MARCH 8, 2018 by SCOTT MONTEITH on the Native Instruments front page.
10 SECRET WEAPONS FOR FILM SCORING FROM THE REAKTOR USER LIBRARY.
“This recent contribution to the User Library from Jeremy Dwyer(sic) is a granular sample morphing instrument with an elegant, deceptively simple interface, that has ‘big budget sound design’ written all over it. While the included soundbank is guaranteed to provide hours of inspiration, it’s also easy to load your own sounds via the sample map editor.”
A sample-morpher for Reaktor 6: a pair of grain-resynth sample players (that between them access 127 wavs) are routed through a cloud delay. Then there is a tempo-synced LFO, filter and envelope and a set of master FX: sub-bass (single-note at C60), vinyl crackle, tape-hiss, reverb, chorus, frequency shift and a limiter. That’s WAVCLOUD.
HOW TO USE IT
The two main controls are BANK1 and BANK 2. Use these to set different combinations of samples numbered 0 – 64 (BANK 1) and 65 – 126 (BANK 2). Then tweak as many parameters you like anywhere else on the instrument to morph the sounds and experiment with the audio. If you want, open the sample map editor with the icon at the top of Reaktor (or FN F6) and swap the samples with your own. There are three sets of sample maps, SUB, Sample 1 and Sample 2; SUB is a single sample for the sub-bass FX. The other two are identical sample maps with the same 127 sounds in each. They’ve been split half and half numerically across the two BANK selector knobs to avoid duplication.
This is not a sample player in the conventional sense; it won’t produce accurate copies of what’s been loaded as the two main sample-players use grain re-synthesis to warp the audio source. This is then further garbled (if desired) by the granular cloud-delay. The keyboard tracking is a little eccentric too.
However, this is no tuneless noisemaker…
WAVCLOUD is a way of creating unusual soundscapes. It doesn’t play nice! Listen to the 36 presets and use them as a starting point for further exploration. There is a set of 12 beats produced via the tempo-sync on the LFO, a set of 12 dark soundscapes and a set of 12 glitchy pads.