11/9/2022 0 Comments Alchemy vst logic![]() ![]() Also experiment with different filter strength, so a 24dB setting, for example, will appear darker than a 12dB option.Įnveloping on both the filter and amplifier further softens the sound – with a graduated attack, medium decay, moderate sustain and a slow release. In effect, the KeyFollow makes the lower notes darker, and the higher notes slightly brighter, so the cutoff point has some musical relationship with key position. With the filter, it’s often a good idea to add a degree of KeyFollow, so that the filter tracks the keyboard position, resulting in a sound that maps across the whole range of the keyboard rather than sounding muted in the upper octaves. ![]() The next objective is to ‘soften’ the pad sound, which is currently bright and harsh, using a combination of filtering and envelopes. Adding another oscillator, playing a sawtooth slightly out-of-tune with the PWM effect, produces a sound much bigger than just two oscillators would suggest. Get the rate and depth of the modulation right, and the effect almost sounds like two oscillators ‘beating’ against one another. As the name suggests, pulse-width modulation uses an LFO to modulate the width of a square/pulse wave so that the waveshape is constantly changing. Another option is to use two LFOs, each at different rates and depths, so that the oscillators weave in and out of pitch with each other.Īnother interesting solution is the classic PWM (or pulse-width modulation) pad, which was often used on one-oscillator synthesisers as a means of fudging a sound similar to detuned sawtooths. The simplest option, of course, is to detune the oscillators using the fine-tune control – maybe using three oscillators and pitching two of them up or down, respectively. With respect to the detuning effect, there’s two solutions you’ll want to explore, possibly even using a combination of the two approaches. The classic, archetypal pad sound is formed from a combination of sawtooth waves, arguably mimicking the sound of multiple players performing together but with each voice slightly out of tune. Although we’re concentrating on Alchemy, there’s no reason why some of these techniques can’t be used on Logic’s other analogue-like synthesisers (namely, Retro Synth and the ES2), or indeed, other third-party instruments. For the purposes of this workshop, we’re going to concentrate on the basics of pad creation, and particular, the process of creating the kind of lush analogue pads that we’re used to hearing from classic synths like the Roland Jupiter-8 or Yamaha CS-80. ![]()
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