>Step by step

Create random arpeggiations with sample and hold

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The first step is to load a synth like Arturia Mini V3 into your DAW. Then click Menu and New Preset. This will initialise all of Mini V3 parameters to their default state. If you play the keys on your MIDI keyboard you should only be hearing a raw unaffected sawtooth patch. 2

Next we will enable the arpeggiator. Open the advanced menu in the top right-hand corner of the plugin window. Here we’ve opted for a 1/16th arp speed by setting the speed dial to Tempo*4.0. Click the Play button. Now when you hold more than one note on your MIDI keyboard the synth will play the arpeggiation. 3

For this sound a simple single OSC sawtooth will work nicely. The filter is set to fully open on default. Close the Cutoff Frequency down to around 270Hz and increase the filter emphasis (Resonance) to around 1.96. The filter envelope setting sounds good at the default setting. 4

Arpeggios are normally short and plucky, so our amp envelope needs to be set to fast Attack, short Decay and zero Sustain. This will result in a nice transient heavy pluck. 5

Inside the advanced modulation menu select Triggered S&H 1 as your modulation source. Next to it, select VCA Env Dec as the destination. Increase the Modulation Amount to around 0.0484. You will notice the intricate dynamics and fluctuations in amplitude. Almost as if the arp suddenly has a rhythm. 6

Assigning KBD to the Volume of OSC 2 enables us to control the loudness of OSC 2 depending on the keyboard position. Set the KBD Amount to -0.80. This makes the sound thicker in the lower frequencies due to the introduction of oscillator 2. The higher notes remain as a single sawtooth to prevent harsh top end.

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Another parameter we can randomise to bring this arp more character is VCO 1 FM. Select Triggered S&H 1 as your modulation source. Next, select VCO 1 FM as the destination. Increase the Modulation Amount to around 0.0153.

This achieves a slight variation in pitch of OSC 1.

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For a drastic change in timbre FM modulation can be used to great effect. One of the excellent design choices behind the Minimoog Model D is the ability to use OSC 3 as an LFO, which can also go up into audio rate. Set OSC 3 to the Triangle waveform and 2’ octave.

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Next, assign the following settings inside the modulation matrix. Set VCO 3 as the modulation source and VCO 1 FM as the destination. Increase the Modulation Amount to around 0.0509. You will now hear the timbre becoming more harmonically complex.

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Adding noise is one of the most effective ways to thicken up the sound whilst retaining the core structure of the timbre. It can also make your transients be perceived as more detailed. As a result, the patch will cut through within your mix. Increase the Noise Control to around -26.9.

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Using the same level of noise throughout each trigger of the arp can become too static. To overcome this we can also apply sample & hold to the noise level. Set Triggered S&H 1 as the modulation source and Noise AM as the destination. Increase the Modulation Amount to around 0.6732.

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The final touch for the arp is a delay effect, opting for un-synced timing and dialling it in by ear to the tempo of your project file. Settings used in this example: Time Left 364ms, Time Right 366ms; Wet Amount set to 20% and right channel Feedback increased to 0.65.