Remember to make sure that the FM routing is set as described above (FM routing illustration) Now, for the moment deactivate Oscillator C, so that we are only hearing Oscillators B into A. Right click above the button that says to get this context menu. Now add a clip which plays 4 notes at C1 so that the Operator plays a noise.Ĭopy the oscillator A to all other oscillators, using this right click (option) command. Set the FM routing the the one shown, the “square” with B into A and D into C. The short decay time is important because it affects how quickly the modulation will affect volume changes(!) Set the Oscillator A amplitude envelope as shown: with a short attack and a short decay, high sustain. If your filter is activated deactivate it for the moment. In Session view: Drag in an Operator to an empty track and on Operator’s interface deactivate all but one oscillator “A”. Preferably a built in synth, but any VST ought to work if it has plenty of knobs. This tutorial is based around Ableton’s Operator, but any synth will work. Right, enough technical theory, here’s where we make stuff! In Live 10 Ableton enhanced the modulation abilities with a whole bunch of new features, this tutorial takes those features and makes them playable, fun, exciting! Modulation envelopes existed in Live for a long time but were hidden away in Live 9. Here modulation is in blue and Automation in red. To visualise that interaction better I’ve created this visualisation overlaying the modulation over the Automation. There is a red dot in the pull-down for the Automation and the Blue dot shows there is also Modulation on this parameter.Īutomation controls the knob, and Modulation acts upon the Automation. Notice that the “Aut” (Automation) toggle switch is active, so we are viewing the Automation. Here is an Automation envelope for the Filter Cutoff parameter. You are probably familiar with Ableton Live’s Automation envelopes, but not so many people are familiar with their sibling – the Modulation Envelopes. When every parameter is automated the sounds of even the most basic synth becomes far more expressive. ![]() If you want complex engaging sounds from your instruments, or want to jam out and play those sounds live to become inspired – it’s great to have rhythmic envelopes and modulation giving complexity to the sounds you are playing in real time.Ī rhythmic evolving parameter sequence which follows your fingers as you play, monophonic or polyphonic rhythmic parameter sequencing. Sequenced parameters in Ableton’s Operator Ī single Ableton Operator playing a series of sequenced sounds, with no effects ![]() Take a listen to the sort of thing you can make. This tutorial shows how to create something similar to both, an exciting unique sound with stock Ableton instruments. You might be familiar with the sounds of wave-sequencing from the Korg WaveStation, or the rhythmic envelopes of Native Instrument’s Absynth. If you want to get a full comprehensive learning experience on the unique world of modular synthesis this masterclass will cover everything you need to know, now back to the article Sequenced Modulation improves your sounds and playability. Create your own patches with which are playable in real time with animated dynamic modulation for some unique and flexible sounds! īy using this technique you will make unique and exciting rhythmic synth sounds only using stock Ableton instruments. We will be making this bendy modulated bass sound, though the technique stretches far further than just bass sounds, into pads, riffs, drums and beyond. ![]() This tutorial shows how to make a fat and exciting bass sound which you can play in real time by modulating the tonality to give complexity and giving rhythmic inflections which engage listeners and keep your mix clean and tidy But that can fill a mix and still lack punch and interest. Virtual synths can sound static and lifeless which leads many to overcompensate with layers.
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