Andrew Souter
Active Member
Thanks for the compliments guys! B2 is one of my favorite children too.
It will get some special attention soon. We like to think of it as a "spatial synthesizer". It can do a lot more than just standard reverb and is staggeringly deep. The next version will have even more options. It's a sound-designer's dream. I like to think of it as something like a modern software-based System 6000, or H8000/H9000 -- not in terms of the exact algorithms, but in terms of the design philosophy of being a true multi-FX workstation powerhouse.
The custom menu stuff we just implemented is in part in prep for this also. i.e. it's built to handle lots of options.
Given it's complexity, it's the perfect type of tool to have preset expansions available for. It's good to seperate the composition/production process from the sound-design process in many cases IMHO. Even I, who made the algorithm(s) and most of the factory presets, don't like to disrupt composition to design new presets from scatch. It's a different mindset. I like to do them on different days personally. It's very useful when facing scoring deadlines etc to have preset libraries, esepcially for something as diverse as this.
B2 is actually kind of funny in how it became very popular for orchestral-scoring/classical/acoustic material also. I did not necessarily have this target in mind initially. It's extreme side was more the goal. But I used it myself for subtle duties on my latest solo piano material:
as well as this ambient electronic album in much more extreme form:
This second one is content entirely from Kaleidoscope fed into B2! KS creates the sound, B2 spatializes it, often in an extreme manner. Bascially nothing else was used besides EQ/compression etc. I guess this shows the extreme range of possibility of B2 pretty well.
It will get some special attention soon. We like to think of it as a "spatial synthesizer". It can do a lot more than just standard reverb and is staggeringly deep. The next version will have even more options. It's a sound-designer's dream. I like to think of it as something like a modern software-based System 6000, or H8000/H9000 -- not in terms of the exact algorithms, but in terms of the design philosophy of being a true multi-FX workstation powerhouse.
The custom menu stuff we just implemented is in part in prep for this also. i.e. it's built to handle lots of options.
Given it's complexity, it's the perfect type of tool to have preset expansions available for. It's good to seperate the composition/production process from the sound-design process in many cases IMHO. Even I, who made the algorithm(s) and most of the factory presets, don't like to disrupt composition to design new presets from scatch. It's a different mindset. I like to do them on different days personally. It's very useful when facing scoring deadlines etc to have preset libraries, esepcially for something as diverse as this.
B2 is actually kind of funny in how it became very popular for orchestral-scoring/classical/acoustic material also. I did not necessarily have this target in mind initially. It's extreme side was more the goal. But I used it myself for subtle duties on my latest solo piano material:
as well as this ambient electronic album in much more extreme form:
This second one is content entirely from Kaleidoscope fed into B2! KS creates the sound, B2 spatializes it, often in an extreme manner. Bascially nothing else was used besides EQ/compression etc. I guess this shows the extreme range of possibility of B2 pretty well.
Last edited: