It is equipped with various features and modules that provide users with the power to unravel their creativity. It includes 80 sampled Indian instruments with high-quality MIDI loops which will improve users skills and enhance their workflow.
It supports MPE which enables and allows multidimensional controllers to control multiple parameters. You can also download Audio Assault — Plugins Bundle.
This, of course, is the joy of interactive media — as you read about the subject, you can also hear it come to life. And with any music, hearing is understanding. I love the way the bols are presented in both voice and tabla form so you can immediately hear the correspondence between the two. The section where the tabla are presented alongside beautifully animated clickable explanations of the different strikes is simply stunning.
There's a level of detail here that I haven't seen in any other interactive explanation of Indian music. The Practice section of Swarshala sets up a virtual Indian group for you. You're presented with three different panes, one for the Rhythmic element, one for Melodic and one for Tanpura the drone element. Each pane has controls specific to its purpose: the Rhythmic pane lets you select cycle type, the Melodic part lets you select instrument and composition and the Tanpura part lets you select string order and style.
At the bottom of the panes is the part definition section which holds global elements like scale, duration of the whole piece and initial tempo.
The best part of this section is the option to increase tempo every n cycles by a chosen percentage. This brings the practice session to life, mimicking the tempo increases in live classical music that build to the climax of a piece. It's possible to define three different Parts — which, confusingly, actually means three different types of practice, each with their own settings.
Swarshala's Compose pane allows you to construct your own compositions by piecing together MIDI loops. These can be examined more closely in the piano-roll view. I did notice a few quirks in the Practice section. Firstly, anytime you change a parameter, the whole lot comes to a sudden halt. Say you're tinkering with a session, its tempo is building nicely, and you think 'How would this sound with a santoor instead of a harmonium? Not only that but you have to re-select composition, which is a pain in the bum if you forgot what you'd left it set on.
Similarly, any changes you make in the volume of a pane aren't heard in real time: you have to stop the whole lot and start again. This limits the real-time tweakability. Another puzzler is the drop-down selector for Raag in the Melodic pane. Firstly, it should really be labelled Raga to be consistent with the rest of Swarshala yes, I know that it means Raga but it adds confusion for novices.
Secondly, when I first tried it, it didn't appear to do anything — the only raga choice was 'All'. Fortunately, I checked the FAQ in the manual and discovered that you can load any raga you wish within the Compose section and then it becomes available in the Practice section.
Hey presto! Yaman, Asavari are all there to play with in the Practice pane. This loading methodology also applies to the instrument selection in the Rhythmic pane. The default is tabla but you can load in dholak, manjeera and other suitable instruments in the Compose section, whereupon then that instrument is available in the Practice section.
I found this to be a bit confusing. I'd much rather all the instruments and ragas were available in the Practice section on startup. Indeed, you can kludge this yourself by entering their names into the auto-load section of the Preferences, but it's a bit of a laborious workaround. At the very least, you should be able to load instruments in the Practice section without having to switch to the Compose section. The Compose section is a simple pattern arranger; there are no facilities here for you to hit Record and then twiddle in your own majesty.
Instead, you create a new composition, create specific tracks for different instruments and then add what Swar call 'components' to these tracks by using the component selector on the left whilst in Track view mode.
Using tabla as an example, you'd create a tabla track in a new composition and then drag and drop tabla components from the left. By right-clicking, you can resize these phrases — in effect, time-stretching or compressing them — or repeat them. If you double-click a component, this opens it up in the Sequence view window.
Here, you can see exactly what parts the phrase is made of and then change them by dragging and dropping a new hit or note name. In this way you can muck around at root level with the preset elements, changing hits or creating your own bizarre cycles for the melodic instruments.
Before you add a particular component, you can double-click on it, which also opens it up in the Sequence window. Since the different elements are meant to be played at different tempos, this can be handy to make sure you're not adding a cycle that was originally meant to be played at 60bpm to your gabba masterpiece.
Or maybe this is exactly what you want? A quirk of the Compose section is that each track is divided up into cells, and if you drop a new component onto a cell it won't automatically expand beyond its boundaries. Hence, a seven-beat element will play within a four-beat cell unless you right-click it and expand it to its proper length. I would prefer it if the dropped parts automatically assumed their natural lengths.
Swarshala's Learn pane, also available as the stand-alone Swar Tutorial, is a beautifully designed interactive tool for learning about Indian music. The final view mode is Piano Roll, which lets you view the particular component alongside the typical keyboard graphic. Bear in mind that this is a view only, and you can't start dragging notes up and down or try to change the timing of notes side-to-side.
I wish you could — perhaps I've been spoilt by years of fully editable piano-roll displays Once you've arranged your composition, Swarshala lets you save it in its own proprietary format or export it in either Wave or MIDI file formats. Unknown 29 October at Unknown 6 December at Toxic Biohazard features a hybrid synthesis engine, combining the best of FM and Subtractive synthesis.
With the addition of a warm, analog-modelled filter and set of built-in effects, the Toxic concept remains one of convenience, simplicity, and superb sound quality. Toxic Biohazard includes following enhancements Optimized engine.
Improved the sound quality, with even more accurate waveshapes, and quicker rendering times. Further, physical envelopes are rendered real-time without any interpolation, avoiding noise artifacts and allowing Toxic Bio to deliver fast, accurate envelope times. Pack of new effects: phaser, reverb, We are happy to inform you we have just released a new SwarPlug update that has the following main enhancements:.
Not only the sound quality, but also the layout of its different playing styles, so that loops created for an instrument will work on similar instruments. The clearest example is for Tanpuras, where all 10 available tanpuras have now their strings mapped exactly in the same way, which makes it very simple to drag a loop and audition it with different instruments to select the one we prefer.
Another example is for Sitar, Sarod, Surbahar that are now mapped similarly and can therefore share the same loops. Of course, we don't want to mess up your existing projects, so the tracks created earlier should still load their original preset.
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