4. Build­ing a mod­u­lated pad/drone hy­brid

Computer Music - - Make Music Now -

1 Let’s make a slowly evolv­ing pad by putting en­velopes and LFOs to use on a wavetable. Cre­ate a MIDI clip con­tain­ing a 64-bar chord, load Avenger and call up the Shape­flow 1 wavetable from the Mixed In­stru­ments cat­e­gory in Os­cil­la­tor A. De­ac­ti­vate the send to the De­lay ef­fect, but raise the Re­verb to 60% and load the Max­i­mum Verb pre­set in the Send Rack. 2 The eas­i­est way to get any wavetable mov­ing is to mod­u­late the In­dex. Let’s do it now us­ing the Wavetable En­ve­lope in the cen­tral dis­play. Turn it on with the En­able but­ton and re­duce the Speed to 0.04Hz. De­fine a mo­tion path for the In­dex knob by dou­ble-click­ing to cre­ate nodes and drag­ging them around. 3 The height de­ter­mines the po­si­tion of the red play­back point, and you can ap­ply cur­va­ture to the lines be­tween nodes by drag­ging up and down on them. As it is, the jump from the end back to the start of the en­ve­lope is de­cid­edly un-pad­like, so switch to Ping-Pong play­back Mode to have it al­ter­nate be­tween for­ward and back­ward travel. 4 Let’s get the fil­ter in­volved. Lower the Fil­ter 1 Cut­off knob to about 2kHz and raise the Res­o­nance to around 25%. As­sign LFO 1 to mod­u­late the Cut­off by drag­ging the LFO’s six-dot han­dle di­rectly onto it. The lit­tle or­ange tri­an­gle by the Cut­off knob now sets the depth of the LFO mod­u­la­tion: drag up on it un­til the yel­low col­lar reaches the top of its range. 5 The LFO is bipo­lar, mod­u­lat­ing the cut­off both above and be­low the knob po­si­tion. Raise the LFO Off­set knob fully to have the fil­ter stay above the set cut­off point. It’s also way too fast, so lower its Rate to 0.15Hz. You’ll no­tice we’re not sync­ing any­thing to host tempo for this sound, as we don’t want our pad/drone to have any sense of tempo or co­her­ent rhythm. 6 In Os­cil­la­tor 1’s V-Saw sec­tion, raise the Mix and Pan slid­ers to in­tro­duce four wide uni­son voices. As­sign a sec­ond LFO to the V-Saw De­tune knob, and set the LFO Depth and Rate to taste. Call up the FFT Ed­i­tor, load the Slight Mod­u­lated FVAR pre­set, and as­sign a third slow LFO to the VStrength and VSpeed knobs, in op­pos­ing di­rec­tions, and the Noise gen­er­a­tor.

Newspapers in English

Newspapers from Australia

© PressReader. All rights reserved.