ItвЂ™s really powerful, and has a wide range of uses from experimental mangling to stretching to more bread and butter stuff. (In practice, the workflow with these effects feels a little like working with multiband processing, but it works differently under the hood and the effects are very different.) I also really like the workflow of setting something up and messing with the fft window type to get surprising results. (In the pre byome effects from UA, itвЂ™s the one that overlaps with byome the least afaik.)ДЇor comparison, it covers bread and butter spectral tasks that overlap with things like Soundhack spectralgate and spectralcompandД«ut it also includes a host of more experimental tools, and effects that can be applied to specific segments of the spectral bins the fft creates. Getting started with FScape from Sciss on Vimeo.Specops is very different, itвЂ™s all about spectral processing. The following 14 minute screencast should allow you to get started with FScape: a sound could be first translated into the Fourier domain before applying other algorithms which you would normally reason about in the time domain, or processes could be repeated over and over again). At the same time, the repertoire is virtually unlimited, as the modules can be combined in ever new ways (e.g. FScape is used by composers worldwide and is also suitable for teaching, as the basic setup is fairly simple and some modules quickly provide rewarding results with minimum prior knowledge. For instance, in my piece В«Inter-Play / Re-SoundВ», parts of the past improvisation вЂ“ which is record continuously вЂ“ are picked out, transformed and re-injected, after only a few seconds of processing, as new material for the ongoing piece.ДЄlthough many modules have close relationships with particular pieces I wrote, they nevertheless form a universal toolkit for any work on concrete sounds. There are many processes, however, which run hundred times faster than real-time, opening intesting applications for the embedding (using an OSC interface) of FScape in real-time improvisation or installations. This allows on the one hand to access the sounds in a non linear fashion, but also facilitates complex calculations which even today would not be possible in real-time speed. 'resource-rich and highly recommended for anyone looking for some wild ways to bend, fold, spindle, and mutilate audio.' (Dave Phillips for Linux Journal)ДЇScape received the 2014 LoMus award of the Association FranГ§aise dвЂ™Informatique Musicale (AFIM).ДЄ peculiarity is the fact that all modules operate in non real-time. The sounds I'm getting out of it so far have been killer. 'It feels like a cross between SoundHack, Syd, and Argeiphontes Lyre. Highly useful within sound design.' (filmcrewpro) 'Can be used to manipulate audio into weird and wonderful sounds. Many of the processes and their ways of parametrisation are unique. From simple utilities such as separating channels, normalising, cutting and splicing sounds, through various DSP and filtering algorithms to more complex algorithmic units which take a sound, analyse it, and rearrange it in new forms. Today FScape consists of around fifty independent modules for rendering audio files. Originally it started as an extension to Tom Erbe's SoundHack, providing 'spectral operators'. It leads like a red thread throughout my musical work, by conceiving sound as a 'clay', a flexible, sculptural mass. The development of FScape began in the year 2000 (happy 14th anniversary!).