Convex is a multi-effects processor that can be used to process any audio signal, including real time audio or hardware synths or guitars. It has dual multimode filters, dual delay and dual pitch shifters and generates dynamic variations by morphing between these two instances of each effects. However, the real creative power of convex is with the extensive modulations options which is typically seen in Glitchmachines VSTs. There are 4 LFOs and 2 envelope followers which can modify various parameters and this modulation is extended beyond LFOs / envelopes because they can have their output inverted or combined using mixers and multipliers.
What this means is that the effect is capable of anything from simple dub-type delays to extensive glitch sequences. What I really love about Convex is the power / flexibilty and the ability to surprise. When you think you know what sort of a sound you are going to get, you often find unexpected results.
The UI has the clean, modern look we typically see from Glitchmachines. It’s split into three sections with the effects located in the upper section;
modulation, mixers and inverters in the middle section;
midi, menus and preset options in the lower section;
There are also 3 colour coding options used to indicate different processes which are green for audio processing, yellow for modulation and fuchsia for modulation depth.
The two multimode filters have crossfade-style morphing with the option to modulate cut-off and the morph parameters. The two pitchshifters also have crossfading with the option to modulate the pitch and crossfade. The two delays also have crossfade-style morphing with the option to modulate the delay time and crossfade. The delay can be set to tempo-sync, otherwise it can be set in ms upto a maximum of 1000ms. There is also an option to place the delay before the filter input otherwise it will be processed after the pitch module output.
Each of the 4 LFOs has a wave menu to choose the waveform and a rate which can be set in hertz or beat divisions using the sync option. The rate value can also be modulated. The 2 envelope followers have sensitivity (gain), attack and release controls.
The multipliers allow you to combine 2 modulators and use the resulting signal to modulate another parameter. This is useful for generating evolving modulation depth curves.
The modulation mixers can be used in one of two ways, either to get the mean of two signals or to morph between two modulators using a mix control which itself can be modulated.
The inverters do exactly what you’d expect and invert a parameter which can then be assigned as a modulator.
The output module controls the amplitude and mix of the output using a dry/wet control which itself can be modulated.
There are also midi learn options, a randomise option and the usual preset options of load and save.
To start with, the presets are excellent and have a great range of effects which vary according to what type of sound you apply them to. To give you an idea of some of the possibilities of Convex, I’ve created a demo track using a simple drum loop in Izotope Breaktweaker as an example. The track starts as a clean drum loop then cycles through 9 different presets. The results range from a simple flanging/phasing effect to more extreme glitches.
I’ve then created a track using Convex on a keys/strings sound with 3 presets and also 3 that I’ve created.
Once I’d used a few of the presets, I started to make some of my own by creating a simple delay effect with 2 different delay / feedback times and different filter settings. The morph settings on the filters and delays create a nice variation in sound but so far it’s not very exciting. Once we introduce some modulation, things start to get really interesting. I used two different LFOs to modulate the cutoff parameters of the filters. I then used an inverted envelope to modulate one delay time and the multiplier with 2 instances of a second envelope to modulate the other. I then used each mixer to mix 2 LFOs together, feed the outputs to the multiplier then use the multiplier output to modulate the pitch setting. I’ve then used the other multiplier to modulate the pitch of the second pitchshifter. I’ve then used LFOs to modulate the morph and mix of the pitchshifter and envelopes and a multiplier to modulate the morph and mix of the delays.
Once created I’ve taken this preset and adjusted a few parameters and modulation options to create a percussion decimater preset aimed for use on percussive one-shot type sounds but it can give some interesting effects when used on other types of sounds.
I also created presets which have a pitch decimater and fluttery squelch type of sound and one which used the randomise option which created a shimmery subtle pitch shifter effect.
The demo track embedded at the start of the post was created in Sensomusic Usine Hollyhock II using 3 instances of Convex. The first one processed sound from the U-Drone add-on, the second from the groove steps tool and the third with a random midi sampler fed to Izotope DDLY dynamic delay. It has the feel of a monday morning when all you want is another 5 minutes but your alarm clock sounds like a thousand going off at once.
Convex is available from Glitchmachines priced $29.
You can also download my presets here. There are 7 evolutions of the first one described in detail above which start as AL_dubdelay and get progressively longer names with each evolution. There are also 3 versions of the flutter squelch preset. You will need to load them into the Glitchmachines\Presets\Convex folder where you installed the software.