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Undulae Music Spirals Max for Live [Max for Live]

P2P | 19 December 2025 | 36 KB
!!!加载时长提示:由于本插件的数字信号处理程序基于 gen~ 编写,在项目中加载插件实例时,必须对所有代码进行编译。该插件采用超过 160 个全通滤波器,以精准模拟实体弹簧混响的张力质感,因此加载实例所需时间会比其他插件多出数秒。在我的设备 —— 最低配版 M1 芯片 MacBook Pro 上,加载过程约耗时 15 秒。此外,本插件对电脑处理器的占用率并不低。少量加载几个实例不会导致项目卡顿,但如果打算在工程的每条音轨上都使用,还请三思而后行!
螺旋弹簧混响是一款基于 Max for Live 开发的插件,它融合了相位弥散、延迟与扩散技术,打造出一款灵感源自经典弹簧混响独特音色的效果器。
该插件没有采用卷积混响技术,而是通过分析真实弹簧混响脉冲响应的频谱图,还原弹簧的物理特性,并利用现有数字信号处理工具,尽可能贴近真实弹簧混响的听感;同时,它还提供了传统模拟弹簧混响通常不具备的多种可调参数。

工作原理

输入的音频信号首先经过一个高通滤波器(由 “输入高通” 旋钮控制),滤除部分低频信号,随后被送入两个独立的并行处理链路:一条仅处理高频信号,另一条则只负责中低频信号。每条信号链路中都配有一个相位弥散器,该弥散器由 80 个串联的可调谐全通滤波器构成,通过在全频段范围内对相位进行弥散处理,营造出弹簧混响标志性的 “啁啾声”。这一原理与大家熟知并喜爱的 Kilohearts 公司的 “相位弥散器” 效果器十分相似。相位弥散器的输出信号会依次经过延迟模块、由梳状滤波器和全通滤波器构成的简易扩散器,随后再反馈回相位弥散器,形成一个反馈回路。
两条处理链路的信号经过轻度饱和处理后,会被混合在一起,并按照 “干湿比” 旋钮设定的比例,与原始干声信号进行混合输出。

参数功能

  • 低频延迟时间旋钮:用于调节低频延迟线路的延迟时长
  • 高频延迟时间旋钮:用于调节高频延迟线路的延迟时长
  • 时间缩放旋钮:可同时对高低频延迟时长进行比例缩放
  • 音色特性旋钮:用于调整相位弥散器的调谐参数,从而将混响的整体质感在 “暗沉松散” 与 “明亮紧凑” 之间切换
  • 衰减时间旋钮:用于调节两条延迟线路的反馈量,参数值越高,混响尾音越长
兼容性测试:该插件在 Live 10、11 及 12 版本中均可正常运行。
!!! LOAD TIME WARNING: Because the DSP for this device is written in gen~, it must compile all the code upon loading an instance in your project. This device uses over 160 allpass filters to properly emulate the tension of a physical spring, so loading up an instance may take a few seconds longer than other devices. On my computer, which is the lowest-end model of the M1 Macbook Pro, this takes about 15 seconds. This device is also not exactly light on the CPU. A few instances shouldn’t cause your project to buckle, but think twice before using it on every single track in your project!

Spirals is a Max for Live device that uses a combination of phase dispersion, delay, and diffusion to make an effect that’s inspired by the distinct sound of classic spring reverbs.

Instead of using convolution, I opted to recreate the physical characteristics of a spring by looking at spectrograms of actual spring impulse responses, and using the DSP tools I had available to try to get as close to those as possible, while still offering a range of tweakability that simulated spring reverbs normally do not.

Here’s how it works. An incoming sound is fed through an initial high pass filter (controlled by the Input HP knob) to cut out some of the low frequencies, and then that signal is sent into two separate parallel processors. One processes only the high frequencies, and the other processes only the mids and low frequencies. Each of these signal paths has a phase disperser which uses 80 tuned allpass filters in series to smear the phase across the frequency spectrum to create the distinct “chirp” sound. This is very similar to the kilohearts “disperser” effect that we all know and love. The output of that is run through a delay, a simple diffuser made of comb filters and allpass filters, and then fed back into the phase disperser to create a feedback loop.

Each chain then runs through some gentle saturation, and then they are combined to be mixed back in with the dry signal at the level set by the Dry/Wet knob.

The LF Time knob lets you change the delay time of the low frequency delay line. The HF Time knob lets you do the same for the high delay line. The Timescale knob lets you scale both of these at the same time.

The Character knob lets you adjust the tuning of the phase dispersers, which changes the overall vibe of the spring from dark and loose, to bright and tight. The Decay knob lets you adjust the feedback amount of both delay lines. Higher decay settings result in longer reverb tails.

Tested and works in Live 10, 11 and 12.

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