Recording - June 2017 - 22

Plug-In Outlet

version in your DAW. Each section has its
own Gain and Solo control, and there is
also a Master Gain and Mix setting for
the plug-in as a whole. Fission gets you
started with some great presets; these
can be selected by source, as well as by
artists and engineers who've donated
programs-Joe Chiccarelli, Chris Carter,
Suzanne Ciani, and many others.

In use

Eventide Structural Effects Fission
By Paul Vnuk Jr.

Eventide's products have always
been cutting-edge, on the edge, and
highly useful... but very often, just
slightly off-center. Consider how the
company embodied all of the above
when Tony Visconti, Brian Eno, and David
Bowie put the earliest pitch-shifting delay
units to work in the mid-1970s.
This trend continues today with a brand
new plug-in platform known as Structural
Effects. This is a process which breaks
down sounds into various component
parts, processes them individually, and
then mixes them back together. The first
plug-in in this series is Fission, which was
launched at the 2017 NAMM Show.
Fission takes and separates a sound's
transients from its tone, applies different
processing and effects to each, and
then you decide how to blend them
back together. It sounds simple, and in
use it is-the program does the heavy
mathematical lifting so we can have instant
sound design fun, as well as some
advanced problem-solving capabilities.

A look around

The program operates in a singlewindow environment. In the center of
22

RECORDING June 2017

the user interface is the Structural Split
section, complete with a waveform display
that updates as each component part
is manipulated. The Transient section is
on top in blue while the Tonal is on the
bottom in green. You can control the
levels of smoothing between the sounds
and how long the transient decay is.
Then use the Focus slider and blend to taste.
There is a source type menu and slider
to help select the best starting point and
how your audio will be processed, such
as guitar, voice, drum set, and so on. The
fun begins when you start to tinker with
each component.
In each section (Transient and Tonal)
you can select between processing and
effects for each. On the Transient side
there's Delay, Tap Delay, Dynamics, Phaser,
Reverb, and Gate + EQ. On the Tone side
you get Delay, Compressor, Pitch, Chorus,
Reverb, Tremolo and EQ. These effects
all exhibit Eventide's signature quality. Of
special note, the reverbs are quite nice
for what is essentially a multieffects plug-in,
to which the company is no stranger.
As a process is selected, each window
self-adjusts its parameter dial choice.
You can tweak each, just as you would
adjust each process were it a standalone

Fission can be as simple or as deep
as you need it to be. Overall I would
say it excels in two areas. One is as an
advanced transient shaper/controller
for helping smooth jagged guitar playing,
errant stick hits, and spiked vocals. You
could also use it to add pick, strike,
pluck, and edge to dull sounds that
need life. Most of this is done best with
a combination of the initial smoothing
and decay controls and then judicious
use of dynamics and EQ after Fission.
The fun begins when you abandon
reality and move into sound design
territory. Here, Fission is a monster.
You can create delayed pick hits with
phased undertones, reverbed plucks
with dry-pitched tonal drones, slow
bowed-sounding piano notes with tremolo
wobble... and the list goes on and on.
Eventide offers some well-done videos
on its website that will get you understanding Fission in no time.
I can't really find any negatives with
Fission, because there is little to compare it to on the market. I will say that
if you are after real-world vintage effects
more seated in reality, Fission may not
be your go-to plug-in. It gets very artificial, mangled, and modern; you can
hear a structural synthesis tonality when
it's pushed hard.
If that sounds like your cup of fizz,
and you are ready to take the blue pill
and jump into the Matrix, then this could
easily be your new effects freakout toy! I
know I will get lots of use out of Fission
in my world.
Format: VST, AU, AAX Native for
Windows 7+ and macOS 10.7+
Licensing/Copy Protection: two
activations, either on disk or iLok2 USB key
Price: $179
More from: Eventide,
www.eventideaudio.com


http://www.eventideaudio.com

Table of Contents for the Digital Edition of Recording - June 2017

Contents
Recording - June 2017 - Intro
Recording - June 2017 - Cover1
Recording - June 2017 - Cover2
Recording - June 2017 - 1
Recording - June 2017 - 2
Recording - June 2017 - 3
Recording - June 2017 - 4
Recording - June 2017 - 5
Recording - June 2017 - Contents
Recording - June 2017 - 7
Recording - June 2017 - 8
Recording - June 2017 - 9
Recording - June 2017 - 10
Recording - June 2017 - 11
Recording - June 2017 - 12
Recording - June 2017 - 13
Recording - June 2017 - 14
Recording - June 2017 - 15
Recording - June 2017 - 16
Recording - June 2017 - 17
Recording - June 2017 - 18
Recording - June 2017 - 19
Recording - June 2017 - 20
Recording - June 2017 - 21
Recording - June 2017 - 22
Recording - June 2017 - 23
Recording - June 2017 - 24
Recording - June 2017 - 25
Recording - June 2017 - 26
Recording - June 2017 - 27
Recording - June 2017 - 28
Recording - June 2017 - 29
Recording - June 2017 - 30
Recording - June 2017 - 31
Recording - June 2017 - 32
Recording - June 2017 - 33
Recording - June 2017 - 34
Recording - June 2017 - 35
Recording - June 2017 - 36
Recording - June 2017 - 37
Recording - June 2017 - 38
Recording - June 2017 - 39
Recording - June 2017 - 40
Recording - June 2017 - 41
Recording - June 2017 - 42
Recording - June 2017 - 43
Recording - June 2017 - 44
Recording - June 2017 - 45
Recording - June 2017 - 46
Recording - June 2017 - 47
Recording - June 2017 - 48
Recording - June 2017 - 49
Recording - June 2017 - 50
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Recording - June 2017 - 52
Recording - June 2017 - 53
Recording - June 2017 - 54
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Recording - June 2017 - 71
Recording - June 2017 - 72
Recording - June 2017 - Cover3
Recording - June 2017 - Cover4
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