Robin Vincent

There’s more than one way to comp the perfect take in Studio Pro... Comping is probably the reason why God created the DAW. She was so fed up with all that tedious tape splicing just to nail a vocal within the allotted studio time that the great creation refineries were stoked up and put to work crafting the binaries to enable digital audio editing. In these enlightened times, comping is so embedded in the modern workflow that it’s hard to believe anyone could get frustrated with it.

The first time you play with the Oscillating Temporal Tessellation Repeater (OTTeR), it feels comfortingly intuitive. It has eight sliders that you can quickly flick into a sequence, a clock input, and a CV output. Set it running and you’ve got a range of voltages that you can use for modulation, or if you have a quantiser to hand, turn them into notes. It’s simple, easy, and the LEDs are a nicely subversive shade of green. However, there’s something odd going on.

When game developers turn their hand to making studio effects, the results are bound to be highly playable! The transparentSea multi‑effects unit is the first hardware device from Dresden‑based developers ginTronic.