Crusher-X Live! Granular Synthesis Software (review)

The concept of the “sound mass” or “sound cloud” is widely attributed to the work of Iannis Xenakis during his synthesis experiments in the 1950s. Its underlying theory had been previously explored by the likes of Edgard Varèse and subsequently, György Ligeti et al. as a means of furthering modernism’s abstractions. Methods for generating these textures vary but granular synthesis is a primary technique. Modern digital signal processing engines, pioneered by the likes of Curtis Roads (former CMJ editor), gave rise to such programs as Granulab and the granular tools inCsound— familiar names to those who dabble in generating sound clouds—and this is where Crusher-X comes in.

The program, conceived by Dr. J örg Stelkens in late 1998, is centered on amodified granular synthesis algorithm, rebranded “Vapor Synthesis.” This is not simply re-presentation of an old trick; “The Crusher” (as its creator and fans refer to it) features a “floating sound buffer,” enabling realtime input/output (I/O). This is augmented by a choice array of supplementary features including: four samplers, four digitally controlled oscillators (DCOs), three effects, live input, feedbacker, limiter, and various routing options. Although not particularly amazing in comparison to many of today’s “softsynths” and DSP toys (I say “toy” not to belittle, but to positively acknowledge the exploratory nature of many of these smaller programs), Crusher-X is capable of producing complex sounds through flexible routing and judicious use of resources, all within a beautifully presented, non-CPU-intensive package.

The software comes in two forms: Live!, a standalone version, suited to live processing and rendering audio files; and Studio!, which is effectively a VST instrument. The Live! version also sports VST(i) bridges, allowing for MIDI control, whereas the Studio! version has greater congruity within the VST environment and can synchronize vapor modulations to tempo, albeit at the expense of some inputs. This review will focus on Crusher-X Live!, and is primarily concerned with the experience of using the program rather than its technical details because, although not cutting edge, it is unique in its field.

The first thing to strike the user about Crusher-X is its interface (see Figure 1). The layout has a nice logic, making it both easy to navigate and to learn from. There is a vaguely linear workflow, with inputs on the left and outputs on the right, and each component has its own discrete panel. Some of these correspond to a graphic representation of what’s going on, displaying real-time “renderings” of the output. For example, the granular “vapor” controls are represented in the Cloud 3D window (not shown) by an XYZ graph showing each grain’s relative length, density, envelope, delay, and certain other qualities. It looks pretty, but moreover, it helps the user understand what each parameter is doing to the sound. Although many CMJ readers may already have a thorough understanding of granular synthesis, this feature extends Crusher-X’s potential as an educational tool. Another useful window is DSP Structure, which depicts the program’s DSP backbone, rendered as a scalable, free-floating 3D schematic (see Figure 2). As each fader is moved, its associated section flashes red. Again, this may be considered superfluous by some, but could prove useful as a teaching aid.

So what does it sound like? After routing my own samples through the vapor engine, I was surprised at how “organic” the output sounded. The result was a plausible environment, albeit with an odd rhythmic feel and envelope, somewhat reminiscent of a curious monster in a bathroom. Some minor tweaking of the vapor modulations yielded assorted shrieks, but I was able to gain control of the sound reasonably swiftly. This is not for those seeking precise results, but if you want to direct some audio, while never quite becoming its master, the results here can...