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 throwing a rock into a pond and observing the resulting wave, then throwing another rock into the pond and watching how the waves interact- only you'll be using sound. The following describes 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
Monday, May 2, 2011
Wednesday, March 30, 2011
Project 6: 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
Monday, March 21, 2011
Project 5: Noise Envelope and Sytrus
Here are a couple of cool tricks:
Start with the Sytrus synth in it's default preset and move the noise slider (in op.1 next to the sine wave all the way to the right) to maximum. Play a note on the keyboard and you'll hear static. This is what we want.
Now enter a dot in the step sequencer next to our noisy synth. Right click on the volume control (not the master, use the channel volume) and create an automation clip for volume. Draw a curve so that it fades in.
Now send the noisy sytrus to the mixer and put a filter on the channel- I like the fruity filter). Create another automation clip for the cutoff frequency.
Now you have a cool noise effect for your next project.
Once other trick I did in here was to create a pitch automation clip for one of the synths. This was pretty easy. Just right click the pitch control parameter of any channel, and draw a clip.
If you want more information, or a better explanation of this stuff, go to the site that taught me: http://fav.me/d192m6y
Have fun!
Start with the Sytrus synth in it's default preset and move the noise slider (in op.1 next to the sine wave all the way to the right) to maximum. Play a note on the keyboard and you'll hear static. This is what we want.
Now enter a dot in the step sequencer next to our noisy synth. Right click on the volume control (not the master, use the channel volume) and create an automation clip for volume. Draw a curve so that it fades in.
Now send the noisy sytrus to the mixer and put a filter on the channel- I like the fruity filter). Create another automation clip for the cutoff frequency.
Now you have a cool noise effect for your next project.
Once other trick I did in here was to create a pitch automation clip for one of the synths. This was pretty easy. Just right click the pitch control parameter of any channel, and draw a clip.
If you want more information, or a better explanation of this stuff, go to the site that taught me: http://fav.me/d192m6y
Have fun!
Monday, March 7, 2011
Project 4: Filters
One way to add character to a sound is to modulate the frequencies that make up that sound. To wrap your brain around this, you need to understand a few of concepts.
1. Sounds are made up of an array of frequencies. That's what makes your ear able to distinguish between a piano and a flute both playing the same note. The pitch "A" on the piano resonates at 440 cycles per second. Many instruments can play that note. It's the timbre (say "TAM-bur") of the note (the mix of high and low frequencies that accompany the fundamental pitch) that makes it sound the way it does. It is this concept that allows us to make synthesizers.
2. We can play with those frequencies using a filter. Think of a filter as a sifter (the kind you would play with in a sandbox. When sand enters a sifter, some particles pass through and others do not. A low pass filter will allow low frequencies to pass through and make the sound more rich with low frequencies while holding the high frequencies back.
3. A filter can be set to certain parameters and left alone (like when you make equalizer settings to your stereo at home), or it can be controlled by an automation clip so that the parameters change in real time. Imagine a sifter that had the ability to change the size of the holes while you poured sand through it.
Your assignment
Many of our generators have filters built right into them and in our last project, most of you used the filter on the Simsynth to make your first automation clip. In this project you are going to take that concept a bit further by adding a filter to the mixer, and adding a controller to modulate two parameters at once.
The Fruity Filter:
1.Add the slayer to your step sequencer (Channels- add one- slayer)and write something for it (a simple chopped pattern is fine). Put your pattern in the playlist a few times.
2.In the channel setting for the slayer, route the output to FX channel 1 (It doesn't matter which FX channel you choose- channel 2 will work just as well as channel 1)
3.Open the mixer and select Channel 1 (or whatever channel you routed the slayer to).
4.Using the dropdown menu, add the fruity filter to one of the available 8 slots in the mixer.
5.The mixer window appears. The cutoff frequency is the control that establishes the amount of hig and low frequencies that will pass into the output. If it's all the way to the left, you'll get a lot of lows. If it's all the way to the right, you'll get a lot of highs.
The are are other controls there as well. Skip the resonance control. You can play with it (you won't break anything), but I'll describe it more in depth in another lesson. The low pass establishes the amount of low frequency in the mix, and the high pass establishes the amount of high frequency in the mix. Band pass can be set to allow a specific frequency range to enter the mix. X2 determines the sensitivity of the filter. the greater the value of this parameter, the more intense your filter effect will be.
6. Right click on the cutoff frequency control and select create automation clip. Draw some dots, and play with the parameters to create your filter effects.
The XY controller
The xy controller is designed to control 2 parameters at the same time. Try this:
1. Add the 3X osc to the step sequencer. Since this is an older generator, it's presets are not available through the plugin window. You have to access them through the browser. Open the browser, select channel presets and 3X osc. Drag one of them on over.
2. Select the INS tab in the channel settings, and look for the filter tab. You'll see an X and a Y under the filter name.
3. Route the 3X osc to the mixer using the FX output (use a different channel than the one you used for the slayer) and add the Fruity XY controller to one of the available slots in the mixer.
4. Right click on the X parameter and choose link to controller. Select internal controller (an external controller would be your keyboard or a trackball/ joystick), and click accept. Repeat the process for theY parameter (or any other parameter you wish to control- it doesn't have to be X and Y).
5. Now write something for this synth and put it into the playlist.
6. Once you have something written that you are happy with, go to the mixer and click on the XY controler plug in so that it appears on your screen.
7. Next to the play button is the record button. Click on it and select "record automation and score".
8. click play and move the xy controller in time with your music playback. The computer records your movement and plays it back when you are done.
9. Save your work and post it.
The criteria for your project are simple:
You loop must include at least one instance of the fruity filter in the mixer and one use of the XY contoller in the mixer.
Here's mine:
1. Sounds are made up of an array of frequencies. That's what makes your ear able to distinguish between a piano and a flute both playing the same note. The pitch "A" on the piano resonates at 440 cycles per second. Many instruments can play that note. It's the timbre (say "TAM-bur") of the note (the mix of high and low frequencies that accompany the fundamental pitch) that makes it sound the way it does. It is this concept that allows us to make synthesizers.
2. We can play with those frequencies using a filter. Think of a filter as a sifter (the kind you would play with in a sandbox. When sand enters a sifter, some particles pass through and others do not. A low pass filter will allow low frequencies to pass through and make the sound more rich with low frequencies while holding the high frequencies back.
3. A filter can be set to certain parameters and left alone (like when you make equalizer settings to your stereo at home), or it can be controlled by an automation clip so that the parameters change in real time. Imagine a sifter that had the ability to change the size of the holes while you poured sand through it.
Your assignment
Many of our generators have filters built right into them and in our last project, most of you used the filter on the Simsynth to make your first automation clip. In this project you are going to take that concept a bit further by adding a filter to the mixer, and adding a controller to modulate two parameters at once.
The Fruity Filter:
1.Add the slayer to your step sequencer (Channels- add one- slayer)and write something for it (a simple chopped pattern is fine). Put your pattern in the playlist a few times.
2.In the channel setting for the slayer, route the output to FX channel 1 (It doesn't matter which FX channel you choose- channel 2 will work just as well as channel 1)
3.Open the mixer and select Channel 1 (or whatever channel you routed the slayer to).
4.Using the dropdown menu, add the fruity filter to one of the available 8 slots in the mixer.
5.The mixer window appears. The cutoff frequency is the control that establishes the amount of hig and low frequencies that will pass into the output. If it's all the way to the left, you'll get a lot of lows. If it's all the way to the right, you'll get a lot of highs.
The are are other controls there as well. Skip the resonance control. You can play with it (you won't break anything), but I'll describe it more in depth in another lesson. The low pass establishes the amount of low frequency in the mix, and the high pass establishes the amount of high frequency in the mix. Band pass can be set to allow a specific frequency range to enter the mix. X2 determines the sensitivity of the filter. the greater the value of this parameter, the more intense your filter effect will be.
6. Right click on the cutoff frequency control and select create automation clip. Draw some dots, and play with the parameters to create your filter effects.
The XY controller
The xy controller is designed to control 2 parameters at the same time. Try this:
1. Add the 3X osc to the step sequencer. Since this is an older generator, it's presets are not available through the plugin window. You have to access them through the browser. Open the browser, select channel presets and 3X osc. Drag one of them on over.
2. Select the INS tab in the channel settings, and look for the filter tab. You'll see an X and a Y under the filter name.
3. Route the 3X osc to the mixer using the FX output (use a different channel than the one you used for the slayer) and add the Fruity XY controller to one of the available slots in the mixer.
4. Right click on the X parameter and choose link to controller. Select internal controller (an external controller would be your keyboard or a trackball/ joystick), and click accept. Repeat the process for theY parameter (or any other parameter you wish to control- it doesn't have to be X and Y).
5. Now write something for this synth and put it into the playlist.
6. Once you have something written that you are happy with, go to the mixer and click on the XY controler plug in so that it appears on your screen.
7. Next to the play button is the record button. Click on it and select "record automation and score".
8. click play and move the xy controller in time with your music playback. The computer records your movement and plays it back when you are done.
9. Save your work and post it.
The criteria for your project are simple:
You loop must include at least one instance of the fruity filter in the mixer and one use of the XY contoller in the mixer.
Here's mine:
Tuesday, March 1, 2011
Project 3: Automation
In this assignment, you need to create a loop that utilizes an automation clip for a parameter of any channel, and a fade out on the master volume at the end. It sounds more complicated that it actually is. Here's how it works:
1. Come up with a drum pattern (you can use FPC or write one from scratch), and add the SimSynth to your step sequencer (Channels, add one, SimSynth). Note- you can use any synth plug in, but for this project, I'd like to keep everyone using the same one for simplicity in getting going.
2. While you are looking at the channel settings of the SimSynth, hover the mouse over one of the controls in the SVF section. If that parameter can take an automation clip, the status window (upper left corner of the screen) will show a red dot.
3. Play a note on the keyboard and turn one of the knobs in the SVF section (I used the cutoff frequency, but any of the controls in the bottom row would be good choices for this). Notice the change in sound? We can automate the motion that you are doing with your mouse using the automation function in FL Studio.
4. In the piano roll, put in a long note (the same way you did for the chop project). Then go to the drop down arrow in the upper left of the piano roll window and choose tools- riff machine. The riff machine is a lot like the chop tool, but fancier. When you get a riff that you like, hit the accept button, close the piano roll and put the new pattern in the playlist along with your drums.
5. Now open up the SimSynth controls in the step sequencer and select the parameter that you were tweaking in step 3. Right click the parameter and select "Create automation clip". The clip will appear in the playlist on the top.
6. You can tweak this by right clicking on the line in the clip and creating handles so that you can change the shape of the clip. Tweak away (and be sure you are in song mode) while you are listening. Also observe that the parameter control on the SimSynth plug in will move by itself according to your clip's shape.
7. For a finishing touch, create an automation clip on the master volume control to make your loop fade out.
6. Post as usual. Here' s mine: (note, your post should be this descriptive. Notice I didn't say "Here's my loop. I hope you like it!" because that's lame.
For pattern 1 I used with the FPC set to Ambient Beat #1. I used this throughout my loop. Next I put the SymSynth through the riff machine and found a 4 bar pattern that I liked for pattern 2. I used the clone selected command and transposed the same pattern down a step for pattern 3. Finally I added a bass sound from the Sytrus, and I set it to double the first notes of the symsynth. I added the bass line to patterns 2 and 3.
For the automation, I selected the cutoff frequency parameter on the SVF section of the symsynth. I like the way it sounds when it's set really low, but I wanted the first few seconds of my pattern to be with no automation so I started the clip with the control in the middle, then dropped it at a steep curve after a few seconds. I brought it up to midway, the made it come down again but at a much softer slope.
I added a slow fade on the master volume at the end to coincide with the soft slope of the final controller tweak.
1. Come up with a drum pattern (you can use FPC or write one from scratch), and add the SimSynth to your step sequencer (Channels, add one, SimSynth). Note- you can use any synth plug in, but for this project, I'd like to keep everyone using the same one for simplicity in getting going.
2. While you are looking at the channel settings of the SimSynth, hover the mouse over one of the controls in the SVF section. If that parameter can take an automation clip, the status window (upper left corner of the screen) will show a red dot.
3. Play a note on the keyboard and turn one of the knobs in the SVF section (I used the cutoff frequency, but any of the controls in the bottom row would be good choices for this). Notice the change in sound? We can automate the motion that you are doing with your mouse using the automation function in FL Studio.
4. In the piano roll, put in a long note (the same way you did for the chop project). Then go to the drop down arrow in the upper left of the piano roll window and choose tools- riff machine. The riff machine is a lot like the chop tool, but fancier. When you get a riff that you like, hit the accept button, close the piano roll and put the new pattern in the playlist along with your drums.
5. Now open up the SimSynth controls in the step sequencer and select the parameter that you were tweaking in step 3. Right click the parameter and select "Create automation clip". The clip will appear in the playlist on the top.
6. You can tweak this by right clicking on the line in the clip and creating handles so that you can change the shape of the clip. Tweak away (and be sure you are in song mode) while you are listening. Also observe that the parameter control on the SimSynth plug in will move by itself according to your clip's shape.
7. For a finishing touch, create an automation clip on the master volume control to make your loop fade out.
6. Post as usual. Here' s mine: (note, your post should be this descriptive. Notice I didn't say "Here's my loop. I hope you like it!" because that's lame.
For pattern 1 I used with the FPC set to Ambient Beat #1. I used this throughout my loop. Next I put the SymSynth through the riff machine and found a 4 bar pattern that I liked for pattern 2. I used the clone selected command and transposed the same pattern down a step for pattern 3. Finally I added a bass sound from the Sytrus, and I set it to double the first notes of the symsynth. I added the bass line to patterns 2 and 3.
For the automation, I selected the cutoff frequency parameter on the SVF section of the symsynth. I like the way it sounds when it's set really low, but I wanted the first few seconds of my pattern to be with no automation so I started the clip with the control in the middle, then dropped it at a steep curve after a few seconds. I brought it up to midway, the made it come down again but at a much softer slope.
I added a slow fade on the master volume at the end to coincide with the soft slope of the final controller tweak.
Thursday, February 10, 2011
Project 2: Chop and Transpose
The chop tool can take a single note and break it up into a bunch of different pre-set patterns. Try this:
1. Select a generator that will produce a sustained pitch (not a drum) and drop it into the step sequencer.
2. Open the piano roll for that instrument (I used the slayer, channels, add one, slayer) and enter in a long note.
3. In the upper left hand corner of the piano roll window, there is a small icon that looks like a piano keyboard. Select it and from the drop down menu select tools, then chop.
4. Viola! Your note has been chopped into segments. Click on the check mark to accept the changes to your note and give it a listen.
5. So you're not impressed. Fine. Go to the piano roll window again and repeat step 3 (or use the keyboard shortcut Alt u) and select a different pattern from the pattern folder. There are hundreds to choose from. From this window you can also dial the time mul controller to change the population of notes in your window.
The same pattern played over and over again can cause brain damage if you're not careful. Beware of monotony. :-) To add some variation, transpose your pattern like this:
1. In the step sequencer, select the channel with the loop you wish to transpose, and copy it (Right click the channel name, Edit, Copy).
2. Select an empty pattern in the step sequencer, and edit, paste.
3. Now you have the exact same musical pattern in two separate step sequencer patterns.
4. Open the piano roll in one of them, and from the keyboard icon, choose edit, transpose (up or down- doesn't matter) or use the keyboard shortcut- shift, arrow keys.
Your assignment is to create a loop that utilizes the chop tool and the transpose function. form is up to you, but it must be organized in some way- be sure to mention the form in your post.
You will be assessed on your:
1. Use of the chop tool
2. Use of the transpose function
3. Use of drums and bass
4. Descriptive post (see sample post below).
Here's my example and sample post:
I started out with my favorite drum sounds from the RealDrumKits tab in the browser and wrote an up tempo rock beat. Then I added the slayer plug in and cranked up the distortion (double coil pickup setting too) . The chop tool gave me this pattern (trance 6) and I went with it. I added some effect (chorus on the slayer) and that gave me the main riff.
I used the chop tool again on a bass sound (also in the slayer plug in), and found that the two rhythms fit together nicely.
I used the transpose function to change the pitch of the bass and guitar sounds to create an 8 measure pattern, and then layered a melody on top of that pattern with a piano sound (I'm not sure if I really like the piano sound, but I do like the melody).
The for has a 2 measure introduction followed by a statement of the transposed 8 measure sequence in the bass, drums and guitar. That section repeats, but on the repeat, the piano comes in. Then there's an interlude where I used the chop tool again on one note (F), but I wasn't totally happy with the pattern it gave me, so I edited it a little in the piano roll and made the last two hits long. There is a drum breakdown section too. It's all FPC stuff. The song ends with a fade out on the original chop pattern.
1. Select a generator that will produce a sustained pitch (not a drum) and drop it into the step sequencer.
2. Open the piano roll for that instrument (I used the slayer, channels, add one, slayer) and enter in a long note.
3. In the upper left hand corner of the piano roll window, there is a small icon that looks like a piano keyboard. Select it and from the drop down menu select tools, then chop.
4. Viola! Your note has been chopped into segments. Click on the check mark to accept the changes to your note and give it a listen.
5. So you're not impressed. Fine. Go to the piano roll window again and repeat step 3 (or use the keyboard shortcut Alt u) and select a different pattern from the pattern folder. There are hundreds to choose from. From this window you can also dial the time mul controller to change the population of notes in your window.
The same pattern played over and over again can cause brain damage if you're not careful. Beware of monotony. :-) To add some variation, transpose your pattern like this:
1. In the step sequencer, select the channel with the loop you wish to transpose, and copy it (Right click the channel name, Edit, Copy).
2. Select an empty pattern in the step sequencer, and edit, paste.
3. Now you have the exact same musical pattern in two separate step sequencer patterns.
4. Open the piano roll in one of them, and from the keyboard icon, choose edit, transpose (up or down- doesn't matter) or use the keyboard shortcut- shift, arrow keys.
Your assignment is to create a loop that utilizes the chop tool and the transpose function. form is up to you, but it must be organized in some way- be sure to mention the form in your post.
You will be assessed on your:
1. Use of the chop tool
2. Use of the transpose function
3. Use of drums and bass
4. Descriptive post (see sample post below).
Here's my example and sample post:
I started out with my favorite drum sounds from the RealDrumKits tab in the browser and wrote an up tempo rock beat. Then I added the slayer plug in and cranked up the distortion (double coil pickup setting too) . The chop tool gave me this pattern (trance 6) and I went with it. I added some effect (chorus on the slayer) and that gave me the main riff.
I used the chop tool again on a bass sound (also in the slayer plug in), and found that the two rhythms fit together nicely.
I used the transpose function to change the pitch of the bass and guitar sounds to create an 8 measure pattern, and then layered a melody on top of that pattern with a piano sound (I'm not sure if I really like the piano sound, but I do like the melody).
The for has a 2 measure introduction followed by a statement of the transposed 8 measure sequence in the bass, drums and guitar. That section repeats, but on the repeat, the piano comes in. Then there's an interlude where I used the chop tool again on one note (F), but I wasn't totally happy with the pattern it gave me, so I edited it a little in the piano roll and made the last two hits long. There is a drum breakdown section too. It's all FPC stuff. The song ends with a fade out on the original chop pattern.
Monday, January 31, 2011
Project 1: Drum Loop
Your first assignment is to create two different drum loops in the step sequencer, and separate them with drum fills. In class, we discussed what constituted a "good" drum pattern, and what constitutes a "good" drum fill. Keep your repeated patterns simple, and save the flashy/ busy stuff for the drum fills.
Use different sounds from the browser in your patterns and don't forget to use the graph editor, panning and volume controls for each sound in your final mix. Once you have rendered your file to MP3, upload it to your blog and write your post.
This is a sample description of what I'm looking for in your post and embedded file:
I was inspired by the sounds of ZZ top, Justin Timberlake and Madonna. I have always been a fan of their music, and I guess it pours out of me easily. Anyway, I started with a straight four bass drum pattern with the snare on 2 and 4 and an eighth note pattern on the hi hat (al la "Legs" by ZZ Top). All of the sounds I used came right out of the FPC section of the browser. The A section morphed into something a little more syncopated in the B section where I used the ride cymbal instead of the hi hat and included two toms in the pattern. I was trying to make the B section strongly contrast to the simplicity of the A section by mixing up the rhythms with the toms. the ride cymbal has a darker color to it than the hi hat, so I figured it would contrast as well. Enjoy!
When you have finished your post, you need to go to the comments section of at least two other members of the class and leave a comment. Click on the comments section of this post to see the sample comments I left about my piece.
By the way, this guy is a pro and uses the same tools you have to create something very high quality. check it out and be prepared to be humbled:
http://vimeo.com/2864302
Use different sounds from the browser in your patterns and don't forget to use the graph editor, panning and volume controls for each sound in your final mix. Once you have rendered your file to MP3, upload it to your blog and write your post.
This is a sample description of what I'm looking for in your post and embedded file:
I was inspired by the sounds of ZZ top, Justin Timberlake and Madonna. I have always been a fan of their music, and I guess it pours out of me easily. Anyway, I started with a straight four bass drum pattern with the snare on 2 and 4 and an eighth note pattern on the hi hat (al la "Legs" by ZZ Top). All of the sounds I used came right out of the FPC section of the browser. The A section morphed into something a little more syncopated in the B section where I used the ride cymbal instead of the hi hat and included two toms in the pattern. I was trying to make the B section strongly contrast to the simplicity of the A section by mixing up the rhythms with the toms. the ride cymbal has a darker color to it than the hi hat, so I figured it would contrast as well. Enjoy!
When you have finished your post, you need to go to the comments section of at least two other members of the class and leave a comment. Click on the comments section of this post to see the sample comments I left about my piece.
By the way, this guy is a pro and uses the same tools you have to create something very high quality. check it out and be prepared to be humbled:
http://vimeo.com/2864302
Subscribe to:
Posts (Atom)