Clocked Stretch unit

I’ve finally got round to trying this unit out and have a couple of questions:

  1. The clock sent into the unit should be a clock/trigger that has the same period as 1 bar?
  2. Any tips on how & when to use different grain lengths?

I’m getting quite a lot of artifacts currently so interested in other people’s experiences with this unit.

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The sample (or slice) is stretched so that it lasts one clock period. Is there something else that makes more sense?

There isn’t much you can say here except that sounds with a lot of low frequency content might benefit from longer grain durations.

Time stretching audio with a sequence of overlapping grains means you have an “artifact” every grain by definition. So, any chance I can get an audio example or some more detail? :wink:

btw keep in mind you have clock div\mult settings on the clock input built in, without the need to put a tap tempo after your clock signal! that comes very handy!

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So in other words regardless of the length of the sample the unit will stretch/squeeze the sample between two trigger events I.e. one clock period.

So if I have a 2 bar loop that I want to play at 120 BPM & I have a clock signal running at 1/4 notes @ 120bpm then I need to set the clock division in the unit to 8 (4 quarter notes X 2 bars)?

I’ll try and put an audio example later.

Last question - what’s the purpose of the Jitter parameter?

That is exactly right on both counts.

With jitter set to zero, grains are generated at a regular rate which depends on grain duration. Turning up the jitter will delay each grain by a random amount which is proportional to the period between grains. The purpose is to smooth out the metallic character caused by the strong periodicity in the grain production.


Thanks Brian, I’ve had a proper play with the unit last night and I’m much more comfortable with it now I understand what the clock & jitter represents. I’m finding that you have to experiment with the grain duration for each sample & this depends on the content I.e. loading a new sample & leaving the previous settings won’t give you the best parameters, I’m also finding even as much as 0.05 for jitter helps too.
I suppose I’ve been spoilt by Abletons ‘complex’ warping algorithm :blush:

I totally guessed that! :laughing:

This is exactly right.


is the main difference between the Clocked Stretch and Clocked Player; in clocked stretch, when the tempo changes it won’t effect the pitch ?

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That is correct. Clocked Player is literally the Variable Speed Player with the speed control replaced by a clock input. The Clocked Stretch is the Grain Stretch with the speed control replaced by a clock input.


Running a clock into the Clocked Stretch “Clock” and the display alternates between showing 2Hz and 2.0Hz with a steady clock entering it. I can understand it bouncing between 2Hz and 2.1 when I’m running up the clock frequency, but don’t get 2.0. If it’s no big deal, no need to address this.

Also when in this unit there is no way to set the clock back to 0Hz. I pulled the patch cable from the clock feeding the unit and it continues to run at the last frequency interpreted? I cannot tell you a valid reason to take it back to zero, I simply thought it would automatically return there or be able to be reset.

reading this thread I just got an idea, I’m wondering if there would be a way to split the frequencies (maybe with a 3 band container?) and use 3 band eq to send low frequencies to elongate the duration parameter… this would result (possibly) in a more natural sounding stretch? or at least weird results and who the hell doesn’t love weird results?