Buildup and Drops using Automation
General
In this assignment we will use Envelope automation to create dynamic sounds that build up and then use LFO automation in Operator to create a harsh bass drop. As a possible motivation check out this Skrillex example around 50sec to 1:10. You are free of course to create a very different buildup and drop, as long as it makes good musical sense.
Learning Objectives:FM Instrument with Modulated SwD
Clip Envelope Automation
Use of LFO in Operator
Using Noise sweep with AutoFilter
Creating an accelerated drum roll with Arpeggiator
Freezing tracks / Resampling
HOW TO:
1. Creating a noise buildup by Envelope Automation
In class we have shown how to use the Envelope Automation to create a sweeping noise. Here is a short summary:
Create a new track with Operator and select Noise as the waveform or find a noise sample and drop it into Simpler.
Drop the AutoFilter down the signal chain and choose a Bandpass setting (second shape from the right). Adjust the Res so you can hear a rumble noise at low Freq.
Draw an 8 bar single note (C3) in the midi clip. You can extend the clip duration by dragging the right end of the clip in the Midi Note Editor or typing in Length in the Note box in Clip View.
Select Auto Filt and Frequency in the Envelope drop down menus of the Clip View.
Draw a curve that moves up slowly from 30Hz to about 140Hz at the end of bar 7 and then suddenly rises to 20KHz
2. Creating a drum buildup using single drumming sample:
Use a Simpler or Impulse with a snare-like sample. Drop an Arpeggiator effect before the instrumetn. Enter a single note in a midi clip a to activate the snare sample. Use the rate envelope parameter in Arpeggiator and draw an automation curve to slowly increase the rate of the drumming.
Use both buildups simultaneously (arrange them together) to create a buildup.
3. Creating a Bass Drop:
Here is a short summary of Bass Design we did in class:
In this example we will use an FM bass instrument to create sounds that are more harsh and have the typical dubstep fluttering. You may start with similar setting as in the deep house example (FM with two oscillators) or design from scratch.
Change the sound of Osc A to SwD.
Set the Coarse and Level of Osc B to create a harsh sound.
Check/modify the envelope of Osc B so that it has has sufficient sustain portion that will allow modulation with LFO during the sustain portion. (Reminder - the volume envelope is controlled in the middle window after clicking on the Filter pane on the right. Remember to click the small Envelope square below the graph to switch to the correct graph.)
Activate the LFO button and choose Sync as the rate
Set the Rate to 1/4 for now. You will play with the Rate and Amount later according to your taste
In the center window choose the destination Dest A to be FIL (found under the Envelope graph to the right. Turn off the A-D buttons that affect pitch and turn on FIL).
Go to Filter to set the range to about 1.5-2 kH
Optional: Set Dest B to OSC Volume B to create a smoother fluttering.
4. Putting a Drop Together by Freezing and resampling
Next we will use Freezing to create several variations on the bass sound and put them together into one bass line.
Freezing:
In MIDI clip draw a C1 note for a whole bar
Freeze that track (use right-click / contextual menu in the track title).
Drag the frozen clip to an Audio Track
Unfreeze the track and try other sound settings, such as higher or lower LFO rates, also you may want to change the note to C1# or other note of your choice. For each setting Freeze and Copy the new sound to the Audio Track.
Resampling:Once you have enough possible clips, assign a keyboard key using the Key button.
In Clip View select the L button and set the Launch Quantization to 1/2 or shorter.
Improvise with the track.
Route the Audio Track output to another Audio Track. Arm it and record a 16 Bar long improv.
Additional (optional) modifications:Add Saturator at the end of the signal chain.
Add Compressor.
Add Simple Delay. Change Sync on both channels to Time, with 4.00 and 40.00 ms on L and R. Increase the Dry/Wet to your satisfaction.
You may want to experiment with other designs of the FM sound, such as using SwD for OSC A, or changing the Coarse rate on OSC B.
Final Submission:
Record individually the drum buildup, noise sweep and each of the bass segments and bounce it to a sound file.
Arrange the individual sounds (buildup in parallel and drop one after the other) to create a buidup and drop track. Bounce it to a separate sound file.
Upload both files to soundcloud. Deadline May 8.
In this assignment we will use Envelope automation to create dynamic sounds that build up and then use LFO automation in Operator to create a harsh bass drop. As a possible motivation check out this Skrillex example around 50sec to 1:10. You are free of course to create a very different buildup and drop, as long as it makes good musical sense.
Learning Objectives:FM Instrument with Modulated SwD
Clip Envelope Automation
Use of LFO in Operator
Using Noise sweep with AutoFilter
Creating an accelerated drum roll with Arpeggiator
Freezing tracks / Resampling
HOW TO:
1. Creating a noise buildup by Envelope Automation
In class we have shown how to use the Envelope Automation to create a sweeping noise. Here is a short summary:
Create a new track with Operator and select Noise as the waveform or find a noise sample and drop it into Simpler.
Drop the AutoFilter down the signal chain and choose a Bandpass setting (second shape from the right). Adjust the Res so you can hear a rumble noise at low Freq.
Draw an 8 bar single note (C3) in the midi clip. You can extend the clip duration by dragging the right end of the clip in the Midi Note Editor or typing in Length in the Note box in Clip View.
Select Auto Filt and Frequency in the Envelope drop down menus of the Clip View.
Draw a curve that moves up slowly from 30Hz to about 140Hz at the end of bar 7 and then suddenly rises to 20KHz
2. Creating a drum buildup using single drumming sample:
Use a Simpler or Impulse with a snare-like sample. Drop an Arpeggiator effect before the instrumetn. Enter a single note in a midi clip a to activate the snare sample. Use the rate envelope parameter in Arpeggiator and draw an automation curve to slowly increase the rate of the drumming.
Use both buildups simultaneously (arrange them together) to create a buildup.
3. Creating a Bass Drop:
Here is a short summary of Bass Design we did in class:
In this example we will use an FM bass instrument to create sounds that are more harsh and have the typical dubstep fluttering. You may start with similar setting as in the deep house example (FM with two oscillators) or design from scratch.
Change the sound of Osc A to SwD.
Set the Coarse and Level of Osc B to create a harsh sound.
Check/modify the envelope of Osc B so that it has has sufficient sustain portion that will allow modulation with LFO during the sustain portion. (Reminder - the volume envelope is controlled in the middle window after clicking on the Filter pane on the right. Remember to click the small Envelope square below the graph to switch to the correct graph.)
Activate the LFO button and choose Sync as the rate
Set the Rate to 1/4 for now. You will play with the Rate and Amount later according to your taste
In the center window choose the destination Dest A to be FIL (found under the Envelope graph to the right. Turn off the A-D buttons that affect pitch and turn on FIL).
Go to Filter to set the range to about 1.5-2 kH
Optional: Set Dest B to OSC Volume B to create a smoother fluttering.
4. Putting a Drop Together by Freezing and resampling
Next we will use Freezing to create several variations on the bass sound and put them together into one bass line.
Freezing:
In MIDI clip draw a C1 note for a whole bar
Freeze that track (use right-click / contextual menu in the track title).
Drag the frozen clip to an Audio Track
Unfreeze the track and try other sound settings, such as higher or lower LFO rates, also you may want to change the note to C1# or other note of your choice. For each setting Freeze and Copy the new sound to the Audio Track.
Resampling:Once you have enough possible clips, assign a keyboard key using the Key button.
In Clip View select the L button and set the Launch Quantization to 1/2 or shorter.
Improvise with the track.
Route the Audio Track output to another Audio Track. Arm it and record a 16 Bar long improv.
Additional (optional) modifications:Add Saturator at the end of the signal chain.
Add Compressor.
Add Simple Delay. Change Sync on both channels to Time, with 4.00 and 40.00 ms on L and R. Increase the Dry/Wet to your satisfaction.
You may want to experiment with other designs of the FM sound, such as using SwD for OSC A, or changing the Coarse rate on OSC B.
Final Submission:
Record individually the drum buildup, noise sweep and each of the bass segments and bounce it to a sound file.
Arrange the individual sounds (buildup in parallel and drop one after the other) to create a buidup and drop track. Bounce it to a separate sound file.
Upload both files to soundcloud. Deadline May 8.
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