GRM Tools Evolution

User’s Guide

Version 3.7
Introduction

GRM Tools Evolution is a new bundle of three plug-in forming part of the GRM Tools
collection. It is available in AAX, Audio Unit and VST (32 & 64 bits) and RTAS (32 bits)
formats, and also as Stand-Alone application. Conceived and realized by the Groupe de
Recherches Musicales (Musical Research Group) of the National Audiovisual Institute, Paris,
France, GRM Tools is the result of numerous years of research and development by
composers and sound designers in sound transformation software.

The following pages will take you through the installation and authorization process, describe
the innovative interface devices created to make these plug-ins intuitive and musical, and
explain the operations of the individual plug-ins.

Installation
Authorization
Universal Controls
Midi Management
Multi-Channel
Stand-Alone

Evolution
Fusion
Grinder

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Installation
Ma

Mac OS X
The installer puts the different files in the following folders :
 RTAS : Library\Application Support\Digidesign\Plug-Ins
 AAX : Library\Application Support\Avid\Audio\Plug-Ins
 VST : Library\Audio\Plug-Ins\VST\GRM
 Audio Units : Library\Audio\Plug-Ins\Components
 Stand Alone : Applications\GRM
 Documentation : GRM Tools Documentation
It installs also the Interlok Drivers necessary for authorization of the software.

To launch the installer, double-click on the GRM Tools Evolution Installer.pkg icon and
follow the instructions. If you do not want to install all available architectures, select
Customize in the Installation Type dialog and select the desired components.

PC Windows
The installer puts the different files in the following folders :
 RTAS : Program Files\Common Files\Digidesign\DAE\Plug-Ins
 AAX : Program Files\Common Files\Avid\Audio\Plug-Ins
 VST : GRM folder in the default VST folder (usually : Program Files\Steinberg\Plug-Ins\
VST) or Program Files\VSTPlugins if the default folder is not defined.
 Stand Alone : Program Files\Ina-GRM\GRM Tools
 Documentation : My Documents\GRM Tools Documentation
It installs also the Interlok Drivers necessary for authorization of the software.

On 64 bits systems, 32 bits plugins and applications are installed in « Program Files (x86) » .

To launch the installer, double-click on the GRM Tools Evolution Installer.exe icon and
follow the instructions.

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Authorization

Buy GRM Tools Evolution

When you make your purchase, you will receive a serial number and a link to the iLok.com
website enabling you to authorise the plug-in. Take great care of the serial number, as it
constitutes proof of your purchase. You will need it to authorize the plug-in and to contact
the technical support unit.

Authorize GRM Tools Evolution

Authorization is carried out through the iLok License Manager application. ILok License
Manager is a new application for Mac and PC that allows you to more easily manage your
licenses and iLok dongles.

The iLok dongle is no longer required. GRM Tools licenses can be either moved on the
computer or on an iLok dongle.

• Create an account on iLok.com

• Download and install the latest iLok License Manager

• Launch iLok License Manager and sign in with your iLok.com ID

• Select « Redeem Activation Code » in « Licenses » menu

• Copy the activation code

• Drag the generated license on a location displayed on the left column (iLok dongle or
computer).

Documentation and videos showing details of dongle and license management are available
on the iLok.com website.

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Universal Controls

Every plug-in contains a variety of interactive controls to vary, display, store, recall, and
otherwise manipulate parameters. The controls are:
 Sliders
 Elastic String
 Numerical Value Fields
 Buttons
 Presets
 Tempo
 SuperSlider
 Agitation
 Save/Load
 Window resizing

Sliders

To change the value continuously, drag the handle to the left or right.
To jump to a new value, click along the path of the handle.
To reset the default value, click on the handle while pressing the [Alt] key.
Only for 2DControllers, a click on the handle while pressing the [Shift] key limits movements
to vertical or horizontal displacements.

Elastic String

To achieve smooth movement of Sliders, 2DControllers, or the SuperSlider, click on the

object and move the mouse while holding down the [Command] key on Mac or [Ctrl] key on
PC. Note: In general, the followspeed of the smoothing function depends upon the length of
the Elastic String.

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Numerical Value Fields

Note that a slider is often associated with a Numerical Value Field that shows the parameter
value as a number or other alphanumeric character. You can change the value in a Numerical
Value Field directly.

To change the value in a Numerical Value Field, click within the field and drag vertically
upwards to increment a value or downwards to decrement a value. To modify the increment
of change, drag while pressing the [Command] key on Mac or [Ctrl] key on PC.

Double clicking in a Numerical Value Field opens an editor enabling the direct modification of
a parameter value. Clicking outside the field or the [Return] key ends value editing.

Caution: with some host applications, the [Return] key is interpreted as a host command and
does not therefore end the editing of the value. In this case, click outside the editable field
to end editing.

Boutons

Buttons are used to change a state or start a process.

To change the state of a Button, or to start a process, click on the Button.

Presets

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Each plug-in has memorization capacities for all settings, and recall capacities for the
memorizations.

Gradual transition from one preset to another is carried out by linear interpolation of
parameter memories. The memorisation zone is at the right of each window. It includes
sixteen memorization boxes, an interpolation time control slider and a status field.
 To save your current configuration of parameter settings into any of the 16 Preset
locations, click on a location number while holding down the [Command] key on Mac
or [Ctrl] key on PC. Note that the Status Field, located under the Preset locations,
gives the indication of the last performed operation.
 To call up a configuration of parameter settings from any of the 16 Presets, click on
that Preset number. Note that the Status Field indicates 'Load'.
 To reload the factory configuration of parameter values, click while pressing down the
[Alt] key. Note that the Status Field indicates 'Reset'.
 Note that the factory default settings for presets 15 and 16 are random values. Preset
15 applies a random variation of about 10% deviation from the current value as set by
the user. Preset 16 generates a completely random set of parameter values.
The timing of the change from current values to the recalled Preset values is determined in
one of two ways:

• It can be determined by the current position of the vertical Slider located to the
right of the Preset numbers. To change the time of interpolation between current
parameter values and Preset values, move the vertical Slider up or down to reflect
your preferred timing.

• It can be recalled as one of the parameters saved in the Preset. To recall the time of
interpolation from a Preset configuration along with other parameters, click on the
Interpolation Button M, which is just underneath the vertical Slider, to activate it
before you click on the Preset.

During interpolation, clicking on a slider or a value field, stops the interpolation of this
parameter. The other parameters continue to be interpolated. To completely stop the
interpolation, click the Status Field.

A preset content can be copied and pasted into another preset of the same kind. For
instance, an Evolution VST preset can be pasted into another Evolution VST or even into an
Evolution StandAlone.

A right-click on a preset opens a pop-up menu allowing to copy the preset into the clipboard.
When a compatible preset is available, its number is shown and it can be pasted into the
chosen preset. This new preset is now loaded.

Tempo

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This feature is only available with certain applications such as Cubase SX, ProTools, etc..

Certain parameters, such as the time of interpolation between presets, can be synchronized
with variations of tempo in a Pro Tools session. To initiate synchronization, hold down the
[Shift] key and click on the Slider or Numerical Value Field associated with the parameter
you want to synchronize. The display will indicate in bold characters the figures that
represent the possible tempos. The figures and the tempos they represent are:
T/64 64th-note triplets
1/64 64th-notes
T/32 32nd-note triplets
./64 dotted 64th-notes
1/32 32nd-notes
T/16 16th-note triplets
./32 dotted 32nd-notes
1/16 16th-notes
T/8 8th-note triplets
./16 dotted 16th-notes
1/8 8th-notes
T/4 quarter-note triplets
./8 dotted 8th-notes
1/4 quarter-notes
T/2 half-note triplets
./4 dotted quarter-notes
1/2 half-notes
T/1 whole-note triplets
./2 dotted half-notes
1/1 whole-notes
./1 dotted whole-notes
1 bar measure
Larger numbers are indicated in numbers of measures, as in 3 bar for three
measures.
The parameters of each plug-in that can be synchronized are itemized in the sections dealing
with the individual plug-ins.

SuperSlider

The horizontal SuperSlider and its associated Numerical Value Fields, located at the bottom
of each window, provide a powerful control for interpolating between Presets. Use the
SuperSlider to interpolate between any sequence of Presets to find new configurations and
create new Presets.
 To select a Preset number in a Numerical Value Field, click in the field and drag
vertically upwards or downwards.
 To change continuously from one Preset to another, drag the handle of the SuperSlider
to the left or right.
 To disable a Numerical Value Field, click in the field and drag vertically downwards to
an 'Off' position.

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Agitation
This set of controllers enables the adding of random variations to the processing parameters.
The left hand rotating potentiometer gives the amplitude (from 0% to 100%) of the random
variation. The right hand rotating potentiometer gives the speed of the variations (from 0 to
60 s). The On/Off button under the two rotating potentiometers activates the variations.

Four agitation groups are available:

A left click on the coloured button to the right of each alphanumeric value
validates agitation for each individual parameter. A right click on the button opens the
agitation group selection menu.

When the button is bright, the parameter is subjected to the variation. When it is dark, the
variation has no effect.

Caution : In the default configuration, agitation is de-activated for all parameters.

Save/Load

As an alternative to the save / load action in the host application, each plug-in contains Save
/ Load Buttons located in the bottom of the windows. These buttons allow you to save
configurations of your plug-ins in a folder that you choose. They also allow you to exchange
configurations of GRM Tools plug-ins in other environments in which GRM Tools is used.
 Save opens the file selector to save the complete configuration (current values of the
parameters and the 16 presets).
 Load opens the file selector to recall a complete configuration (current values of the
parameters and the 16 presets).

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Window resizing

The plug-in window can be resized by clicking and dragging using the small triangle in the
bottom right hand corner of the ina-grm logo.

Caution : Excessively large dimensions may slow down the display of data in the plug-in
interface.

Midi management

All the processing parameters can be controlled by MIDI messages.

Important note: Some applications (for example Logic) do not send MIDI messages directly to
the processings, but propose other solutions to bind the messages to the parameters.

MIDI messages
The MIDI messages recognized by the processings are the following channel messages:
– Control Change
– Note On
– Pitch Wheel
– Program Change
–

The discrete controls (buttons, menus, Preset) behave differently depending on the messages:
• Control Change : the message values (from 0 to 127) are mapped on the parameter
variation range. For example, for a button, the values 0 to 63 trigger the “released”
state, and the values 64 to 127 trigger the “pressed” state.
• Pitch Wheel : similar to the previous control, but with a 14 bit message value range,
that is from 0 to 16383.
• Program Change : The program numbers correspond to the state of the parameter.
For example, Program Change 1 and 2 correspond to the “released” and “pressed”
state of a button. Alternatively, Program Changes from 1 to 16 correspond to the 16
processing presets.
• Note On : A basic note is bound to the parameter.
◦ For parameters with two states (buttons, or two-choice menus) each sending of
the Note On message with the same basic note switches the state of the
parameter. The other Note On messages have no effect, and can therefore be
used to control other parameters.
◦ For parameters with more than 2 states (Preset, menus, etc.), the basic note
corresponds to the first state, and the following note to the second state, etc.
For example, if the LA 440 (midi 69) is bound to the Preset parameter, the LA will
load preset 1, LA# preset 2, SI preset 3, etc. Note On messages outside the
parameter variation range (for example, notes below LA440 in the previous
example) are not taken into account.

The Note On messages can be processed in a special way by certain types of processing (for
example, for Evolution transposition parameters). Refer to the description of each type of

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processing for more information on these special cases.

Binding a Midi message to a parameter

Click on the MIDI button located next to the ina-grm logo, and underneath the Save and Load
buttons. A panel opens to the left of the button. Manipulate the parameter you want to
control on the plug-in interface. Its name is displayed on the Parameter line. Then send the
corresponding Midi message, which is displayed on the Message line in the following format:

[channel number][controller name][optional parameter]

The binding between the Midi message and the parameter is carried out and memorized.

• Unbind : cancels the Midi binding of the parameter displayed

• Close : closes the panel
• Reset All : cancels the Midi binding of all parameters.
• View : opens the window shown below, which enables the viewing of all bindings,
their modification and the addition of new ones.

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Multi-channel

Fusion proposes outputs on several channels in AAX, RTAS, VST and Audio Units.

The channel allocations follow the standard configurations of each system:

Configuration RTAS/AAX Audio Units VST

Quad L R Ls Rs L R Ls Rs L R Ls Rs
5.0 L C R Ls Rs L R Ls Rs C L R C LS Rs
5.1 L C R Ls Rs LFE L R C LFE Ls Rs L R C LFE Ls Rs
7.1 (8.0) L Lc C Rc R Ls Rs L R C LFE Ls Rs Lc Rc L R C Ls Rs Cs Lc Rc
LFE

Configurations 7.1 & 8.0 are non-standard. It is a regular octophonic configuration without a
central channel staging successive stereo couples.

RTAS/AAX (SDDS) Audio Unit VST

L Lc L R L R

C Rc C LFE C Ls

R Ls Ls Rs Rs Cs

Rs LFE Lc Rc Lc Rc

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Stand Alone

The following descriptions only concern the stand-alone versions.

In this version, the processing window includes at the top a strip to control the reading and
writing of sound files.

Multichannel processing is available for Fusion. To select the number of output channels
open the Audio tab in Option->Audio & Midi Setting menu :

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The channel allocation is the Audio Units channel allocation (see above)
To select a sound input:

Select External Input in the Files menu to process an external sound.

Slide an audio file from a file browser into the horizontal grey zone at the top of
the window

Select Open Sound File... or Open Recent Files in the Files menu.

The file is loaded with a selection equal to its total time. To modify the start of the
selection, click close to the start and slide the mouse. To modify the end, click close to the
end and slide the mouse. Click&Drag inside the selection lets you simultaneously control
the start and the end of the selection. A single click moves the cursor under the mouse.

The green bar under the waveform controls the zoom of the display.

The green zone corresponds to the displayed part, the red to the non-displayed. A click
in the green zone followed by a vertical drag expands or narrows the zone. A horizontal
drag moves the zone in time. A clic in the red zone moves the nearest bound.

A right clic on the waveform shows a contextual menu allowing to display the current
time under the mouse and/or under the cursor.

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The buttons control the read cursor. The first button sends the cursor back to
the start of the selection, the second starts the reading, or pauses it, and the third one loops
reading on to the selection.

Two playing modes are available :

normal and variable. In variable mode, a slider and an alphanumeric field allow to change
the playing speed from -2 (double speed backward) to +2 (double speed forward)

To record a sound file:

select New Output Sound File... in the Files menu.

The file will be created in the WAV format. We recommend adding the extension .wav to
avoid any confusion at a later stage.

When an output file is open, the appearance of the advance button bar changes:

A new button can be used to start and stop recording. The name and the path of the file are
indicated, and its time.

Option->Audio & Midi Setting, Record tab allows to choose the file resolution (16, 24 bits
integer or 32 bits floating point) and the record mode:

Split File option allows to split the output file in multiple mono files.

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Sample Rate option allows to choose the sample rate when the file sample rate and the
output sample rate are different:

From input file : the output sample rate is set to the file sample rate, if possible.

From sound card : the output sample rate is not modified, and the file is resample
to this rate.

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Evolution

Evolution is used to obtain continuous evolution of timbre by frequential sampling of the

input signal.

How does it work?

The timbre of the input signal is sampled at more or less regular intervals. The output signal
is obtained by interpolation between the sampled timbres. In the following example, the
three sampling instants are represented by the colours red, yellow and green. The resulting
signal is a frame obtained by interpolation between the red timbre and the yellow timbre,
and then between the yellow timbre and the green timbre.
This signal is represented by the red → yellow → green shading.

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A quick tutorial
We assume that you are familiar with host application, that you know how to import or ecord
a sound into a mono or stereo track, and how to access the different windows and insert plug-
ins. Carry out the following examples using orchestral sounds or wide bandwidth sounds.

Start reading while maintaining the default values. Click the Evolution button.

The sound evolves at a rate of 3 seconds. Observe the vertical gauge on the right
which indicates the progression of the interpolation.

Modify the value of the Speed slider and observe its influence on the interpolation
speed.

Click the Evolution button again to hear the original sound. Select One Shot in the
menu above the interpolation gauge. Set the Speed value to 0. Click the Evolution
button.

The sound is frozen. Clicking the Sample button samples the original sound and
freezes it again. The Speed slider sets the interpolation time of the current status to
the new frozen timbre.

Return to Periodic mode in the menu above the interpolation gauge. Set the Speed
value to around 3 seconds. Use the Purity slider.

The more this value increases, the more the sound is simplified and becomes
‘electronic’. Purity filters the components of the sound according to their
amplitudes. A high Purity value will only allow the strongest components to pass.

Set Purity to 0 or to a very low value, and select 256 in the Bands menu (to the left
of the Evolution button).

The sound has become ‘electronic’ again because there are now only 256 sine waves
to describe its evolution. Use the Grain slider which will add random variations to the
amplitudes and frequencies of each component.

Record the settings in Presets and play the sequence with the Superslider. Refer to the page
on Universal Controls for more information about controls.

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Reference
Bands
Number of sine wave components used to represent the sound (from 128 to
65536). The higher this number, the more faithfully the timbre will be
reproduced, but the less the attacks and rapid variation will be conserved. The
value of 8192 bands is a good compromise.

Evolution
This button switches processing from the bypass mode to the interpolation mode.
When interpolation is activated, the button is blue.

Freeze
This button stops the interpolation. It is active only in interpolation mode.

Sample
This button forces a new sampling of the sound input.

Mode
Defines the interpolation mode.
Periodic. A new sampling is carried out at the end of each interpolation, and a
new interpolation is initiated automatically.
One-Shot. The sound remains frozen at the end of each interpolation. The
Sample button must be pressed to carry out a new sampling, and activate an
interpolation.
Auto. Another sampling is carried out each time the input timbre is modified.
The vertical gauge displays the variation rate (calculated by the spectral flux),
and the vertical slider just to the right of the gauge is used to adjust the trigger
threshold.

gain
This parameter controls the output signal level from –96 to +24 dB.

Speed
Interpolation speed. Varies from 0 (no interpolation) to 60 seconds.

Purity
Selects the components used for interpolation according to their amplitudes. At
0, all the components are used, and the timbre obtained is very close to the
original timbre. When the value increases, only the largest components will be
used, and the timbre is simplified and becomes ‘electronic’.

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Grain
Adds random variations to the frequencies and amplitudes of each component.
These variations are only carried out inside each band. The effect will be all the
more noticeable if the number of bands is low. Almost inaudible at 8192 bands, it
adds slight roughness at 1024 bands, and a very noticeable noise at 128 or 256
bands.
Mix
This parameter controls the balance between the original sound and the
processed sound. At 100% only the processed sound can be heard. At 0% only the
original sound can be heard.

Scale
Used to select a value between -24 and 24 which is used to multiply the
frequency of each spectral component and to obtain a transposition.
A value above 1 will transpose each spectral component upwards. A value of 24
will transpose each component two octaves higher.
A value below 1 will transpose each spectral component downwards. A value of
24 will transpose eacht component two octaves lower.
To lock the chosen value, click the U/L button so as to display the initial L. To
change the values, display the U.
To limit the transposition to integer-valued half-tones, click the C/D button to
display the initial D (discrete). To obtain continuous variation, display C
(continuous).

Shift
Used to select a value between –4000 and +4000 Hz so as to remove it from or
add it to each of the spectral components of the original sound.
To lock the chosen value, click the U/L button so as to display the initial L (lock).
To change the values, display the U (unlock).

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Fusion

Fusion modifies a sound by playing on delays, filters offset and frequential sliding.

How does it work?

The input signal is represented by a sonogram which moves from right to left. 8 player heads
of variable size and orientation can be placed on the sonogram. The players capture the
signal running below them, like player heads placed along a magnetic tape or placed at
different locations on a vinyl disc. They behave like band-pass filters and combine delay,
filtering, reinjection and glissando effects.

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Getting started
It is assumed that the user is familiar with the manipulation of the host applications, the
import and the recording of a sound on a mono or stereo track, access to the different
windows and the insertion of the plug-ins. Try the following examples on low density sounds,
such as small percussion sounds.

Launch playing and click on the Reset button to have the default configuration. Enlarge the
window to have a comfortable view of the sonogram.

The sonogram starts running. To the right of the screen a small vertical blue bar
symbolizes the first player. Its parameters are displayed under the sonogram.

Manipulate frequency and length and note the filtering variations.

Now manipulate angle and note the glissando effects.

You can also click directly in the centre of the blue bar to modify frequency and
delay, and on the ends to modify length and angle.

Click on button 4 at the top, towards the left of the window. A new player appears.

Click on the M button just below the 4 button. The blue bar symbolizing the fourth
player becomes shaded and this player is no longer active. Click again on the M
button, and the fourth player is again active.

Adjust agitation depth to 40% and agitation speed to 4 seconds (parameters to the
right of the interface, underneath the presets). Validate agitation for delay. Note the
delay variations.

Validate agitations for the frequency and angle parameters.

Play with length and feedback.

Reference
1–2–3–4–5–6–7-8
Activation and selection of players. If the player is not active, a click makes it
appear and selects it: it appears in blue on the sonogram and its parameters are
displayed. If it is already active, it is selected. Selection can also be carried out
by clicking directly on one of the small circles on the bar. To deactivate a player,
drag it outside the sonogram.

M
Situated under each activation button, these buttons control the Mute of each
player. These controls are also available on the keyboard with keys 1 to 8.

Reset
Resetting of processing. Only the first player is active, with a delay of 1 second
and a central frequency of 500 Hz.
Mute
Global mute for all players.

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Amplitude
Output amplitude of selected player. This control acts after feedback.

Feedback
Percentage of output of selected player to be reinjected at input of processing.

Delay
Average delay of selected player. The displayed delay corresponds to the central
position of the player bar on the sonogram. It is zero when the bar is completely
to the right. It is maximum (10 seconds) when the bar is completely to the left.

Frequency
Central frequency of the selected player. The frequency displayed corresponds to
the centre of the player bar on the sonogram.

Length
Length of bar representing the player. The maximum length corresponds to the
diagonal of the sonogram display. In this case a glissando is obtained on all the
frequencies of a duration equal to the maximum delay, that is 10 seconds.

Angle
Angle of the bar representing the player. At 0° the bar is vertical and the player
behaves like a delay followed by a band-pass filter. For the other values, the
various frequencies are no longer play simultaneously and a glissando effect
appears.

Pan
Output panning. The panning effect depends on the number of output channels.
For example, in octophony, the pan goes from the rear left hand side to the rear
right hand side, describing a circle passing through the 8 outputs. See the
Multichannel chapter at the start of the manual for more information.

Width
Width of stereophonic image. Active only with stereophonic inputs.

Smoothness
Shape of the band-pass filter. At 0%, the filter is rectangular, with very steep
transitions. At 100% the filter is bell-shaped, with much smoother transitions.
The same value is applied to all players.
Mix
This parameter controls balance between the original sound and the processed
sound. At 100% only the processed sound is hear. At 0% only the original sound is
heard.

Gain
This parameter controls the level of the output signal from–96 to +24 dB.

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Grinder

Grinder is used to degrade a sound by freezing its frequential or time changes, and by
modifying its spectral resolution. It also enables interesting vocoder effects.

How does it work?

The input signal is transformed into a sum of sine components whose quantity, and change in
frequency and amplitude can be controlled. By adjusting the amplitudes, effects of signal
distortion, saturation and degradation can be obtained, particularly for small numbers of
components. By adjusting the changes of frequencies, it is possible to obtain vocoder effects.
An integrated file player enables the use of another signal as a frequency or amplitude signal.

Getting started
It is assumed that that the user is familiar with the manipulation of the host applications, the
import and recording of a sound on a mono or stereo track, access to the different windows
and the insertion of the plug-ins. Apply the following examples on orchestral sounds with a
vocal part, or sounds with large bandwidth.

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Start playing, keeping the default values. Check that the bands menu is positioned at 64 and
that the amplitude and frequency parameters are at 0.

Move the central cursor horizontally to increase amplitude. The change in amplitudes
slows until it freezes completely at the value 1 and produces a saturation effect. The
spectral envelope remains constant while the frequencies continue to change.

Click on Sample. A new amplitude profile is sampled.

Modify the band parameter and note the different types of sound degradation
obtained.

Position band on 256 and amplitude on 0.5. Increase frequency up to the value 1.
The frequencies remain constant while the amplitudes change, giving a sound similar
to the vocoder.

Click on Sample several times. Modify the band parameter and note the different
types of sound degradation obtained.

Position band on 128, frequency on 0.0 and amplitude on 0.7.

Click on load file (on the aux input line) and choose an audio file containing a
speaking voice. The wave form is displayed. Click on the start button situated under
the wave form display. Note the vocoder effect thus obtained.

Manipulate the frequency, amplitude and band parameters and note the different
degradations and saturations.

Reference
Amplitude
Controls the change in signal amplitudes. At 0, the amplitude variations are
those of the original signal. At 1, the amplitudes are frozen, and there is no time
change in the amplitudes. The Sample button is used to capture the
instantaneous amplitudes of the original sound. The color of the sound obtained
is heavily dependent on the value of the bands parameter.

Frequency
Controls the change in signal frequencies. At 0, the frequency variations are
those of the original signal. At 1, the frequencies are frozen, and there are no
more frequency changes. The Sample button is used to capture instantaneous
frequencies of the original sound. The color of the sound obtained is heavily
dependent on the value of the bands parameter.

Sample
This button samples the instantaneous values of the frequencies and amplitudes
of the signal input in processing. The effect is only perceptible for large values
(very close to 1) for the amplitude or frequency parameters.

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Bands
Number of sine components used to represent sound (from 2 to 4096). The
smaller this number, the more the sound will be degraded. This parameter has an
enormous impact on the color and quality of the sound for large values for the
amplitude and frequency parameters.

Gain
This parameter controls the output signal level from –96 to +24 dB.

Mix
This parameter controls the balance between the original sound and the
processed sound. At 100% only the processed sound can be heard. At 0% only the
original sound.

Aux input
No Aux. No auxiliary input.
File. Using the file as auxiliary input. The file must have been previously loaded
by Load File.
Side Chain. Using the sidechain input if available in the environment.
Load File. Opens the file selector.

The file is loaded with a selection equal to its total duration. To modify the start
of the selection, click close to the start and slide the mouse. To modify the end,
click close to the end and slide the mouse. Click&Drag inside the selection lets
you simultaneously control the start and the end of the selection. A single
click moves the cursor under the mouse.

The buttons control the progress of the play cursor. The first one
sends the cursor to the start of the selection, the second starts play or pauses it,
and the last one loops playing on the selection.
The button synchronize playback on the host application playback.

Balance
Controls the frequency and amplitude proportions coming from the audio input
and the auxiliary input.
0%: frequency=auxiliary input, amplitude=audio input
100%: frequency=audio input, amplitude=auxiliary input

Gain
Amplitude of auxiliary input.

Depth
Depth of modulation by auxiliary input. At 100% the modulation is maximum. At
0%, there is no further modulation (same as aux input Off)

GRM Tools Evolution - 26 / 27

Credits

Design, development
Emmanuel Favreau

Interface design
Emmanuel Favreau, Suzy Vincens, NO PUB

Documentation
Emmanuel Favreau

Translation
Peter Thomas

Tests
Diego Losa
Jean-François Minjard
Emmanuel Richier

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Copyright 2011-2016 Ina GRM

GRM Tools Evolution - 27 / 27