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My FruityLoops Questions (pg. 3)
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| Eugene |
Thank you guys!
I'lm continuing to work... :tongue2 |
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| Eugene |
Just to let you know, I posted the first version of my track in the "Amateur DJ's" forum already!
so if you want you can check it out ;)
the first track in my life... |
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| Floorfiller |
| since someone brought it up...i'm familiar with the volume envelope, but is there any use for the other ones i.e. cut/pan/res envelopes? i've tried playing with them and nothing really happens. anyone a master on these or can explain them a little better... |
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| kewlness |
cut is for "cutting" certain frequencies...
if you set cut to LP (Low Pass)... then when the cut knob value is low.. then only low frequencies will be heard.. When the knob value is high, then both low and high frequencies are heard... the opposite goes for HP (High Pass)... and for band pass, if the knob value is low, then low freq will be heard, if it's in the middle then middle freq will be heard, if it's high then the high freq will be heard.
Panning is for if you want certain sounds to be louder on one side of the speakers... a low value for panning means that the left channel is louder, a high value for panning means the right channel is louder...
I use res all the time, but I don't know how to accurately explain it so i'll just leave it to someone who knows his/her stuff more to explain |
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| NicklessGuy |
All these envelopes are pretty useful depending on the sound u want.
The main synth of Planisphere - Ozone uses a long attack in the cut envelope to sound that way, Joy Kitikonti - Joy energizer has a pitch envelope (and some LFO) in that main sharp sound.
Turning the cut value can make your sound muffled (LP) or sharper (HP).
Its pretty useful for making that sharp attack with soft flow (or the oposite) fell in your instrument.
The same for resonance, but it gives a diferent effect. Un can produce some noise or even a metal effect with it.
The Pan envelope u use when u want some sound that fades from one speaker to the other.
Playing so much with the cut/res values of your instrument can affect seriously its loudness, so, its wise sometimes to esu some compression on it |
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| Flotser |
| wow, thanx for the great tips NicklessGuy :) |
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| Floorfiller |
| quote: | Originally posted by NicklessGuy
All these envelopes are pretty useful depending on the sound u want.
The main synth of Planisphere - Ozone uses a long attack in the cut envelope to sound that way, Joy Kitikonti - Joy energizer has a pitch envelope (and some LFO) in that main sharp sound.
Turning the cut value can make your sound muffled (LP) or sharper (HP).
Its pretty useful for making that sharp attack with soft flow (or the oposite) fell in your instrument.
The same for resonance, but it gives a diferent effect. Un can produce some noise or even a metal effect with it.
The Pan envelope u use when u want some sound that fades from one speaker to the other.
Playing so much with the cut/res values of your instrument can affect seriously its loudness, so, its wise sometimes to esu some compression on it |
yeah thanks for a quick breakdown. i actually already understand all of those options just never messed with the sounds from that part of the program. should these have the same effect as say applying the same effects in the piano roll? or is it just more about the initial sound that you have? either way i'll play around hehehe. |
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| NicklessGuy |
Yeah, its more about the initial sound, the basic instruments instructios of how it its played, no matter what effects u put in it after.
For exemple, lets put it into numbers, u make a saw lead with a piano like cut envelope that starts with cut=10 and quickly goes down and sustain the cut in 6. Then, if u use some filter cutting in it after, it will bring down the average value of the sound
(ie: 10/6 -> 8/4) but the sound will still hav that cut diference in the first miliseconds, and that cant be done with the piano roll, unless r sound is really long and the effect is short, but even that, it will be a pain to make it through piano roll.
The sustain level is important there too, if u let it in maximum, lets say, the sound will play infinitely in the sequencer, so it only works in the piano roll, where u put a note in the lenght u want, while with the hold value high, the sound will forcely play that lenght no matter how tiny your note is.
want a useful exemple for the pitch LFO?
Try getting a noise generator, EQ it to make it thin and quiet, then, use the pitch LFO with sinewave form, maximun value and very high speed till it gets agressive, then right click the speed button, choose event editor, and draw a descending line to automatise the speed to go down. U will get that slowing phasing like little noise that is much used togheter with pads in breakdowns.
If u make it louder and more agressive, it becomes useful for techno (like joy kitikonti did) ;)
Hope this is for some help for anyone :happy2: |
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| Floorfiller |
| quote: | Originally posted by NicklessGuy
Yeah, its more about the initial sound, the basic instruments instructios of how it its played, no matter what effects u put in it after.
For exemple, lets put it into numbers, u make a saw lead with a piano like cut envelope that starts with cut=10 and quickly goes down and sustain the cut in 6. Then, if u use some filter cutting in it after, it will bring down the average value of the sound
(ie: 10/6 -> 8/4) but the sound will still hav that cut diference in the first miliseconds, and that cant be done with the piano roll, unless r sound is really long and the effect is short, but even that, it will be a pain to make it through piano roll.
The sustain level is important there too, if u let it in maximum, lets say, the sound will play infinitely in the sequencer, so it only works in the piano roll, where u put a note in the lenght u want, while with the hold value high, the sound will forcely play that lenght no matter how tiny your note is.
want a useful exemple for the pitch LFO?
Try getting a noise generator, EQ it to make it thin and quiet, then, use the pitch LFO with sinewave form, maximun value and very high speed till it gets agressive, then right click the speed button, choose event editor, and draw a descending line to automatise the speed to go down. U will get that slowing phasing like little noise that is much used togheter with pads in breakdowns.
If u make it louder and more agressive, it becomes useful for techno (like joy kitikonti did) ;)
Hope this is for some help for anyone :happy2: |
heheh yeah the puzzle is starting to come together...know wonder i can never make good sounds hehee. thanks again. |
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| NicklessGuy |
u r welcome :)
dont be frustrated if u cant get that very pro sound today, instead, be happy for it being better than the sound u did yesterday, cuz its on the slow way up to pro.
I think most people here (myself included) are on this path, lol |
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| Floorfiller |
| quote: | Originally posted by NicklessGuy
u r welcome :)
dont be frustrated if u cant get that very pro sound today, instead, be happy for it being better than the sound u did yesterday, cuz its on the slow way up to pro.
I think most people here (myself included) are on this path, lol |
hehehe yeah, but i'm a picky bastard...if it doesn't sound the way that i want it to then i can't move on...its a very slow process atm heehehe. thanks again ps. check your pm. i want to hear some of your suggestions as well... |
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| Eugene |
How do you set an FX for a particular channel?
When I click View -> FX, it gives me "Effects - Master".
I just wanna set FX for a particular channel.
thanks |
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