BLEASS Spectral Resonator vs Bit Crusher

By converting audio into the spectral domain, BLEASS Spectral Resonator can shift, blur, filter, and restructure the frequency content of any sound before generating resonances. When blended with the source signal, this adds a controllable layer of pitch and timbre. Used fully wet, it produces rich and complex spectral textures. Resonances can be generated from an internal four-voice tone generator or directly from incoming MIDI notes. With up to eight voices of polyphony, glide, pitch bend, and up to 256 harmonics per voice, BLEASS Spectral Resonator can be played from MIDI to create tuned harmonic resonances and evolving spectral textures. Intuitive controls provide detailed manipulation of the resonator behaviour, including unison, detuning, harmonic stretching, density, damping, decay, and harmonic filtering. Harmonics can be restricted to even or odd series, while spectral shifting and blurring further reshape the resulting resonances. A spectral-domain filter lets you select the frequency range used to excite the resonators. The interactive 3D spectrogram visualises resonator activity over time while also providing direct control over the spectral filter. BLEASS Spectral Resonator also includes Freeze and Kill controls for holding or clearing active resonances. Designed to combine deep spectral processing with an accessible interface, it opens new possibilities for harmonic, rhythmic, and dynamic sound design, including inharmonic or atonal material such as drums. BLEASS Spectral Resonator is also available for Desktop. Find more information here: http://www.bleass.com/spectral-resonator

A digital degradation effect that combines two classic forms of lo-fi distortion: bit depth reduction (quantization) and sample rate reduction (decimation). Together they emulate the character of early digital samplers, 8-bit consoles, and vintage hardware with limited converter resolution. The signal is first quantized to a reduced number of bits, introducing the harsh harmonic distortion known as quantization noise. It is then resampled at a lower effective rate using a sample-and-hold stage, producing aliasing artifacts above the new Nyquist frequency.