Kuules suite
Rain
jungle rain is not field rain is not a monsoon
jungle rain is not field rain is not a monsoon
Real rain, on a spectrogram, is vertical bands that cover the whole spectrum: every drop is a broadband click, and the surface colours it. Kuules Rain makes rain that way — each near drop a physical impact with its size, its speed and its surface's response, the far thousands as the hiss they fuse into, and on water the bubble that pings a few hundredths of a second after the splash.
One knob is the rain. The rate in millimetres an hour sets how many drops, how big they are (heavier rain has more big drops, not just more drops), how loud, how low. The rest is the place. What it lands on, by weight. A canopy overhead that muffles the rain and sheds it again as drip, long after it stops. What is on you — an umbrella, a hood, a tin roof, a tent, a car. The ground wetting, the gutters starting to run.
Water, leaves, grass, litter, stone, metal, wood, canvas — each a response the click excites, not a tone.
Rain intercepted overhead comes down as big slow drops on its own clock, and goes on emptying after the rain has passed.
The ground wets over a minute or two; then the trickles start, and more drops land in water.
The wind is Kuules Wind's own — the air, its gusts, the buffet at your ears — from where you set it, and the rain surges with the gusts you hear. Squalls come in bursts.
Field, forest floor, jungle canopy, a lake, a tin roof, an umbrella in the street, a tent at night, a monsoon, drizzle, a parked car.
A ring round every knob: drag it, and the knob moves — by an LFO, a wandering drift, a follower of the track or of the scene itself, or an envelope. Four movers, a trace of each, and one MOVE knob for all of it. The knob stays where you set it; the ring shows the movement round it.
Spacing gives the scene a spaced pair's width — the low end of the ambience opens up, and every source gets a little more ITD — without moving a single direction (measured: 0.0 degrees at every octave). From 0 (off, the scene untouched) to 150 cm; Character adds the spaced capsules' own comb colour to the ambience only. Drawn from above, capsules and all.
Rig blends a dense sphere of omnis on a rigid ball — the rig you would build with 121 capsules round a baffle, stamped per capsule — into the sharp field: its time structure and shading in every direction and every order, with no comb and no aliasing, and the direction of every source untouched (measured). 0 is off; Ball sets its size (30 cm by default); Sum mixes the two, Morph blends a fraction of the ball's character. Drawn round the head, to scale.
A few early reflections off what is round you — trunks, stones, a wall — more and nearer with Scatter, from their own directions, so a low-Space scene stays out in the world. And a cleaner field: dense from the first millisecond, no metallic ring, no rumble piling up when Room is up.