The Envelope section of PoiZone is a lot like the Amplifier section of PoiZone in that it uses an ADSR envelope. What makes the Envelope section unique is that you can choose the type of envelope you want to create. In the Amplifier section, you can only create a volume envelope. Any envelope sets values for events that happen over time. Keep that in mind when you experiment here. You may have to hold down a note for a few seconds (depending on your settings) to actually hear the entire envelope.
The Envelope section gives you ADSR capabilities on 5 envelope options. You can choose from: Cutoff, Frq A, frq AB, PW A and PW B. I'll explain what these are later.
In addition to these 5 selectors and contol over ADSR, you have an amount slider. Amount controls how effective the envelope is. It is at zero when it's in the middle so it can be subtractive or additive. This means when the slider is in the middle, the envelope you create will have no effect whatsoever on the sound. If it's positive it will have an additive effect and if it's negative. Yes- this means you can set the envelope for a reduction of attack value. Cool right?
The other sliders are the same ADSR envelope as the Amplifier section.
1. Cutoff: This allows you to create an envelope for the Filter section.
2. Freq A: This allows you to control the pitch shifting of Oscillator A.
(Try these settings FRQ A, Amount= -93%, A=122ms, D=994ms, S=75%, R=5ms)
3. Freq A&B This allows you to control the pitch shifting of Oscillators A and B.
4. PW A This allows you to create an envelope for the pulse width of Oscillator A
(Try these settings: PW A, Amount= -100% A=200ms, D=2550ms, S=75%, R=942ms)
5. PW A&B This allows you to control the pulse width of Oscillators A and B.
In your next project, use the Envelope section of Poizone. Make sure you explain how you used the envelope section and include your settings in your post. Don't feel that you have to use my settings in your loop. Come up with your own. Remember that much of the envelope section depends on the duration of your sound. If you have created a short sound (no sustain or release) in the Amplifier section then any settings in the Envelope section won't have time to work their magic. Also, if your cutoff frequency in the Filter section is at 100% (don't forget the resonance control either), then the Cutoff Freq control in the Envelope section will behave differently than if your Cutoff Freq was set at 0%. Likewise, a Pulse Width envelope wont work unless you have Pulse mode turned on in the oscillator section (duh). In short, make sure your sections are working together.
Next to the LFO section
You can use a Low Frequency Oscillator further enhance the sound and the envelope you have already created. Here's an analogy: Think of an envelope as ripples in a pond from a rock being thrown in. The ripples travel over the surface of the pond at a fixed rate. That's your envelope- changing over time. An LFO is like throwing another rock in the pond and further altering the rate of the existing ripples.
The LFO can send these "ripples" through the cutoff frequency. Select cutoff, adjust the amount (think intensity) you would like the effect to have and the rate (how fast do those ripples go?) Then you can select the shape of the wave. Choose from Saw, Pulse, Triangle, Sine, or Random wave shapes.
You can also use the LFO to affect the pitch (Freq A & Freq AB) or the Pulse Width ( PW A and PW AB). Panning (left and right headphones) is also handled in the LFO section.
If you're into Dubstep, you'll love the LFO on Cutoff hitting your bass sounds. Vary the rate to get your wobble.
Use the LFO and your Envelope sections for your next project.
Have fun!
Wednesday, March 2, 2011
Tuesday, February 15, 2011
Poizone 2: ADSR
In this lesson on PoiZone we investigate Attack, Decay, Sustain and Release. Commonly known throughout the music tech world as ASDR. Here's a great video on what ASDR is all about. You'll fins ASDR envelopes in most synths including the 3Xosc and the TS404 in Fl studio. Before going on, take a moment to look in the default step sequencer. Click on any instrument (Kick for example) and open the channel settings. Click the ins (instrument properties) tab. Notice the envelope? The settings are Delay, Attack, Hold, Decay, Sustain and Release. Now go to channels add one Envelope controler. See something similar? Howe about Cannels add on Sytrus. Look in Op.1 at any envelops (Pan, Vol, etc.) You'll see ADSR controls for every one. Even FL keys and the Fruity DX 10 have similar envelope controls. If you can master this lesson, you can control these parameters on all synths.
In PoiZone, there is no visual graph for the envelope. Rather, there are sliders to control these parameters. Look in the Amplifier section first. Amp pertains only to the volume of the synth. Other sections that follow will deal with ADSR envelopes for other parameters, but let's start with volume because it's very easy to hear the effects of an ADSR envelope as it pertains to volume.
Attack:What happens when you strike the key.
Decay: What happens after the attack.
Sustain: What happens while you hold the key.
Release: What happens when you release the key.
In a volume envelope, all of these parameters deal with time and volume.
Attack: How quickly does the note reach it's attack volume peak?
Decay: How quickly does the peak of the attack volume fade into it's sustain volume?
Sustain: How loud is it while I hold the key down?
Release: How quickly does the note fade away when I release the key?
Think of different instruments and how their attacks differ. A kick drum has a very quick attack. It come to maximum volume right away. A bowed violin takes a while to get to full volume- slow attack.
In your next project, make a loop that exploits the ADSR volume envelope with PoiZone. Make one with a quick attack and one with a slow attack, but feel free to add any other synths and effects that make you happy.
In PoiZone, there is no visual graph for the envelope. Rather, there are sliders to control these parameters. Look in the Amplifier section first. Amp pertains only to the volume of the synth. Other sections that follow will deal with ADSR envelopes for other parameters, but let's start with volume because it's very easy to hear the effects of an ADSR envelope as it pertains to volume.
Attack:What happens when you strike the key.
Decay: What happens after the attack.
Sustain: What happens while you hold the key.
Release: What happens when you release the key.
In a volume envelope, all of these parameters deal with time and volume.
Attack: How quickly does the note reach it's attack volume peak?
Decay: How quickly does the peak of the attack volume fade into it's sustain volume?
Sustain: How loud is it while I hold the key down?
Release: How quickly does the note fade away when I release the key?
Think of different instruments and how their attacks differ. A kick drum has a very quick attack. It come to maximum volume right away. A bowed violin takes a while to get to full volume- slow attack.
In your next project, make a loop that exploits the ADSR volume envelope with PoiZone. Make one with a quick attack and one with a slow attack, but feel free to add any other synths and effects that make you happy.
Friday, January 28, 2011
Poizone: Oscillators, Filters and Unison Mode
In class I gave a quick rundown of how Poizone's two oscillators worked. If you missed it, or need a review, check out this quick video.
You should be able to:
1. Mix osc A with osc B
2. Change the wave shape of either oscillator.
3. Mix in noise.
4. Change the pitch of osc B
We also discussed the filter section. You should be able to:
1. Switch the filter type from LP, HP and BP modes.
2. Change the resonance of the cutoff frequency in LP and HP, and in BP mode change the band width of the filter.
3. Use keyboard tracking and velocity tracking to change the way the filter effects low/high and soft/loud.
Finally, we discussed unison mode. You should be able to:
1 Create multiple voices (up to 4.
2. Use detune to widen the unison effect
3. Use unison panning to make the synth spread out in the stereo field.
4. Shift all of the even numbered unison voices up an octave.
For a review of Filters and unison mode, check out this video.
Here's mine:
The opening riff is a default PoiZone in pulse wave mode with a 50% 50% mix of Osc A and B. Osc B is tuned down an octave and a little bit of noise is mixed in to rough up the sound a bit.
I'm using a LP filter with the resonance at about 65% and the velocity tracking all the way up. In the riff that I created in the piano roll, I emphasized the velocity of some of the notes to showcase this feature of the synth. I like how the accented notes get a dramatic filter treatment and the unaccented notes do not.
Unison mode is set to 2 and the unison panning it turned up a bit. Otherwise, it's a default synth.
The other synth which comes in after the 4th repeat is similar in design,but instead of tuning OSC B down an octave, I turned it up 2 octaves and mixed all of the noise out. You will probably notice the pitch automation clip on it and the snare drum with generous amounts of reverb and echo.
You should be able to:
1. Mix osc A with osc B
2. Change the wave shape of either oscillator.
3. Mix in noise.
4. Change the pitch of osc B
We also discussed the filter section. You should be able to:
1. Switch the filter type from LP, HP and BP modes.
2. Change the resonance of the cutoff frequency in LP and HP, and in BP mode change the band width of the filter.
3. Use keyboard tracking and velocity tracking to change the way the filter effects low/high and soft/loud.
Finally, we discussed unison mode. You should be able to:
1 Create multiple voices (up to 4.
2. Use detune to widen the unison effect
3. Use unison panning to make the synth spread out in the stereo field.
4. Shift all of the even numbered unison voices up an octave.
For a review of Filters and unison mode, check out this video.
Here's mine:
The opening riff is a default PoiZone in pulse wave mode with a 50% 50% mix of Osc A and B. Osc B is tuned down an octave and a little bit of noise is mixed in to rough up the sound a bit.
I'm using a LP filter with the resonance at about 65% and the velocity tracking all the way up. In the riff that I created in the piano roll, I emphasized the velocity of some of the notes to showcase this feature of the synth. I like how the accented notes get a dramatic filter treatment and the unaccented notes do not.
Unison mode is set to 2 and the unison panning it turned up a bit. Otherwise, it's a default synth.
The other synth which comes in after the 4th repeat is similar in design,but instead of tuning OSC B down an octave, I turned it up 2 octaves and mixed all of the noise out. You will probably notice the pitch automation clip on it and the snare drum with generous amounts of reverb and echo.
Tuesday, January 11, 2011
Sequence Synth
In this project, we will create a bass synth that rocks back and forth between two notes (octaves) while holding down one key on the keyboard. This is very useful for writing bass patterns (that repeat anyway) as once the synth is created, sequencing the song is a breeze. Plus, live performance becomes a real option too (for all of you D.J.'s out there.)
First, let's create the bass sound. We'll start with a default Sytrus.
1. Op.1 set to saw wave.
2. Drop the frequency ratio to 1.999 (more on this later)
3. Set phase to global.
4. Filter 1: SVFx1 (HQ) Env=50%, Cut=100%, Res=66%, Low=100%, Band=0%, High=100%, WS= off. There are some basic settings for a bass synth. You can play with them anyway you want.
5. Make sure everything is mixed into filter 1, and while you're in the matrix, turn on the chorus (order=2 D=29 S=50 everything else=0) and mix in the FX into filter 1.
We will modulate operator 1 with operator 2 to create a thicker sound.
1. Op. 2 Shape 65% everything else=0% Frequency ratio to 0% (Yes, this means that there will be no sound out of Op 2 because the wave will be infinitely long, but since we're modulating operator 1 with this frequency it's okay).
2. Set the frequency offset to 1.00HZ -this will make a big difference in the attack of our synth.
3.Modulate OP 1 with 13% of OP2 (Do this in the OP 1 Row)
4. Now we're going to send our filter 1 settings through filter 2. In Filter 1, crank the next control (It's the last control on the right side of the Waveshaper.) to 100%. This sends the Filter 1 output 100% to the next filter- which is filter 2.
5. In the matrix, set the output of filter 2 to 100%.
Now we have a cool sounding bass synth. Let's sequence it.
1. Go to Operator 1's pitch envelope and clear out the default.
2. Enable tempo mode
3. The origin point should be in the middle. Draw a diagonal line to the bottom two beats over (Right click to put in a point).
4. Play a note. Notice how it drops in pitch.
5. Right click the point you added and select "Hold". Notice how the shape changes.
6. Make a third point two beats later in the envelope back up on the same line that the first beat was on. Now the pitch goes back up. Experiment with different shapes by right clicking the last point. I like stairs.
7. On your last point, set it to "sustain loop end".
8. On the point of origin, select "sustain loop start". You have now established a loop. When you hold down a key, or trigger the synth in the step sequencer, the synth will play your envelope over and over.
This is a very simple 4 bar pattern that shows how useful a synth like this can be. I purposely made this loop short and sweet to demonstrate the seqnence capability of sytrus. Keep in mind I only entered in the drums and 4 notes (E B C# and A) in the piano roll of sytrus. The rhythm and the changing octave is generated by the sequence we programed.
First, let's create the bass sound. We'll start with a default Sytrus.
1. Op.1 set to saw wave.
2. Drop the frequency ratio to 1.999 (more on this later)
3. Set phase to global.
4. Filter 1: SVFx1 (HQ) Env=50%, Cut=100%, Res=66%, Low=100%, Band=0%, High=100%, WS= off. There are some basic settings for a bass synth. You can play with them anyway you want.
5. Make sure everything is mixed into filter 1, and while you're in the matrix, turn on the chorus (order=2 D=29 S=50 everything else=0) and mix in the FX into filter 1.
We will modulate operator 1 with operator 2 to create a thicker sound.
1. Op. 2 Shape 65% everything else=0% Frequency ratio to 0% (Yes, this means that there will be no sound out of Op 2 because the wave will be infinitely long, but since we're modulating operator 1 with this frequency it's okay).
2. Set the frequency offset to 1.00HZ -this will make a big difference in the attack of our synth.
3.Modulate OP 1 with 13% of OP2 (Do this in the OP 1 Row)
4. Now we're going to send our filter 1 settings through filter 2. In Filter 1, crank the next control (It's the last control on the right side of the Waveshaper.) to 100%. This sends the Filter 1 output 100% to the next filter- which is filter 2.
5. In the matrix, set the output of filter 2 to 100%.
Now we have a cool sounding bass synth. Let's sequence it.
1. Go to Operator 1's pitch envelope and clear out the default.
2. Enable tempo mode
3. The origin point should be in the middle. Draw a diagonal line to the bottom two beats over (Right click to put in a point).
4. Play a note. Notice how it drops in pitch.
5. Right click the point you added and select "Hold". Notice how the shape changes.
6. Make a third point two beats later in the envelope back up on the same line that the first beat was on. Now the pitch goes back up. Experiment with different shapes by right clicking the last point. I like stairs.
7. On your last point, set it to "sustain loop end".
8. On the point of origin, select "sustain loop start". You have now established a loop. When you hold down a key, or trigger the synth in the step sequencer, the synth will play your envelope over and over.
This is a very simple 4 bar pattern that shows how useful a synth like this can be. I purposely made this loop short and sweet to demonstrate the seqnence capability of sytrus. Keep in mind I only entered in the drums and 4 notes (E B C# and A) in the piano roll of sytrus. The rhythm and the changing octave is generated by the sequence we programed.
Tuesday, January 4, 2011
SVF and XY Modulation in Sytrus
We've been doing a lot with filters and are familiar with their basic names and functions (LP= Low Pass, BP= Band Pass {for midrange frequencies}HP= High Pass), but what is up with that SVF filter that is the default when going to any of the 3 filter tabs in Sytrus? Well, those letters stand for State Variable Filter which means you can vary the state of the filter. You can make it a high pass, band pass or a low pass filter and change it from on to another by adjusting these parameters. Imagine a filter that can morph from a high pass filter to a low pass filter in real time. Cool eh?
Let's recreate one of the synths from the previous lesson. Open a default sytrus and go to the OSC tab in operator 1. Draw a downward slope and smooth it out. After you smooth the curve, be sure to boost the fundamental (the first bar) to 100%.
Add FX as you like, and them mix everything into filter 1.
In the Filter 1 tab, you'll see that the SVF is the default filter. Notice that there are the standard Env, Cut, and Res controls and there are also Low, Band and High sliders to the right of those controls just before the Waveshaper section. These controls go away when you switch from SVF to another kind of filter.
Apply these settings:
SVF X3 (HQ), ENV,CUT and RES @50% L 100% B 100% H 0% WS Enable WSAmp 150% WSMIX 66%
These settings basically eliminate all of the high frequencies. We'll play more with them later.
The XY controller
On the Main tab in Sytrus, you will see a modulation window with a control for the X axis and one for the Y axis. You can assign the XY controller to control any parameters you want in Sytrus. Try this:
In filter 1, go to CUT (because we are going to play with the cutoff frequency of the SVF- currently set at 50%) then MOD X. You'll notice that the envelope is a flat line, so no amount of tweaking the XY controller on the main tab will have any effect. To fix this, draw a line from the low left corner to the high right corner of the envelope window. Now try playing with the XY controller on the main tab. Wow!
For the Y axis, we can choose from Resonance, Low, Band, High or Waveshaper tabs. You can also map the Y axis to the last tab- WMIX. This is the Waveshaper Mix control that corresponds to the Mix control (currently set at 66%) in the waveshaper window. If we draw a similar envelope for this control at it's current setting, when we max out the Y axis, we will be hitting 66% of the waveshaper mix function. If we want more, we have to set the mix control in filter 1 to a greater value.
Be careful of mapping your Y axis to the Low, Band and High tabs. If you change filters to something other than a SVF, your Y axis won't work because L,B, and H are native to the SFV.
Go ahead and map the Y axis to whatever control you want. I mapped to WMIX by drawing the same shape I drew for MOD X.
Here's my little offering with this synth in mind:
The drums all came from the browser in drum kit #5. The bass is a default sytrus saw wave mixed in Filter 1 (SVF) with the frequency modulation lowered by 1. I used reverb and chorus on this synth as well. The lead synth is the one created but the above method and all of the automation is done by the internal XY controller. I added an automation clip to the pitch slider on the main sytrus tab, and had it gradually increase to 100% near the end. The result is a cool series of progressively higher pitches that sounds kind of random.
My source for the material in this lesson:
Let's recreate one of the synths from the previous lesson. Open a default sytrus and go to the OSC tab in operator 1. Draw a downward slope and smooth it out. After you smooth the curve, be sure to boost the fundamental (the first bar) to 100%.
Add FX as you like, and them mix everything into filter 1.
In the Filter 1 tab, you'll see that the SVF is the default filter. Notice that there are the standard Env, Cut, and Res controls and there are also Low, Band and High sliders to the right of those controls just before the Waveshaper section. These controls go away when you switch from SVF to another kind of filter.
Apply these settings:
SVF X3 (HQ), ENV,CUT and RES @50% L 100% B 100% H 0% WS Enable WSAmp 150% WSMIX 66%
These settings basically eliminate all of the high frequencies. We'll play more with them later.
The XY controller
On the Main tab in Sytrus, you will see a modulation window with a control for the X axis and one for the Y axis. You can assign the XY controller to control any parameters you want in Sytrus. Try this:
In filter 1, go to CUT (because we are going to play with the cutoff frequency of the SVF- currently set at 50%) then MOD X. You'll notice that the envelope is a flat line, so no amount of tweaking the XY controller on the main tab will have any effect. To fix this, draw a line from the low left corner to the high right corner of the envelope window. Now try playing with the XY controller on the main tab. Wow!
For the Y axis, we can choose from Resonance, Low, Band, High or Waveshaper tabs. You can also map the Y axis to the last tab- WMIX. This is the Waveshaper Mix control that corresponds to the Mix control (currently set at 66%) in the waveshaper window. If we draw a similar envelope for this control at it's current setting, when we max out the Y axis, we will be hitting 66% of the waveshaper mix function. If we want more, we have to set the mix control in filter 1 to a greater value.
Be careful of mapping your Y axis to the Low, Band and High tabs. If you change filters to something other than a SVF, your Y axis won't work because L,B, and H are native to the SFV.
Go ahead and map the Y axis to whatever control you want. I mapped to WMIX by drawing the same shape I drew for MOD X.
Here's my little offering with this synth in mind:
The drums all came from the browser in drum kit #5. The bass is a default sytrus saw wave mixed in Filter 1 (SVF) with the frequency modulation lowered by 1. I used reverb and chorus on this synth as well. The lead synth is the one created but the above method and all of the automation is done by the internal XY controller. I added an automation clip to the pitch slider on the main sytrus tab, and had it gradually increase to 100% near the end. The result is a cool series of progressively higher pitches that sounds kind of random.
My source for the material in this lesson:
Thursday, December 16, 2010
Frequency Modulation In Sytrus
For your next project, You'll be getting to the heart of FM synthesis with Frequency Modulation- FM for short. Basically, you'll be creating a soundwave, and then throwing another sound wave at it. It's a bit like thowing a rock into a pond and observing the resulting wave, then trowing another rock into the pond and watching how the waves interact. Only you'll be using sound. The following describe how to create the basic wave shapes. You're on your own with filters, FX and other toys. I'm assuming you already know how to apply those.
FM
The first synth we'll create will use operator 2 to modulate operator 1. Get a default Sytrus open and do this:
1.OP1 shape slider to 100% - observe that this sounds icky.
2.Change Op1's Frequency ratio from 2 to 1 (down an octave sounds better)
switch to Op 2
3.Op 2's shape slider to about 60%. Notice the wave is not quite a square and not quite a saw.
4.In the matrix, turn OP 2 to 5% in Op 1's horizontal row. Notice the difference? Also notice the cancellation that occurs around 12%.
5. Jazz it up with FX and Filters.
OSC
For the next 3 synths we'll be using the OSC window in Operator 1
For the first one, draw a saw wave, then fill in the first bar to 100%, the next to 75% and the 4th to 50%.
Give it a listen and add FX as you see fit. I mixed this one in the filter section with a SVF (State Variable Filter). This synth (with an LFO envelope) makes the melody in my post below.
For the next one, draw a line in the osc box from the top left to the bottom right. It doesn't have to be a straight line, but should generally slope downwards. Tap the smooth button a bunch of times to soften the curve. This will give you a string (think violins) like sound.
For the last one, go random in the OSC area. Really. Draw a bunch of chaotic lines. It'll sound awful at first, but what we're looking for is a harmonically rich sound that we can set to pluck mode. After you have your randomness done, click the pluck button. Notice that you are not allowed to play with the matrix when in pluck mode as all of the controls are grayed out.
Move the noise slider up and listen to the difference. I liken this sound to a guitar or bell sound. I added a lot of chorus to this one.in FX.
So there you have them. Go ahead and create a loop using your 4 synths. Here's mine:
I started with the first synth (where Op2 modulated op1) and created the bass line. The chord that punches through and echos was done with the OSC synth with the slope. This synth also come in at the end as a high pitched sustaining note that swells in with a volume automation clip. the melody is done with the OSC synth with the three harmonics (and a healthy wobble from the LFO). The melody is repeated, and when it repeats the guitar sounding OSC synth doubles it. I like the effect of the sustaining synth against the plucked synth. Drums are all default browser sounds. The piece fades out with a master volume envelope.
If you want the long version of this tutorial, or a better, and more detailed explanation, go to this site: http://fav.me/d198p1f
FM
The first synth we'll create will use operator 2 to modulate operator 1. Get a default Sytrus open and do this:
1.OP1 shape slider to 100% - observe that this sounds icky.
2.Change Op1's Frequency ratio from 2 to 1 (down an octave sounds better)
switch to Op 2
3.Op 2's shape slider to about 60%. Notice the wave is not quite a square and not quite a saw.
4.In the matrix, turn OP 2 to 5% in Op 1's horizontal row. Notice the difference? Also notice the cancellation that occurs around 12%.
5. Jazz it up with FX and Filters.
OSC
For the next 3 synths we'll be using the OSC window in Operator 1
For the first one, draw a saw wave, then fill in the first bar to 100%, the next to 75% and the 4th to 50%.
Give it a listen and add FX as you see fit. I mixed this one in the filter section with a SVF (State Variable Filter). This synth (with an LFO envelope) makes the melody in my post below.
For the next one, draw a line in the osc box from the top left to the bottom right. It doesn't have to be a straight line, but should generally slope downwards. Tap the smooth button a bunch of times to soften the curve. This will give you a string (think violins) like sound.
For the last one, go random in the OSC area. Really. Draw a bunch of chaotic lines. It'll sound awful at first, but what we're looking for is a harmonically rich sound that we can set to pluck mode. After you have your randomness done, click the pluck button. Notice that you are not allowed to play with the matrix when in pluck mode as all of the controls are grayed out.
Move the noise slider up and listen to the difference. I liken this sound to a guitar or bell sound. I added a lot of chorus to this one.in FX.
So there you have them. Go ahead and create a loop using your 4 synths. Here's mine:
I started with the first synth (where Op2 modulated op1) and created the bass line. The chord that punches through and echos was done with the OSC synth with the slope. This synth also come in at the end as a high pitched sustaining note that swells in with a volume automation clip. the melody is done with the OSC synth with the three harmonics (and a healthy wobble from the LFO). The melody is repeated, and when it repeats the guitar sounding OSC synth doubles it. I like the effect of the sustaining synth against the plucked synth. Drums are all default browser sounds. The piece fades out with a master volume envelope.
If you want the long version of this tutorial, or a better, and more detailed explanation, go to this site: http://fav.me/d198p1f
Thursday, December 2, 2010
Envelopes in Sytrus
For your next project, you'll create a loop using sounds you design in Sytrus. The sounds you create should show your use of the various envelopes we discussed in class. In your loop, please include an example of each of the following envelopes:
1. Pitch
2. Volume
3. LFO
4. Resonance
5. Key Mapping
Here's a quick breakdown of how to create each envelope:
Pitch
Use a sine based wave for best results. Note: I mixed OP1 (100%) and OP2 (68%) in the filter section, and added chorus set to an order of 9 in the FX section. Remember to mix your output properly in the matrix.
1.Go to OP1. Select the Pitch tab, then the Envelope tab.
2.Erase the default envelope (use the step button, then right click and drag).
3.Click the enable button (lower left corner).
4. Draw your envelope.
Volume
You can use any waveform for this envelope. I actually used the same synth made in our first project with Sytrus (saw wave). In that synth, we routed all output to filter 1.
1. In filter 1, select the volume tab.
2. Clear the envelope and make a curve that goes from 100% volume to 0% volume (upper left to lower right)
3.Add a position marker (a dot) by right clicking on the curve and add a sustain loop end.
LFO
A saw wave synth will give you the best results with the LFO.
1. In filter 1, select the cut tab and then the LFO tab. This envelope points directly to the cutoff control (the middle one) in the filter section.
2. Clear the default envelope. Notice that there is a central origin point. The LFO is positive and negative. The center equals zero.
3. Put the origin point all the way to the bottom. Click tempo mode.
4. Play with the speed control to vary the speed of the wave and the origin point to vary the width of the wave.
5.Add a riff machine riff to play with it (or come up with your own riff). In the step sequencer, select your synth and open the piano roll. In the upper left corner of the piano roll, select tools and Riff machine from the drop down menu (the little triangle) or you can just use Alt+E. Click the throw dice button until you're happy.
6. Click Global to compare what it sounds like when the LFO is allowed to run it's entire shape. When global is off, the LFO retriggers with each new note, and if there are a lot of notes, the LFO may not cycle through it's shape.
7.Remember that this LFO expresses it's positive and negative changes based on the position of the cutoff frequency control (it's between the ENV and RES controls). If your CUT control is set to 100%, then when the LFO is in the positive range, it can't increase the cutoff frequency anymore because it's already maxed out. Move the CUT control to 80% or so to hear the changes.
8. Adjust the ENV control. At 50% it is alternating subtracting 50% from our cutoff frequency and adding 50%. Adjust it how you like.
Resonance
Resonance is a rather subtle presence of harmonic frequencies. It provides a richness to the sound.
1.In filter 1, click on the RES tab and then the ENV tab.
2. Clear the default envelope and try adding a slope from the top left to the bottom right corner.
3. You can use the x1,x2 and x3 buttons to control the intensity of the envelope.
Key mapping
You can set parameters for each note in this synth, In this example we'll map the notes in the low register to the left and high notes to the right.
1.Click the KEYM tab
2.Clear the default envelope and draw a line from the bottom left to the top right.
3.To exaggerate the effect, select double curve for your line instead of a straight line. (Right click the end point and select double curve).
Here's mine:
The melody and accompanying chords come in at :05 The repeated note part has a fast pitch envelope creating the slight scooping sound and is a sine based synth. The chords (with all of the delay) are saw based and have a volume envelope starting with a loud attack and a long decay.
I used the LFO in the middle section on a saw based synth to create a dubstep style bass part. I linked the speed parameter of the LFO envelope to the modulation wheel of my keyboard and recorded my motion on the wheel to speed up and slow down the wobble. I created a resonance envelope on this synth as well to create a richer sound. the resonance is up for the attack, and fades out for the decay.
Also in the dubstep section is a sine based synth with the panning mapped out to low pitches hard left and high pitches hard right.
The drums have a healthy dose of reverb, and I created a drum roll and flams using the chop tool.
I learned all of this stuff from this site: http://fav.me/d194ttr
1. Pitch
2. Volume
3. LFO
4. Resonance
5. Key Mapping
Here's a quick breakdown of how to create each envelope:
Pitch
Use a sine based wave for best results. Note: I mixed OP1 (100%) and OP2 (68%) in the filter section, and added chorus set to an order of 9 in the FX section. Remember to mix your output properly in the matrix.
1.Go to OP1. Select the Pitch tab, then the Envelope tab.
2.Erase the default envelope (use the step button, then right click and drag).
3.Click the enable button (lower left corner).
4. Draw your envelope.
Volume
You can use any waveform for this envelope. I actually used the same synth made in our first project with Sytrus (saw wave). In that synth, we routed all output to filter 1.
1. In filter 1, select the volume tab.
2. Clear the envelope and make a curve that goes from 100% volume to 0% volume (upper left to lower right)
3.Add a position marker (a dot) by right clicking on the curve and add a sustain loop end.
LFO
A saw wave synth will give you the best results with the LFO.
1. In filter 1, select the cut tab and then the LFO tab. This envelope points directly to the cutoff control (the middle one) in the filter section.
2. Clear the default envelope. Notice that there is a central origin point. The LFO is positive and negative. The center equals zero.
3. Put the origin point all the way to the bottom. Click tempo mode.
4. Play with the speed control to vary the speed of the wave and the origin point to vary the width of the wave.
5.Add a riff machine riff to play with it (or come up with your own riff). In the step sequencer, select your synth and open the piano roll. In the upper left corner of the piano roll, select tools and Riff machine from the drop down menu (the little triangle) or you can just use Alt+E. Click the throw dice button until you're happy.
6. Click Global to compare what it sounds like when the LFO is allowed to run it's entire shape. When global is off, the LFO retriggers with each new note, and if there are a lot of notes, the LFO may not cycle through it's shape.
7.Remember that this LFO expresses it's positive and negative changes based on the position of the cutoff frequency control (it's between the ENV and RES controls). If your CUT control is set to 100%, then when the LFO is in the positive range, it can't increase the cutoff frequency anymore because it's already maxed out. Move the CUT control to 80% or so to hear the changes.
8. Adjust the ENV control. At 50% it is alternating subtracting 50% from our cutoff frequency and adding 50%. Adjust it how you like.
Resonance
Resonance is a rather subtle presence of harmonic frequencies. It provides a richness to the sound.
1.In filter 1, click on the RES tab and then the ENV tab.
2. Clear the default envelope and try adding a slope from the top left to the bottom right corner.
3. You can use the x1,x2 and x3 buttons to control the intensity of the envelope.
Key mapping
You can set parameters for each note in this synth, In this example we'll map the notes in the low register to the left and high notes to the right.
1.Click the KEYM tab
2.Clear the default envelope and draw a line from the bottom left to the top right.
3.To exaggerate the effect, select double curve for your line instead of a straight line. (Right click the end point and select double curve).
Here's mine:
The melody and accompanying chords come in at :05 The repeated note part has a fast pitch envelope creating the slight scooping sound and is a sine based synth. The chords (with all of the delay) are saw based and have a volume envelope starting with a loud attack and a long decay.
I used the LFO in the middle section on a saw based synth to create a dubstep style bass part. I linked the speed parameter of the LFO envelope to the modulation wheel of my keyboard and recorded my motion on the wheel to speed up and slow down the wobble. I created a resonance envelope on this synth as well to create a richer sound. the resonance is up for the attack, and fades out for the decay.
Also in the dubstep section is a sine based synth with the panning mapped out to low pitches hard left and high pitches hard right.
The drums have a healthy dose of reverb, and I created a drum roll and flams using the chop tool.
I learned all of this stuff from this site: http://fav.me/d194ttr
Subscribe to:
Posts (Atom)