Us­ing mix el­e­ments to trig­ger fil­ter mod­u­la­tion

With Cy­tomic The Drop’s ex­ter­nal sidechain in­put, we can use any au­dio from our DAW to trig­ger mod­u­la­tion – here’s how to make the most of it

Future Music - - FEATURE -

We asked Cy­tomic’s An­drew Sim­per for fil­ter-mod­u­lat­ing tips. “Since The Drop has a sec­ondary au­dio in­put, you can use any au­dio sig­nal as the source for mod­u­la­tion. This opens up a world of cre­ative pos­si­bil­i­ties, be­cause sud­denly you can have a vir­tu­ally un­lim­ited num­ber of mod sources. You can use the reg­u­lar sum­ming in your DAW to process mod­u­la­tion sig­nals and send them to the plugin; or you can use de­lay, re­verb, EQ, com­pres­sion, or any­thing else you can do to an au­dio source. In other words, you can get some se­ri­ously cool sounds!”

To put An­drew’s tip to the test, we’re go­ing to demon­strate some cre­ative fil­ter mod­u­la­tion in the con­text of a track. By rout­ing a du­pli­cate copy of a kick into The Drop’s sidechain in­put, we cre­ate a silent sig­nal to trig­ger mod­u­la­tion that moves in tempo with it.

Af­ter pip­ing an iden­ti­cal copy of our track’s kick into The Drop’s ex­ter­nal in­put, we head to En­ve­lope 1, se­lect­ing IN SC as the Source, so that the en­ve­lope re­sets ev­ery time an ex­ter­nal sig­nal is re­ceived. We pull down the right­most low-pass fil­ter’s cut­off to muf­fle the chords.

Let’s set up mod­u­la­tion in The Drop’s cen­tre mod ma­trix. To wob­ble LP fre­quency via the first en­ve­lope, we’ll tog­gle LP FREQ in the up­per row of des­ti­na­tions, then se­lect ENV 1 along the bot­tom row of sources. Crank­ing up ENV 1’s Amount ap­plies pos­i­tive mod­u­la­tion.

Our ex­ter­nal trig­ger sig­nal is re­set­ting the first en­ve­lope with each hit. We can cus­tomise the fil­ter sweeps by ad­just­ing ENV 1’s At­tack, Hold, Re­lease and Sen­si­tiv­ity amounts, caus­ing the chords to dance and weave around the track’s bro­ken kick pat­tern.

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