sample is harder to discern in advance, so trial and error is often the best option.

0 varying degrees of 'slope' between them, so you can fashion nice sinusoid releases and such like if desired. Creative use of the flexible envelopes is one way of at least partially redressing the absence of such traditional technology as modulation LFOs, though it would be a much more convenient technique if there was more in the way of tempo-based snapping facilities. Filters & Effects Vertigo's two filters can be used in parallel or in series, and offer the usual comb, low-pass, high-pass and band-pass modes, with either 12 or 24 dB/octave roll-off.

It's not difficult to do, but it does take an awful lot of sums, and this is what makes convolution a DSP-hungry technology. In fact, although the maths behind convolution has been around for a long time, it is only the recent phenomenal advance in DSP technology which has allowed the concept to be turned into a practical and cost-effective reality for the professional audio market. Things really start to get complicated, though, if you want to be able to change the sonic characteristics on the fly — for example, to change an EQ frequency control.

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