Exploring the "Giant Reverb" and "Four-Delay" Algorithms in the Soma Labs Cosmos

We continue our survey of "anti-looping" with the Soma Cosmos, looking specifically at the Giant Reverb and Four-Delay algorithms. As with all of the Cosmos' modes, they take the premise of live looping, and throw large amounts of non-repetitiveness and unpredictability into the equation. We also continue examining compression, filtering, and Feedback, along with Drift (which, as used here, automates the panning of individual loops), Drive, and Erase.

The music from this video, along with many other Cosmos recordings, can be downloaded in high fidelity at https://andrelafosse.bandcamp.com/alb...

0:00 Say 'gain?
0:23 Revisiting the Cosmos and its premise
0:40 The four algorithmic categories, and previewing the Four-Delay and Giant Reverb sets
1:32 Feedback, compression, drive, erase, and much let to explore
2:16 Beginning a new performance in the first Four-Delay algorithm
2:25 Automating the loops’ stereo placement with Drift
3:11 Reverse, and the global implications therein
3:37 The first Giant Reverb algorithm, and the blurring of sounds across multiple repetitions
4:37 Public embarrassment as an incentive for remembering parameter limitations
5:20 Textural development through Feedback, lowpass filtering, and compression
6:00 Subsequent overdubs, and the compounded diffusion of layers over time
7:13 Advancing to the second Giant Reverb algorithm, and selective overdubbing
8:18 Returning to the first Giant Reverb
9:37 The third Giant Reverb algorithm (and the specific species nomenclature)
11:06 Return of the smallest giant
11:56 Again with the lower Feedback/compression/highpass thing
12:10 Compressor as magnifying glass, and highpass squashing the lows
13:26 Returning to the Four-Delay realm
14:04 Lowpassing the MBV/Sonic Youth business
14:33 Returning to the Giant Reverbs, and the chopped filtering effect
15:10 Turning off the lowpass filter, and reckoning with its impact
15:40 Return of the revenge of the son of highpass filtering
15:53 Adding light distortion with the Drive control
16:45 No more highpassing
17:10 Moving through different “sizes” of Giant Reverbs, and their textural variations
17:31 Thinner and smaller
17:50 Extreme close-up
18:28 Using the momentary Erase function to “punch holes of silence” into the sound

Deep thanks to the following Patreon supporters for helping to finance this tutorial:

(in alphabetical order)

Randolf Arriola
Richard Atkinson
Steve Ball and Tiny Orchestral Moments
Dan Burke
Steven Clements
Phil Clevenger
Laurence Cramp
Hal Dean
Tony Douglas
Rejyna Douglass-Whitman
Jeff Evans
Christopher Evans
Shawn Farley
Christopher Fedak
Jason Fink
Jens-Christian Fischer
Pepe Flores
Gaetano Fontanazza
Ross Garren
Joel Gilardini
Randy Greene
Anthony Hancock
Phil Heiliger
Louis Hesselt van Dinter
Philipp Hirtler
Bob Holub
Fedor Indutny
Ted Killian
Zak Kramer
Todd Lainhart
Jeff Larson
Rebecca Lee
Ken Luke
Dino Meneghin
Jesse Nason
Michael Peters
Matt Pogue
Matt Rowe
Gene Schwartz
Keith Spicknell
Darin Stewart
Chris Stromquist
Nik Tembe
Nakarin Teerapenun
Bernhard Wagner
Paul Weber
Frank Welte

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