I is finally able to automate the timestretch parameter in FL 20 but only for the granulizer and harmor…thank you…been wanting to be able to do that for a while
Feedback loops in Ableton Live
Warp/stretch melody samples and make music.
Greatest trick that i discovered. You dont have to stay quantized. Just loop you sound/notes/melody so it feets the bar. If you can loop it you got it.
bitcrusher + combfilter/reverb with small roomsize & high diffusion + ott = instant artifacts
Chain distortion after eq.
Automate eq . Works best with fatter samples.
A fast lfo modulating volume of a sound in conjunction with compression to enhance distortion…
using sends to pan a sound left and right with unique distortion settings placed on the left and right channels to create stereoized distortion… and then sending the sends back into a bus to eq and compress and eq again…
Fun with REX files
Make a trap beat at 140-145 bpm then change pitch of that track -40% and you got yourself super trap track.
adjust the velocity in pianoroll
Whenever designing a synth, attempt to route the smallest variable that is available. Adding extreme amounts of any parameter usually only nets in destructive synthesis.
Attempt to get a rich harmonically full sound, then bus it out to sends, and process the sound on those channels.
(nothing new, just wanted to add to this )
Abusing this everywhere
I don’t even know what it’s supposed to do
I don’t care, it does weird things
I call it the rubber-band effect. It makes basses excellent, regardless
IIRC it’s all-pass filter (so basically phase modulation) with automatIc gain reduction (or boost). Great tool because of simplicity. Makes things sound somewhat vocoder-ish too.
Sometimes called phase rotation. It’s a great implementation. Love it on bassy material. It’s a process also used in radio broadcasting - gives that particular texture, particularly in the vocal.
I was looking for an automatic EQ to kill the fundamental of a sine even if I play chords, to avoid harsh sounds.
I noticed that Serum’s keytracking is polyphonic, so I used a keytracked 24db/o Notch filter, done
Scale the amount with d/w and don’t use pitch bend or glide (or maybe I’ll look for a way to properly glide/bend the filter)
Distortion after reverb, low in the mix on a send or something, can create this really aggressive and sinister undertone.
GlissEQ has the best spectrum analyzer in the world.
I found a cool way to accentuate squelches and add some spatialization to acid basslines. Just put send it to a slapback send with no feedback, hipass everything below the midrange on the delayed signal and blend it in to taste!
Soft clipping changed my whole life