5/2/2023 0 Comments Ableton automate detuneSelect knob two and hit Command+R to rename it, and call it “Strike -> Bow.” I’ll automate my rack to morph from strike to bow as the filter opens up. Finally, map the release to that same knob, set the minimum to 200 ms and the max to 500 ms. Now, also map the amp envelope’s attack to that same knob, and in the macro mappings menu on the left keep the minimum at 0 ms and set max to 105 ms. Map the amplitude envelope decay (labeled “D” on the bottom of the Amp envelope pane) to knob 2, setting the minimum to 200 ms and the max to 2 seconds. So now that we’ve mapped our first macro, let’s repeat the process but this time we’ll do something a bit more complex so we can morph from a percussive strike into something a bit more like a bowed string. Plus, having parameters that are very satisfying to change mapped to knobs just makes the instrument more playable and dynamic. Macros are great because they give you a way to really mess around with your sound over time and try a lot of different combinations of settings but without the risk of forgetting which parameters you were messing around with and ruining your patch irreparably. On my project I’ll automate knob 1 to open up the filter over time. Click on the green “map” button again to exit map mode and play around with your newly programmed macro knob. This should open an inspector pane on the left hand side that allows me to set minimum and maximum limits for the knob. Then click “map” on the very top of the instrument rack interface, click on the filter 1 cutoff knob, then click on “map” underneath the first macro knob. Click on the button at the top left of the instrument rack interface to show the macro controls. Now let’s start doing something with these macros. Open the mod matrix and enter a value of 50 at the intersection between “Filter 1 Freq” and “Env 2.” Now we’re getting somewhere. If you do the same, you’ll hear that it’s not a particularly useful sound in its current state. I like making sounds that are fun to play and very approachable, and probably the cheapest and easiest way to get your kicks on a synth is futzing around with the filter cutoff (there’s a reason that the cutoff frequency knob is the biggest one in Wavetable’s interface), so I’m going to make this patch sound good no matter where you position that knob.įirst things first, I’m going to turn the cutoff to zero and hit play. It’s no fun to have patch that’s just too quiet even when you’ve got your faders slammed to max! If you’re not using Wavetable, you can still use an instrument rack in Ableton to morph multiple parameters of any Ableton instrument or VST at once, and if you’re not even using Ableton, your synth likely has a few Macro controls you can use the same way we’re using the instrument rack.Īlso pump up the output gain of this synth from -9.0 dB to 0.0 dB so we have plenty of output and, as a result, plenty of flexibility during the arranging and mixing process. ![]() I know that to make this part really interesting I’ll need to change a variety of characteristics of the sound over time so I’ll create an instrument rack containing this instance of Wavetable by selecting it and hitting command+G (or going to Edit->Group) so I can create some macros. Now let’s move over to the amplitude envelope on the right and bring the sustain down to nothing and the release down to about 200 ms since we want kind of a pluck or a percussive strike sound. Keeping in the “basic shapes” category, select the sawtooth wave. ![]() In all the demo audio we’ll be listening to a nine bar loop, but this type of arpeggio sound will often take up 32 or 64 bars of an arrangement… or even more, slowly morphing over time.įloating Points’ ‘ Argente’ a beautiful piece of music that prominently features an arpeggiated synth morphing so slowly it’s almost imperceptible at times, over the course of almost five minutes.įirst let’s add an instance of Wavetable. Starting with such a wide note palette allows us to move up and down the frequency spectrum simply by manipulating the frequency cutoff knob to dramatic result. Our MIDI part starts on A1, which is at 60 Hz, and sweeps all the way up to A3 which sits squarely at 440 Hz, with strong harmonics reaching all the way up the frequency spectrum when the filter is wide open. ![]() Note the MIDI part - the arrangement is critical to the sound that we’re going for - we’re covering about three octaves of territory, the lowest octave being the first.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |