Computer Music

>Step by step

Using macros strategica­lly

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1

For the first step, we will load a preset inside Arturia Pigments. For this example, we chose a preset named 041 AT Lead – Equinox, from the Audiotent Binary preset library. Make sure to initialise all four macros, as we’ll be assigning new parameters to them in the following steps.

2

The first Macro we’ll be creating will be called Timbre. Its core focus will be to alter the harmonic identity of the sound. To start off, assign Macro 1 to the Engine 1 Wavetable Position parameter. Increase the amount of modulation all the way up to 1.00.

3

FM Frequency modulation can be one of the most drastic changes one could have to the timbre. Small amounts can often be enough, however in our case a maximum amount of 0.70 delivered the result that we were looking for.

4

One of our favourite ways to thicken up a sound is to use oscillator detune. Increasing the amount of voices will result in a larger and wider patch. Assign Macro 1 to Voices with a maximum value of 0.30.

5

Another useful way to alter the sound without directly affecting its core tone would be to adjust the main amp envelope. Assign Macro 1 to ENV VCA Attack with a max value of 0.14. As a result, when increasing the Macro, the sound will have a softer transient.

6

A key element of wavetable synthesis is its ability to manipulate the waveform with a process called wavefoldin­g. Just like FM synthesis it can deliver a severe transforma­tion to the timbre of the preset. Assign both Wavetable Fold & Fold Amount to Macro 1 with max values of 0.72.

7

For the second macro we are going to focus on building an effects chain that can be used for adding space and intensity to the patch. Perfect for making transition­s throughout your arrangemen­t.

8

The first assignment for Macro 2 is the 30% dry/wet amount of a Ping Pong Delay. For the settings of the Delay we have used: Time ¼, Feedback 0.59, HP Freq 215 Hz, LP Freq 5365 Hz. This gives us a nice extension in the stereo field as well as rhythmic intensity.

9

Reverb is ideal for extending the depth of the sound as well as adding a padlike ambience. We are trying to replicate a big hall effect by choosing large settings for Size 1.55 and Decay 0.664. Assign Macro 2 to Reverb Dry/Wet at a maximum value of 0.30.

10

Another effect inside Pigments that can be used to add character to the sound is Distortion. As the delay and reverb start to build up, the dry signal can start to get a little lost. Increasing the amount of distortion will help the sound cut through. Assign Macro 2 to Distortion Dry/Wet 10% and Drive 80.

11

A fair amount of noise is already present in the patch. When the delay and reverb reach their peak we can introduce even more drama to the sound by increasing the noise amount. Assign Macro 2 to Engine 2 Noise Volume 0.20.

12

The final assignment for Macro 2 is not an effect but rather an effective trick to add suspense during key moments of the arrangemen­t. The lengthenin­g of the Env VCA Release allows the notes to sustain for longer. Assign Macro 2 to Env VCA Release at a value of 0.13.

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