Synth [CLOT] Zero-Thru Detuning
This one is a quickie two-Element patch that will work with Rapture or any Dimension(s). The tutorial is divided into three parts: easy, intermediate, and "more involved". You can stop at any major division here, and still have a usable patch. The point here is to use waveforms with a lot of harmonics, no filters, and still get a rich-sounding sweep with little effort. The approach is similar to 'through-zero' flanging, using slight amounts of offset detuning with LFOs. You might want to enable the
Limiter at this point.
1). Load up the Brass 04.wav from the Multisample/Oscillator window in Element 1. In Dimension, it's in
00 - Wavetables; in Rapture:
072. It doesn't matter what it is, as long as it's bright. No sine or triangle .wavs, but square, saw, and just about anything else is fine.
2). This is the tough part: the
Amp EG. You only have to do it once. Do yourself a favor, and fine tune with the (Qwerty) arrow keys. It's a pretty standard ADSR-type of shape, so it'll come in handy later. There a fairly sharp attack/decay with staccato playing; reminiscent of a plucked instrument. Legato playing brings in a thicker pad with somewhat of a Doppler Effect.
EG Status: On
Depth: 100
Vel -> int: 0.0
Vel -> tim: 0.0
VelTrack: 100
Amplitude - # 0/4 time: 0.0 tdif: 0.0 level: 0.000 (Default position.)
Amplitude - # 1/4 time: 0.1 tdif: 0.1 level: 1.000 (You need to zoom way in for this.)
Amplitude - # 2/4 time: 450.0 tdif: 499.9 level: 0.500 (Unnecessary; illustrates standard ADSR envelopes.)
Amplitude - # 3/4 time: 500.0 tdif: 50.0 level: 0.500 (Press "S" to make this the [orange line] sustain point.)
Amplitude - # 4/4 time: 1000.0 tdif: 500.0 level: 0.500 (Press "N" for an exponential [blue] curve.)
3). Go to the
Pitch Modulator, and in the in the
Pitch LFO:
Waveform: 1 - Sine
Status: On
Freq: 1.00
Sync; N/A
Delay: 0.50
Fade: 0.50
Depth: 10
4). Right-click on
E1, and
Copy Element. Right-click on
E2, and
Paste Element. At this point, we've simply doubled everything up exactly. In the
Pitch LFO in
E2, change the following setting:
Freq: 0.50
The Delay times in the LFO's are a half-second; the same amount of time that the Amp EG takes to settle it's initial decay to the sustain level. Over the next half-second, the
Fade time brings up the two LFO Depths gradually at different frequencies. The slight Depths create cancellations & reinforcements for a swirling detuned pad texture. That's the basic patch. You really have to go no further. But ...
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For the adventureous: Shift+click on
E2's
Pitch LFO GUI, and drag the waveform out of phase with
E1's. Change the waveform shape to another dissimilar form. In Rapture, you can use the Random generators or a user-defined LFO. Adjust the relationship between the
Freq in
E1 &
E2.
For the Leslie freaks: Break out the MIDI Matrix (third icon of four), and assign four slots using the same MIDI
Source. I used Channel Aftertouch, but feel free to substitute the Mod Wheel. etc.
MIDI Matrix Slot 1
Source: Channel Aftertouch
Destination: Pitch LFO Depth 1
Depth: -10
Smooth: 3.0
MIDI Matrix Slot 2
Source: Channel Aftertouch
Destination: Pitch LFO Depth 2
Depth: -30
Smooth: 2.0
MIDI Matrix Slot 3
Source: Channel Aftertouch
Destination: Pitch LFO Freq 1
Depth: 2.5
Smooth: 2.0
MIDI Matrix Slot 4
Source: Channel Aftertouch
Destination: Pitch LFO Freq 2
Depth: 2.5
Smooth: 5.0
In the example above, a harder press on the keyboard controller increases both the depth & speed of the detuning effect in different amounts (per-LFO). This is a great framework for swapping Multisamples in & out. The basic structure remains, but the sound source will change the entire character around in the results. Try Chimes, Organ, different sync waveforms per-Element, FM; anything with 'some meat on its bones'. And break out your sustain pedal.
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Still here? OK, we'll add some filters to the mix, and that'll pretty much push the subtle detuning to the background. We're going to steal the envelope from the
Amp EG, and the LFO's from the
Pitch Modulators, and let those control the filter cutoff(s) and resonance(s). Stay 'within your Element' here to match the filter actions to the detuning setup.
In Element 1: Select a
LP 6p filter, and leave the
Cutoff knob at 8.2 Hz.
Right-click/
Copy Envelope on the
Amp icon. Right-click/
Copy LFO on the
Pitch icon. Go to both the
Cut(1) &
Reso(1) icons, and right-click/
Paste Envelope, then
Paste LFO. The envelope & LFO go into both filter parameters.
In Element 2: Select a
Comb filter, and leave the
Cutoff knob at 8.2 Hz. Repeat the exact Copy/Paste procedure above; isolated within
E2. The settings will tranfer into filter parameters in a lighter fashion. If you decide to bump up the
Depth or
VelTrack in any of these, be sure to have your
Limiter set to On at this point. The filters here will accent staccato playing moreso than sustained notes. To revert back to the original patch, disable the
Filter in
E1 &
E2, and set the
Cut &
Reso Status to Off in both Elements.
If you'd like to somewhat match the "Leslie" response above, and add filtering to your Doppler Effect, you might add the following in eight more slots to the MIDI Matrix:
MIDI Matrix Slot 5
Source: Channel Aftertouch
Destination: Cutoff LFO Depth 1
Depth: -1200
Smooth: 1.0
MIDI Matrix Slot 6
Source: Channel Aftertouch
Destination: Cutoff LFO Depth 2
Depth: -1800
Smooth: 3.0
MIDI Matrix Slot 7
Source: Channel Aftertouch
Destination: Cutoff LFO Freq 1
Depth: 2.5
Smooth: 3.0
MIDI Matrix Slot 8
Source: Channel Aftertouch
Destination: Cutoff LFO Freq 2
Depth: 2.5
Smooth: 2.0
MIDI Matrix Slot 9
Source: Channel Aftertouch
Destination: Reso LFO Depth 1
Depth: -1.0
Smooth: 3.0
MIDI Matrix Slot 10
Source: Channel Aftertouch
Destination: Reso LFO Depth 2
Depth: -3.0
Smooth: 5.0
MIDI Matrix Slot 11
Source: Channel Aftertouch
Destination: Reso LFO Freq 1
Depth: 2.5
Smooth: 1.0
MIDI Matrix Slot 12
Source: Channel Aftertouch
Destination: Reso LFO Freq 2
Depth: 2.5
Smooth: 1.0