Unfortunately, this new format but granular synthesis is a primary
is unlikely to be ready when Max technique. Modern digital signal pro-
5 is first released. If your life
revolves around plug-in devel-
opment, youll probably want to
wait to upgrade until we change
our plug-in support to work with
the new core environment. Sup-
port for non-Pluggo VST plug-ins
has improved in Max 5 (Ibid).
Max 5 is available for download
and purchase from Cycling 74s Web
site and its worldwide distributors.
Max/MSP 5 is listed for US$ 495,
the Max/MSP/Jitter bundle is US$
699, and the Max 5 Upgrade is US$
199. Discounts for students and
educational institutions are avail-
able. Cycling 74 has discontinued
the option of Max/MSP without
Jitter for academic and student ver-
sions. If you purchased Max/MSP or
Max/MSP/Jitter after 1 October 2007,
you are eligible for a free upgrade.
Crusher-X Live! Granular
Synthesis Software
Crusher-X Live! Version 3.5.1, 139;
Buro,
Waltherstrasse 28 Rg.,
D-80337 Munich, Germany;
telephone (+49) 89-2371-6605;
fax (+49) 89-2371-6610; elec-
tronic mail email@stelkens.de;
Web www.crusher-x.de/ or
www.stelkens.de/.
Reviewed by Andrew Fletcher
Newcastle upon Tyne, UK
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 previ-
ously explored by the likes of Edgard
Varese
` and subsequently, Gyorgy
Ligeti et al. as a means of furthering
modernisms abstractions. Methods
for generating these textures vary,
about Crusher-X is its interface (see
cessing engines, pioneered by the likes
of Curtis Roads (former CMJ editor),
gave rise to such programs as Granu-
lab and the granular tools in Csound
familiar names to those who dabble
in generating sound cloudsand this
is where Crusher-X comes in.
The program, conceived by Dr.
Jorg
Stelkens in late 1998, is centered
on a modified granular synthesis algo-
rithm, rebranded Vapor Synthesis. vapor controls are represented in
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 real-
time input/output (I/O). This is aug-
mented by a choice array of supple-
mentary features including: four sam-
plers, four digitally controlled oscilla-
tors (DCOs), three effects, live input,
feedbacker, limiter, and various rout-
ing options. Although not particularly
amazing in comparison to many of
todays softsynths and DSP toys (I
say toy not to belittle, but to pos-
itively 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 pre-
sented, 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 Stu-
dio! 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 con-
cerned with the experience of using
the program rather than its technical
details because, although not cutting
edge, it is unique in its field.
Products
The first thing to strike the user
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 com-
ponent has its own discrete panel.
Some of these correspond to a graphic
representation of whats going on,
displaying real-time renderings of
the output. For example, the granular
the Cloud 3D window (not shown) by
an XYZ graph showing each grains
relative length, density, envelope,
delay, and certain other qualities. It
looks pretty, but moreover, it helps
the user understand what each param-
eter is doing to the sound. Although
many CMJ readers may already have
a thorough understanding of gran-
ular synthesis, this feature extends
Crusher-Xs potential as an educa-
tional tool. Another useful window
is DSP Structure, which depicts the
programs 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 su-
perfluous 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 mas-
ter, the results here can be extremely
pleasing. It is easy to lose the integrity
of the original sample and enter a
91
Figure 1. Main user interface for Figure 2. DSP Structure window for
Crusher-X Live! granular synthesis Crusher-X Live! granular synthesis
software. software.

Figure 1

Figure 2

bizarre sonic wilderness, but multiple
undos (that can be scrolled through
MIDI control, a nice touch) make
this a relatively safe process. Rhythm
samples yielded good results, proving
reliable for ambient environments
or sound effects. The DCOs allow
for more conventional synthesized
sounds, working well with the
limited, but excellent effects, a
setup that provided some immersive
backings to my live input vapor
experiments.
Although a well-rounded pack-
age, the Vapor Synthesis engine is

92 Computer Music Journal

clearly the jewel in the Crusher-X
crown. Traditional granular synthesis
generates grains in a fixed file buffer,
allowing only certain parameters to
be manipulated. Crusher-Xs floating
buffer permits far more grain-level
tinkering, including pitch, filter, and
pan effects. As such, the level of
control is increased, although with
power comes responsibility, and a
delicate touch is required to put
these functions to truly great effect.
There are also ten direct generator
outputs, which can be fed to the
outputs of appropriate hardware for
surround capability. Given the soft-
wares forte for generating immersive
sonic environments, this is a use-
ful function. Dr. Stelkens certainly
knows the type of users Crusher-X
will attract, referring affectionately
to them as friends of strange sound
(on the buro
Stelkens users forum
at www.kvraudio.com).
It is sometimes hard to tell to what
extent the softwares architecture
leads the user, or to what extent it
encourages the user to explore. The
subjective experience can therefore be
alienating or liberating, depending on
ones methodology. Either way, The
Crusher is not a subtle device. The
boundaries between synthesis and
effects are blurred and each controller
can have unexpected consequences.
As such, the program is easy to pick
up, but difficult to master. I used
it primarily as a sound effects and
soundscape generator, which were
easily rendered as .WAV files. By com-
parison, the Studio! versions VST in-
tegration allows for a more composi-
tional approach through integration
with other digital audio workstation
tools (sequencing, recording,
etc.).
The other draw of the software
for me is the live input, which is
both attention-grabbing and fun.
For improvisation, particularly
within electroacoustic realms, The
Crusher really cannot be imitated.
On this topic, however, it shares
a downside with GRM Tools, in
that its signature is immediately
recognizable; so for those who dont
like their productions to betray their
means, this may become a gripe.
Usefully, though, it is possible to
set a morph timeanything up to an
hourthat applies to all parameters.
This can smooth off some of the more
raucous control changes, allowing
for subtler segues and minimizing
that complaint. It is also handy for
enabling constant modulation within
more ambient soundscapes.
Crusher-X is certainly more than
just a grain generator framed by some
clever effects and routing options.
Equally, it is not that type of software
in which you can alter Every. Single.
Parameter, to theoretically create any
sound you want. It is less open
than Csound and more complex than
Granulab, comfortably occupying its
own niche within the DSP world.
I suspect this is why Dr. Stelkens
places such heavy emphasis on this
statement: It is more than sound, it is
more than music, it is The Crusher!
(www.crusher-x.de/i cxl e.htm). To
read it, his statement comes across
as braggadocio, but in fact, Crusher-
X seems to be one of those rare
programs that doesnt really resemble
Products
anything else on the market and so is
cherished by its fans, yet overlooked
by mainstream synthesis enthusiasts.
This peerlessness makes comparative
criticism difficult. As such, most of
the gripes mentioned here are only
potentials, depending on the users
approach. The Help file that comes
with the software leaves something
to be desired, but the forum at
KVR seems cheerily active, with Dr.
Stelkens usually on hand to clear up
any technical issues.
Overall, The Crusher is a lovely
program, particularly for experimen-
talists. Its also a great educational
tool for those teaching synthesis.
The concepts and mechanics of gran-
ular synthesis are showcasedand
visualizedto beautiful effect. I
wasnt able to experience the force
feedback MIDI feature, but this,
combined with the live input, also
secures The Crushers place as a use-
ful improvisational gizmo. Although
not entirely appropriate for those
requiring detailed tonal precision, it
will mangle their sounds into always
interesting, sometimes beautiful, and
often unpredictable results. I cannot
see a wide array of musical applica-
tions for this software, but its ability
to quickly generate some seriously
alien environments will definitely
appeal. The price tag is reasonable
and the demo version (available for
download on the Crusher-X Web site)
has a generous amount of function-
ality. Careful manipulation can yield
some truly excellent noises and for
this reason, The Crusher sits comfort-
ably within any experimental sound
designers arsenal.
93