Centrifuze Audio Samples

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Centrifuze is great for transitions of effects from one to another. Listen to the example below where we smoothly go from a beat-sync'd (and ridiculously deep!) pure delay modulation to a pure amplitude modulation sync'd to the same beat:

This is possible because Centrifuze can modulate both amplitude and delay using the same LFO (low frequency modulator) and the LFOs (as well as straight delay duration) can be sync'd to your Pro Tools session and musical durations.

The sample above, done with a single pass in real-time (in RTAS mode) demonstrates transitioning from a delay-modulated infinite echo, with ever-compressing echoes collapsing to a wave flange near the middle of the sample. Done with a 150 msec Mach (max delay buffer traversal rate) setting, this effect transition is created by starting with a short delay loop generating discrete echoes and "surfing" the delay buffer from audible echoes down to zero delay, leaving pure delay mod with feedback, or wave flange.

Above is a transition from 8th note triplet infinite/decaying echo to 16th note triplet infinite/decaying echo with the Mach control set at a value that makes the transition happen gradually.

Above is a transition from an infinite/decaying echo to a slapback echo acheived by gradually cutting the feedback from 100% to 0% over the length of the recording.

Here's a sequence of recordings and Centrifuze RTAS processing. The first sample is a single guitar strum:

Then we put it through Centrifuze's Delay Loop, the ninth preset, just to create a sort of "test signal" for you, so you can hear exactly what happens after this:

Then we put the signal above through a transition from an infinite/decaying echo with some vibrato added, and then swing the Delay control quickly to 0, with the Mach control set to a constant (50 msec of buffer per second real-time) making the delay transition from echo to flange at a constant speed.

And then we go from the wave flange to the decaying echo on the signal above by starting with 0 delay, setting the Mach to 0 and turning the Delay control to our desired echo time. As the recording proceeds, we slowly turn up the Mach control, allowing the delay to gradually accelerate from 0 to our desired end delay.

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