Description
"The idea behind CANDYFLOSS was to create an engine specifically designed to make it easy to instantly produce sweet & glossy sounds with a ton of high frequency detail - all from close-mic'ed organic samples."
Robin Schlochtermeier
"The idea behind CANDYFLOSS was to create an engine specifically designed to make it easy to instantly produce sweet & glossy sounds with a ton of high frequency detail - all from close-mic'ed organic samples."
Robin Schlochtermeier
SOUND DESIGN ENGINE
Innovative Category-based Sound Architecture
Candyfloss is based on a combination of three sound categories: BODY, GRANULAR and TEXTURE. Each category has a particular function.
60 Hand-crafted Sound Sources
In the BODY category are simple, sine-like sounds, with little overtones or high frequency detail, for example, Ebow guitar drones and piano or gong washes.
In the GRANULAR category there are three different types of granular processing (Granular, Scrambled and Stretched) to bring out distinct new but still fairly uniform sonic characteristics from the source sounds.
TEXTURES are sounds that are all about movement, complexity and edge. In this category there are shards, fractals, cassette tape and preamp distortion, and also crystals.
All the sounds in CANDYFLOSS are based on a set of mostly acoustic instruments and gear, including:
Glockenspiel
Prayer Bowl
Hammered Piano
Irish Low Flute
Ebow Guitars
Yamaha 4-track cassette tape
Plucked Semi-acoustic bass
Hammered Acoustic Guitar
Steel String Ukulele
For the GRANULAR and TEXTURE categories the organic source sounds were processed using a selection of state of the art granular processing, including Native Instruments' Form, GRM Tools, PaulXStretch, Arturia Pigments, Soundtoys Crystallizer, as well as Steinberg Padshop.
LAYER SETTINGS
Layer-specific Morphing, Movement, Envelope & Filters
In the layer settings page there are controls for morphing and movement as well as other layer-specific parameters:
MORPHING is a great way to build slow or fast evolutions into your patches. Target parameters include high/low/band pass filters, distortion and a formant filter.
MOVEMENT is an LFO section, with four shapes - sine, square, ramp and random. These LFOs can control filters, phaser, pitch or volume.
For each layer there are also ADSR envelope controls, sample start selection - and also octave control, which is great if you want to dial in an organ-like multi octave sound. There are also LOW or HIGH PASS FILTERS for each layer independently which is very useful if you want to isolate a part of the frequency spectrum from one of the sounds.
EFFECTS PAGE
On the instrument effects panel there are controls for:
CHORUS and PHASER - Amount, Mix.
FILTER - Toggle for either High Pass, Low Pass or Band Pass Filter with Frequency Control.
DELAY - Either Synced or Free Timing, with optional Diffusion setting.
REVERB - Miix and Time/Length settings.
EQ - Low, Mid and Highs, with adjustable Q setting.
RANDOMIZER
WITH ONE CLICK
One exciting feature is the RANDOMIZE function which respects the sound categories. So if you’ve got a patch with, for example, two granular sounds and one texture sound and a certain envelope that you like, you can very quickly get another combination of sound sources that will fit together in a similar way by just hitting randomize.
>200.000 POSSIBLE SOUND COMBINATIONS
PRESETS
Meticulously Crafted Presets
Candyfloss comes with 160 ready-made cinematic and ambient snapshots/presets, including:
30 Evolving Pads Presets
30 Motion Pads Presets
30 Evolving Pulse Presets (tempo-synced)
15 Pad/Pulse Combinations (tempo-synced)
30 Body + Granular + Texture Pads Presets
15 Experimental Presets
10 Riser Presets
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