GRM Tools Classic

GRM Tools Classic
User's Guide
version 3.3
Introduction
GRM Tools Classic is a bundle of eight plug-ins that provide superb tools for sound
enhancement and design. They are available in RTAS, VST (32 & 64 bits) and Audio Unit (32 &
64 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
Band Pass
Comb Filters
Delays
Doppler
Freeze
Pitch Accum
Reson
Shuffling
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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
 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 Classic Installer.mpkg 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
 VST : GRM folder in the default VST folder (usually : Program Files\Steinberg\Plug-
Ins\VST) or Program Files\GRMVstPlugins 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.
To launch the installer, double-click on the GRM Tools Classic Installer.exe icon and follow
the instructions.

Authorization
Once GRM Tools Classic is installed, you can use it in demonstration mode for up to 15 days.
If you want to continue to use GRM Tools Classic after the demonstration period, you'll need
to buy it and authorize it.
Buy GRM Tools Classic

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 Classic

Authorization is carried out through the iLok.com website.
To authorize GRM Tools Classic, you will need:

 an iLok USB stick
 Internet access
 an iLok account to be created on the iLok.com website.
When you made your purchase, you received the following message:
Thank you for purchasing GRM Tools. The license codes for your GRM Tools are :
GRM Tools Classic
1111-2222-3333-4444-5555-6666-7777-88
Keep them safely, they are your proof of purchase and they will be required to generate the validation on
the www.ilok.com site.
To generate immediate validation of GRM Tools, click the following links:
GRM Tools Classic

http://www.ilok.com/lc/r?c=1111-2222-3333-4444-5555-6666-7777-88
Or, go to the site www.ilok.com, login with your User ID and Password,
select "Redeem Code License"in the left menu, and copy the license codes that we sent you.
Click on the link, and identify yourself on the iLok.com website. Authorization is then
automatically generated and is ready to be transferred to your iLok stick.
You can also identify yourself on the iLok.com website : select Redeem Licence Code in the
Manage Licenses tab and enter the licence code manually.
Documentation and videos showing details of stick and license management are available on
the iLok.com1 website.
1 - http://www.ilok.com/ilok-guides-and-video.html

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.
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.

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.
Buttons
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

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.
Tempo
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
./32 dotted 32nd-notes
1/16 16th-notes
1/8 8th-notes
T/4 quarter-note triplets
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.

Agitation
This set of controllers is used to add random variations to the processing parameters. The left
hand turn button gives the amplitude (from 0% to 100%) of the random variation. The right
hand turn button gives the speed of the variations (from 0 to 60 s). The On/Off button
located below the two turn buttons activates the variations.
In addition, the magenta button located to the right of each alphanumeric value
enables control of the effect of the variation for each individual parameter. When the button
is light, 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.

Ce
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).
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
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.

Multi-channel
Delays, Doppler, Reson and Shuffling propose outputs on several channels in RTAS and Audio
Units.
The channel allocations follow the standard configurations of each system:
Configuration RTAS 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 LFE L R C LFE Ls Rs Lc Rc L R C Ls Rs Cs Lc Rc
Configurations 7.1 & 8.0 are non-standard. It is a regular octophonic configuration without a
central channel staging successive stereo couples.
RTAS (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

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 Delays, Doppler, Freeze, Reson & Suffling. To select
the number of output channels open the Audio tab in Option->Audio & Midi Setting menu :

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 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.
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.

Band Pass
This plug-in gives you a dynamically controllable electronic "chisel" to carve your way through
the highs and lows of a sound. Create dramatic effects as you focus on the high or low
frequencies in a sound, simulate analog subtractive synthesis techniques ...
How does it work?

The 2DController, which is the ball in the center of the control window, functions like a
handle to let you control lowpass and highpass filters together as a variable bandpass or
bandreject filter. Left to right movement changes the center fequency. Top to bottom
movement changes bandwidth. The bandwidth control is particularly effective because the
filters have exceptionally steep slopes, creating sharp cutoffs and dramatic effects.
This plug-in will appear in a mono or stereo configuration depending upon whether the track
is a mono or stereo track. In the stereo version, the two channels can be controlled
independently or together. The screen shot shown above is the mono version.
The controls are further explained below in the section called Reference.

A quick tutorial
We assume that you are familiar with basic operations, that you know how to record or
import a sound into a mono or stereo track and how to access the different windows and
insert plug-ins. For this tutorial, use a song or a wide bandwidth sound.
Grab the 2DController with your mouse and drag it through the space. The effect
will be dramatic and clear.
Use the Elastic String: Hold down the [Command] key on Mac or [Ctrl] key on PC
while you grab the 2DController with your mouse and drag it through the space.
Note: You're pulling the 2DController with the Elastic String. The longer the
string, the slower the motion. The Elastic String smooths out your actions.
Create a stereo track and use the stereo version of Band Pass. Note the link
button (only in the stereo version). Unlink the left and right channels, then
switch one of them to bandreject mode, then link them again. One channel will
be bandpass and the other will be bandreject.
Store any configuration of the variables in a Preset and perform any sequence of Presets with
the SuperSlider. If you're not familiar with these controls, have a look at the page called
Universal Controls.
Reference
center freq
Sets the center frequency of the filtered band to any frequency from 23 Hz to 22
kHz. This is both a display of the horizontal position of the 2DController and a
numerical value field that you can change by dragging the number up or down
with the mouse.
bandwidth
Sets the width of the filtered band. The value is given as a percentage of
deviation from the center frequency. For example, for a center frequency of
1000 Hz and a bandwidth of 2, the values for lowpass and highpass will be
respectively at the nearest to 500 Hz (1000 / 2) and 2000 Hz (1000 x 2).
pass/reject
Selects the filtering mode. Clicking on the button sets it to the opposite state.
 In bandpass mode, the frequencies between the lowpass cutoff and the
highpass cutoff are passed through the filter.
 In bandreject mode, the frequencies between the lowpass cutoff and the
highpass cutoff are rejected.
gain
Sets the level of the input signal from -96 dB to + 12 dB.

mix
Determines the proportion of the processed signal that is mixed with the original
signal. At 0%, only the original signal is heard. At 100%, only the processed signal
is heard.
In the stereo version, the same settings are applied simultaneously to both
channels.
HP
The slider changes the highpass cutoff frequency in 512 steps between 23 Hz and
22050 Hz.
LP
The slider controls the lowpass cutoff frequency in 512 steps between 23 Hz and
22050 Hz.
2D Controller
Moving the 2DController vertically lets you control the filter's bandwidth. Move
the 2DController horizontally lets you control the filter's center frequency.
tempo
The interpolation time between presets can be synchronized to tempo. To
initiate synchronization, hold down the [Shift] key and click on the Numerical
Value Field under the Presets.
Additional controls for the stereo version :
L -> R
This button copies the settings from the left track to the right track.
R -> L
This button copies the settings from the right track to the left track.
link
This button links the settings of both tracks. As a setting is changed in one track,
the same change will occur in the other.
flip
This button exchanges the settings from one track to the other.

Comb Filters
This plug-in lets you add power and resonance to a sound, transform a sound's
timbre, smooth rhythmic sounds into long continuous sounds ...
How does it work?

A comb filter, in general, is a filter that resonates a selected frequency and all of the
harmonics of that frequency. This plug-in gives you five high-Q in-parallel comb
filters, controllable independently or in ensemble, plus five low-pass filters to control
the highfrequency content of the output.
The freq sliders let you control the frequencies of each of the filters. The res sliders
let you control the amount of resonance of each of the filters. The lp sliders let you
control the cutoff frequencies of the lowpass filters, allowing you to control high-
frequency content. The FREQ, RES, and LP sliders are the master sliders for the
filters.
A quick tutorial

import a sound into a mono or stereo track and how to access the diferent windows
and insert plug-ins. For this tutorial, use a hand-drum or other rhythmic sound.
Click on preset 6. Note that the filter frequencies are set close together to
create a dense resonant sound. Start the playback.
Move the mix slider slowly downward and upward. You'll hear the sound
change until you're hearing only the processed sound.
Set the RES slider at about .90 and the LP slider at 1.00. Then play with
the freq controls and note how they affect the sound. Click on different
Presets. Move the FREQ slider to the left and right. For a special effect,
move it all the way to the left, then slowly to the right.
Move the RES slider all the way to the left and then all the way to the
right.
Move the LP slider to the left and right. Note: Changes in resonance.
Transformations in the sound.
Here's a potentially dangerous effect: Create a self-sustaining resonance

that will continue even after you stop the input sound by moving the RES
and LP sliders all the way to the right. To stop the resonance, move the LP
slider to the left.
Store any configuration of the variables in a Preset and perform any sequence of
Presets with the SuperSlider. If you're not familiar with these controls, have a
look at the page called Universal Controls.
Reference
gain
Sets the level of the input signal from -96 dB to 0 dB.
mix
Determines the relative strengths of the processed and original signals. At 0%,
only the original signal is heard. At 100%, only the processed signal is heard. In
the stereo version, the same settings are applied simultaneously to both
channels.
FREQ
Multiplies the resonant frequencies of all of the comb filters by a number
between 0 and 2. If you multiply by 2, for example, the resonant
frequencies of the five filters are transposed upwards one octave. If you
multiply by .5, the resonant frequencies of the five filters are transposed
downwards one octave.
RES
Multiplies the resonance duration of all comb filters by a number between
0.8 and 1.2.

LP
Multiplies the cutoff frequencies of all lowpass filters by a number
between 0 and 1.2.
freq1 - freq5
Each control sets the frequency of one of the five comb filters from 45 Hz
to 20 kHz. Values very close to each other (for example with a gap of 1 Hz)
will create beat or phasing effects. Some values enable the obtaining of
chords which resonate with the sound processed.
res1 - res5
Each control sets the resonance of one of the five filters from 0 (no
resonance) to 100 (the longest possible resonance). Note that the actual
duration depends also upon other parameters, such as the lowpass filter.
lp1 - lp5
Each control sets the cutoff frequency of one of the lowpass, enabling the
adjustment of the quantity of harmonics present in the resonances, and
thus the richness of the resulting sound. High values will cause slight
filtering of the signal, giving a rich and metallic sound quality, while low
values will smooth the sound by cutting off the highest resonances.
tempo
initiate synchronization, hold down the [Shift] key and click on the
Numerical Value Field under the Presets.

Delays
This plug-in lets you create and control any type of delay line from echo to
reverberation to phase shift, soften instrumental attacks, create a wide variety of
special effects ...
How does it work?

Delays consist of a set of delays which are variable from 0 to 6 seconds. Depending
on the power of the processor, it is possible to have up to 128 simultaneous delays,
whose amplitude and position are controlled. In the stereo version, the delays are
assigned alternately to the left hand and right hand channels.
A quick tutorial
import a sound into a mono or stereo track and how to access the different windows
and insert plug-ins. For this tutorial, use a series of staccato sounds or a voice
counting.
Click on preset 2. Start the playback.
When you hear the sound, move the mix slider to the left to about 70%.
You'll hear the original plus the delays at equal intervals, fading out.
Move the amp distrib slider to the right. Note that the amplitude pattern
of the delays changes to equal and then to soft-to-loud. Set the slider

wherever you like.
Move the del distrib slider to the left. Note that the delays get faster
towards the end of the range. Now move it to the right and notice that
the delays get slower towards the end of the range. Set the slider to
approximately 1.
Now, to introduce some random elemnents in the delay pattern, move the
random del slider to the right to about 400 ms and set the var rate slider
at about 76 ms. Note the irregularities in the delay timing.
Reference
gain
mix
is heard. In the stereo version, the same settings are applied simultaneously to
both channels.
nr of delays
Number of delays. Selects a number of delays between 2 and 128. Note
that the effective maximum number depends upon the power of your
computer and the number of plug-ins you are using. Note also that when
this parameter is varied, the amplitudes and the timing of all of the
delays are recalculated.
amp distrib
Amplitude distribution. Specifies the amplitude of each delay relative to
the previous delay. For example, an amp distrib value of 2 signifies that
each delay will have an amplitude that is double the amplitude of the
preceding delay. Values of less than 1 mean that successive delays will
have less amplitude than preceding delays. A value of 1 means that delays
will have equal amplitude.
del distrib
Delay distribution. Specifies the timing of each delay relative to the
timing of the previous delay. Values of more than 1, for example, mean
that each delay will be longer than the previous delay and that,
consequently, there will be a continually longer time between successive
repetitions of a sound. A value of 2, for example, means that each delay
will be twice as long as the previous delay and that the time between
repetitions of a sound will be twice as long as the time between the
previous repetitions of the sound. Values of less than 1 mean that the time
between repetitions of a sound will be shorter and that sounds will occur
more and more quickly. A value of 1 means that sounds will occur at
regular intervals.

random del
Randomized delays. Specifies a random number from 0 to 1000 ms which is
used to vary the timing of the delays. The actual timing will result from the
combined settings for first, range and del distrib plus the random number
between 0 and the number specified by random del.
var rate
Rate of variation, used in conjunction with random del. Specifies the rate
at which random numbers are generated.
feedback
Specifies the percentage of the delayed signal which will be fed back into
the input.
mono/stereo
Sets the distribution of delays to the outputs, from 0 (monophonic, same
signal to both tracks) to 100 (2-track output).
first
Sets the timing of the first delay to a time between 0 and 5914 ms.
range
Sets the difference in time between first and the last delay. Note that del distrib
sets the distribution of delays within this range.
2DController
The vertical dimension controls the range of the delays in time. The
horizontal direction controls the center of the range. Note that the window
under the control window contains a graphic display of the values for first,
range, nr of delays, amp distrib, del distrib, random del and var rate.
tempo
The parameters that can be synchronized to tempo are the interpolation
time between presets, first and range. To initiate synchronization, hold
down the [Shift] key and click on the Slider or Numerical Value Field
associated with the parameter.

Doppler
This plug-in lets you move sounds through an audio space with changes in pitch that
correspond to their movement. You can also transform sounds through loudspeaker
modulation, create unusual vibrato effects ...
How does it work?

Doppler simulates the effect obtained by moving sound through a two-dimensional
space. A sound moving closer to the hearer (placed in the centre of the two-
dimensional slider) will be transposed upwards, while a sound moving away from the
hearer will be transposed downwards. Movements follow the displacement of the two-
dimensional cursor, to which may be added an automatic circular movement. Based on
a physical propagation model, this processing also enables the obtaining of non-
realistic results by the decoupling of variations in amplitude and in the Doppler
effect.

A quick tutorial
We assume that you are familiar with basic operations, that you know how to record
or import a sound into a mono or stereo track and how to access the different
windows and insert plug-ins. For this tutorial, use a song or a melodic sound.
Move the circle amplitude slider slightly to the right. Notice the balls
start to move. You'll hear changes in pitch.
Move the circle frequency slider to the right. Notice that the balls start
to move faster.
Move the channel separation slider to the right. Notice that the balls are
swinging further out from the center. Now move the slider towards the left
to about -0.85, so that the balls are both swinging around the center. Now
move the circle amplitude slider to the right. The balls are now swinging
around the center in a larger circle.
Move the channel phase slider to the right and the left. Notice that when
the slider is positioned in the center, the balls swing together, but when it
is to the left or right, the balls follow one another.
Now experiment with the amplitude variation slider but note that the
actual level of loudness variation will depend upon the settings of circle
amplitude and circle frequency.
Now experiment with the doppler variation slider but note that the actual
pitch variation will depend upon the settings of circle amplitude and
circle frequency.
Note that when the value of circle frequency is a positive number, the
balls swing in one direction and when it is a negative number, the balls
swing in the opposite direction.
Move it in either direction to a higher number, for example to 27 hz, to

achieve a novel type of spatial modulation.

Reference
gain
Sets the level of the input signal from -96 dB to +12 dB.
mix
Determines the proportion of the processed signal that is mixed with the
original signal. At 0%, only the original signal is heard. At 100%, only the
processed signal is heard. In the stereo version, the same settings are
applied simultaneously to both channels.
X pos
Horizontal position. -1 indicates that the sound is at the left. 0 indicates
that the sound is in the center. +1 indicates that the sound is at the right.
Y pos
Vertical position. -1 indicates that the sound is at the bottom. 0
indicates that the sound is in the center. +1 indicates that the sound is
at the top.
amplitude variation
Determines the amount of intensity variation relative to the distance of
the position of the sound relative to the center of the 2-dimensional
potentiometer. At 0%, no variation occurs. At 100%, maximum variation
occurs.
doppler variation
Determines the amount of pitch variation relative to the speed with which
the sound is moving. At 0%, no variation occurs. At 100%, maximum
variation occurs.
following time
Determines the time from 0 to 10 seconds that the sound, represented in mono
as the little red ball or in stereo as the little red and green balls, will take to
reach a position as represented by the grey ball.
circle amplitude
The amplitude of the circular movement of the sound around the grey ball. In the
stereo version, two circular movements are represented for each channel.
circle frequency
Frequency of rotation of a sound around the grey ball. Positive values from 0
to 100 Hz represent motion in a clockwise direction. Negative values from 0
to -100 Hz represent motion in a counterclockwise direction.
2DController
Lets you control simultaneously the parameters X pos and Y pos. The effective
position of the sound is displayed by a little red ball. In the stereo version, a
little red ball and a little green ball represent the two channels.

tempo
time between presets, circle frequency and following time. To initiate
synchronization, hold down the [Shift] key and click on the Slider or
Numerical Value Field associated with the parameter.
Additional controls for the stereo version :
channel separation
This control determines the distance between the two channels.
channel phase
This control determines the phasing of the rotations of the sounds. At 0, the
rotations are synchronous. At 180 or -180, the rotations are out of sync by
half a circle.

Freeze
This plug-in lets you freeze a fragment of a sound and scrub through the fragment
with loops of different sizes at different pitches ...
How does it work?

Freeze is an algorithm for time freezing by looping into a 12-second zone. The read
point, the time, the number of simultaneous loops (up to 128) and their
synchronization are variable, as are read speeds. Freeze can be used to create
rhythmic motifs, phasing effects, temporary time lags, and many other effects.
A quick tutorial
and insert plug-ins. For this tutorial, use a rhythmic drum track.
Start the playback.
Position the 2DController in the center close to the bottom. Wait until you
hear a particularly interesting segment of your sound, then click on the

freeze bar. Then drag the control ball slowly through the control window. As
you move it left and right, you'll notice a scrubbing effect. As you move it up
and down, you'll notice that you're sampling a larger or shorter du ration of
the frozen sound.
Click on the reset Ph and random Ph buttons and note the coordination of
the loops. Move the pitch slider to the left to -15. Note that sounds are lower
and longer. Move the pitch offset slider to the right to 100% to note how the
pitch changes. Then move the random pitch and random dur sliders. Then
move the pitch slider to the right and note the differences in the sound.
Référence
gain
mix
Determines the proportion of the processed signal that is mixed with the
original signal. At 0%, only the original signal is heard. At 100%, only the
processed signal is heard. In the stereo version, the same settings are
applied simultaneously to both channels.
begin
Specifies the start time of the loops within the 12-second field.
end
Specifies the end time of the loops within the 12-second field.
freeze
Triggers the capture of the three last seconds of the input sound and
begins the loop replay. The display shows the portion of sound that is
saved and the start and end points of the loops. Click again on this button
to resume listening to the input signal.
Reset phase
Synchronizes all loops to start together. Enables interesting percussion, phasing
and harmonic beat effects with very low pitch offset parameter values.
random phase
Unsynchronizes the playback of the loops.Gives an ensemble or nappe effect if
the nr of loops parameter has a high value.
pitch
Controls the pitch of all loops from -48 semitones to +24 semitones. Note that as

the pitch changes, the duration of the loops will change accordingly.
pitch offset
Controls the pitch variation from one loop to the next. Note that as the
pitch changes, the duration of the loop will change accordingly. To achieve
phasing effects, set the interval of variation to very small values and all
random controls to 0.
random pitch
Lets you specify a random pitch variation for each loop. A new value is
chosen randomly at the beginning of each loop replay and then remains
constant during the time of the loop.
random dur
Lets you vary the duration of each loop randomly from 0 to 400 ms.
nr of loops
Specifies the number of loops from 2 to 128. Note that the maximum effective
number of loops possible depends on the power of the processor and on the
number of plug-ins in use.
mono / stereo
Set the distribution of loops to the outputs, from 0 (monophonic, same signal
to both tracks) to 100 (2-track output).
2DController
Moving the 2DController vertically lets you simultaneously control the start
and end times of the loops within the 12-second field. Moving the
2DController horizontally lets you scrub through the 12-second field.
tempo
time between presets and the end parameter. To initiate synchronization,
hold down the [Shift] key and click on the Slider or Numerical Value Field
associated with the parameter.

Pitch Accum
This plug-in lets you create two distinct 'shadows' of a sound at different
transposition levels and at different delay intervals.
How does it work?

Two independent and simultaneous transposers are used to transpose the pitch of an
input sound. A pitch follower detects the pitch of the input sound and optimizes the
transposition. The transposed sounds are then transformed with delays and
modulations.
In the mono version, the same input signal is sent to both transposers. In the stereo
version, the left channel of the input signal is sent to one transposer and the right
channel is sent to the other.

A quick tutorial
and insert plug-ins. For this tutorial, use a melody.
Adjust the first transposer to a positive number. Note: The transposition is

higher than the original.
Adjust the second transposer to a negative number. Note: The transposition is

lower than the original.
Set the delays at different lengths.
Change the settings for periodic modulation, random modulation, and

feedback.
Reference
transpose
Sets the interval for each transposition from -24 semitones to +24
semitones.
delay
Sets the delay of each transposition from 0 to 2972 ms.
gain
periodic modulation
Modulates the pitch set in transpose in the shape of a sine wave :
frequence. Sets the modulation frequency from 0 to 20 Hz.
amplitude. Sets the modulation amplitude from 0 to 100 %.
phase. Synchronizes the modulations from 0 to 360 degrees.
random modulation
Randomly modulates the pitch set in transpose :
frequence. Sets the modulation frequency from 0 to 20 Hz.
amplitude. Sets the modulation amplitude from 0 to 100 %.
smooth. Smoothes the random variations from 0 (abrupt changes) to 100
(slow variations).

feedback
Specifies the percentage of the output signal which will be fed back into
the input.
mono/stereo
Sets the distribution of the transposed signals to the outputs, from 0
(monophonic, same signal to both tracks) to 100 % (2-track output).
direct
Determines the level of the non-processed input signal from -40 dB to 0 dB.
window
Sets the durations of the sound fragments used by the transposition
algorithm. For periodic sounds or sounds with quick changes, a value between
10 - 20 ms is recommended. For complex sounds with slow variation, a longer
value may prove to be preferable.
crossfade
Controls the way that fragments overlap from small values and abrupt
transitions to longer values and softer transitions.
pitch detector
Ensures that the du rations of the sound fragments remain consistent with
the frequency of the input signal. It is advisable to use this with periodic
signals with small values of the window parameter (10-20 ms).
2DController
Moving the 2DController vertically lets you control the range of transposition
levels between the two fragments. Moving the 2DController horizontally lets
you control the transposition levels of both fragments in parallel.
t e m po
The parameters that can be synchronized to tempo are the interpolation time
between presets, delay (both voices), frequence (periodic modulation), and
frequence (random modulation). To initiate synchronization, hold down the
[Shift] key and click on the Slider or Numerical Value Field associated with
the parameter

Reson
This plug-in lets you create new sounds from current sounds by rebalancing and
redistributing the sound's resonant frequencies.
How does it work?

Reson consists of a set of second order resonating filters. This type of filter amplifies
a single frequency, giving very gentle resonances. Depending on processor power, it is
possible to have up to 128 simultaneous filters, whose frequency, amplitude and
resonance are controlled.
A quick tutorial
and insert plug-ins. For this tutorial, use a series of staccato sounds or footsteps.
When you hear the sound, gradually move the resonance slider to the
right. The sounds will first take on a metallic quality, then change into

bells.
Increase the value of the nr of filters and observe the distrib curve
effect.
Move the random factor slider and S&H rate sliders to the right. The
sounds will seems like loose metal.
Référence
gain
mix
both channels.
low
Sets the resonance of the lowest filter to a frequency between 59 Hz and 15 kHz.
The group of filters defined by nr of filters will be distributed between low and
high according to the distrib curve.
high
Sets the resonance of the highest filter to a frequency between 59 Hz and
15 kHz. The group of filters defined by nr of filters will be distributed
between low and high according to the distrib curve.
nr of filters
Determines the number of filters in the mono version from 2 to 128 and in
the stereo version from 2 to 64. Note that the maximum number of filters
depends on the power of the processor and the number of plug-ins in use.
distrib curve
Determines the distribution of filter frequencies between low and high.
For a value of 0, the filters are distributed equally according to musical
intervals. For example, if the interval between low and high is one
octave, and the nr of filters is 12, the filters will be tuned in semitones.
For a value of 100, the distribution is by equal frequency intervals, and
you obtain a sound close to that of the comb filter.
random factor
Sets the extent of random variation in the distribution of filter frequencies

between low and high. At '0', there is no variation. At '1', there is a
variation between one octave below and one fifth above the unvaried filter
frequency.
S&H rate
Sets the rate at which random variations occur in individual filter
frequencies. At '0', there is no variation. At '1', there is a variation in a filter
every millisecond.
resonance
Determines the duration of the resonance in the filters from '0' (no
resonance) to '1' (infinite resonance). At maximum resonance, the filters
behave like sine wave oscillators.
mono/stereo
Sets the distribution of filtered signals to the outputs, from '0' (monophonic,
same signal to both tracks) to '100' (2-track output).
2DController
Moving the 2DController vertically lets you control the frequency
bandwidth within which the filters are distributed. Moving the
2DController horizontally lets you control the center frequency of this
band within the spectrum. Note that the positions of the filter frequencies
are displayed in the display window under the 2DController.
tempo
Numerical Value Field under the Presets.

Shuffling
This plug-in lets you create an unusual resonance or reverberation, fill an audio space
with overlapping fragments of a sound, turn a single voice into a crowd ...
How does it work?
The processing proposed here is based on a traditional practice of musique concrète,

which consisted of cutting up fragments of magnetic tape and sticking them back
together in a different order, so as to introduce local disruptions into the signal, while
preserving its global continuity.
Shuffling randomly samples fragments of variable dimensions in the last three seconds
of the sound processed. It is possible to modulate the density of restitution of the
fragments and their pitch. Depending on the size and density chosen, Shuffling enables
a wide range of sound transformations : from the most conventional (chorus, flanger,
harmonizer) to the most unexpected.

A quick tutorial
and insert plug-ins. For this tutorial, use a solo voice or melody.
When you hear the sound, gradually move the delay slider towards the right.
You'll hear the fragmentation begin.
Modify the size of the fragments with the fragment slider.
Move the feedback slider to the right. You'll hear a reverb effect.
Play with the pitch controls and density slider.
Reference
gain
mix
both channels.
fragment
Sets the duration of the fragments from one millisecond to about 3 seconds.
envelope
Controls the attacks and releases of the fragments from sharp to gradual.
delay
Sets the longest possible delay time. In other words, each fragment will
randomly occur at a delay that is less than this number of milliseconds. If
you want the fragments to occur further apart, move this slider towards
the right. If you want the fragments to be more mixed together, move this
slider towards the left.
initial pitch
Determines the transposition at the beginning of each fragment. To get the
classical harmonizer effect, hold [Shift] down and move the initial pitch

potentiometer. The final pitch potentiometer will move simultaneously.
final pitch
Determines the transposition at the end of each fragment. To get the
classical harmonizer effect, hold [Shift] down and move the final pitch
potentiometer. The initial pitch potentiometer will move simultaneously.
random pitch
Lets you randomize the transposition of each fragment.
feedback
Specifies the percentage of the output signal which will be fed back into
the input. This produces a reverb effect.
density
Lets you determine the number of fragments that will be heard. At 0%, no
fragment will be heard. At 100%, the maximum number of fragments will be
heard. If sidechain input is used, silence is replaced by this input.
mono/stereo
Sets the distribution of the fragments to the outputs, from monophonic at
0%, which means the same signal is directed to both tracks, to stereo at
100%, which means that different fragments are directed to different tracks.
2D Controller
Moving the 2DController vertically lets you control the size of the fragments.
Moving the 2DController horizontally lets you control the delay slider, which
determines the extent to which the fragments occur separately or
overlapped.
tempo
Numerical Value Field under the Presets

Credits
Design, development
Emmanuel Favreau
Original version
Hugues Vinet
Interface design
Emmanuel Favreau, Suzy Vincens, NO PUB
Documentation
Emmanuel Favreau, Joël Chadabe
Translation
Peter Thomas, Joël Chadabe
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Buy GRM Tools Classic

Authorize GRM Tools Classic

To authorize GRM Tools Classic, you will need:

To generate immediate validation of GRM Tools, click the following links:

﻿GRM Tools Classic

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To jump to a new value, click along the path of the handle.

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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.

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

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All the processing parameters can be controlled by MIDI messages.

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

• Unbind : cancels the Midi binding of the parameter displayed

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The channel allocations follow the standard configurations of each system:

Configuration RTAS Audio Units VST

RTAS (SDDS) Audio Unit VST

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The following descriptions only concern the stand-alone versions.

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To select a sound input:

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

To record a sound file:

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

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How does it work?

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Additional controls for the stereo version :

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How does it work?

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Here's a potentially dangerous effect: Create a self-sustaining resonance

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How does it work?

Click on preset 2. Start the playback.

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How does it work?

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Click on preset 1. Start the playback.

Move it in either direction to a higher number, for example to 27 hz, to

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Additional controls for the stereo version :

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How does it work?

GRM Tools Classic