Very much helpful and you have very nice teaching skills and really much appreciated your effort for making such video. I understand how much hard is to make a good teaching video which can help us to easily understand. Thanks again and love from India.
Really useful video! Thanks! I'm only starting with film composition and I really needed this at this exact moment! Now I can go back to uni for year 2 all prepared. Hey, I just have a more advanced question that I'm wondering about! I'm working on my first Kontakt instrument, and it's an instrument that works by layering lots of looped horror material. My issue is that the sounds don't all cover the same octaves, and so layering them like normal in kontakt would be inconsistent and weird feeling. I have two ideas to solve this issue, one is to split the keyboard into sections and have each group take up it's own little space. Or instead I could create pitch knobs for each 'layer' and use these to pitch them independently. This is more similar to how synths handle pitch, in that you would pitch each oscillator independently and then merge them into one signal. I don't know if this would be a good idea XD But my issue is that I have no clue how to actually implement this. I can see that I would have to create a script that tells kontakt which sample (note value) to play depending on the knob. I wouldn't want to stretch the pitch, but swap to a sample of a different pitch. Thanks for reading my comment! I hope you can give me some advice! Edit: Alternatively I could just forget the layering, and let people do that themselves. I think I just wanted to highlight the importance of fading different instruments in and out in this genre.
Hey Joshua, glad you enjoyed the video and it was well timed for your course! In terms of your Kontakt question, I think it is an excellent idea to build in the extra functionality, as it is core to your genre's (horror) theme. I would be inclined to use groups and busses to help you out with this. If you put each sample into its own group, then you can use the group tune control to pitch the sample. If you want to control the pitch of several samples at once, you could use a loop to adjust, say, 5 groups at once instead of just one (check out my ADSR videos, its the same type of looping system) . Then, if you want to control the volume of each sample or a group of samples to fade in and out the sound, you could send each group or collection of specific groups to a separate bus and then use the $NI_BUS_OFFSET in the set_engine_par to control the volume of each bus. I'd use this method to keep the coding simple (which usually makes it more stable) and still have the tuning and volume controls you desire. Otherwise, spreading the different sounds out over the keyboard could be a great idea to. Plus you can colour the keys to show the sections (something I should really do a video on soon).
@@StephenOConnellCmdShiftNew awesome! I will go through these different ideas and see what works! I'm super grateful for your insight. This project is a bit ambitious for my first instrument 😅 I was hoping to include an instrument selector too. Haha. It's a lot of work. Thanks again.
@@StephenOConnellCmdShiftNew I think my question may have been slightly misunderstood though sorry! I think because what I'm wondering about doing is a little unusual. Basically I have made a variety of different horror loops that all span different ranges of octaves. This is because some only make sense when played at certain pitches. And I was wanting the engine to play two loops at once. Easy enough, except for the issue that the samples all have different ranges and thus would overlap inconsistently if layered. So I was wondering if there was a way for me to make it so that there is only one note for the player to press, and the value of the note that will be played is determined by two knobs, one for each loop. However, these loops don't take kindly to being pitch stretched and so I have already repitched them manually, while the files were huge which sounds much more accurate, and then rendered every other note at a smaller file size for use in the instrument. My question, no worries if you can't answer, is whether I could somehow tell kontakt to play a different note than the one which the user is actually pressing, or control what sample is being played. One terrible way I can think to do this is to split every key of one loop into separate groups 🤦♂️ but that would be pretty nonsensical. Anyways I don't want to use up your time! Thanks for your response I'm going to have to investigate this a bit more 😆
Friend, I have a question. I needed to insert new signatures at moments where they are not exactly in time, not even in subdivisions of time, I would like to start a new signature anywhere and from there start a new time, how do I do that? In ProTools I did this in a very practical way, anywhere in the session I wanted I could start a new measure. In Logic this is very difficult, it seems that the software does not accept a new measure unless it is exactly in some subdivision of the song.
Hey, I believe that is the way Logic hands it, it's unable to create a new meter unless it is from the start of a bar. My advise in this situation (and this is how I work when scoring); Find the closest beat or subdivision to where you want the new time signature. Work out what the bar leading up to it would be and change the time signature on that bar (example: if you are in 4/4 time and the closes subdivision is beat 4 of the 4/4 time, change the time signature of the bar to 3/4 so the closest beat is now a beat 1). Then, on that odd bar (for example, the 3/4 bar), add a tempo point at the start and at the end. Then, change the end tempo time code to match the exact moment where you want the new bar. This will stretch only that odd 3/4 bar and place the next bar's beat 1 at the point where you want to create the new timesignature. From there, you can create a new bar. It is definitely a fiddly process and is a nightmare when trying to adjust after writing music already haha.
@@StephenOConnellCmdShiftNew This is definitely not "Logical"!!! ahuahua I'm also doing it like this, but it's a nightmare having to do these calculations during the creative process, especially when working with MIDI. This is something they should change as soon as possible! Thanks for the tip anyway my friend!
Wow - Very helpful - More tutorials on changing time signatures and tempo mapping in Logic please!
I'll certainly see what I can do!
How does this video only have 428 views? It's absolutely brilliant! Thank you so much, this was really helpful! :)
I agree!
Ah, if only it went viral, I'd love that haha. I'm very glad you enjoyed it though and found it useful!
Very much helpful and you have very nice teaching skills and really much appreciated your effort for making such video. I understand how much hard is to make a good teaching video which can help us to easily understand. Thanks again and love from India.
Brilliant video!! Thanks Stephen!
Thank you
thanks!
Really useful video! Thanks! I'm only starting with film composition and I really needed this at this exact moment! Now I can go back to uni for year 2 all prepared.
Hey, I just have a more advanced question that I'm wondering about!
I'm working on my first Kontakt instrument, and it's an instrument that works by layering lots of looped horror material. My issue is that the sounds don't all cover the same octaves, and so layering them like normal in kontakt would be inconsistent and weird feeling.
I have two ideas to solve this issue, one is to split the keyboard into sections and have each group take up it's own little space. Or instead I could create pitch knobs for each 'layer' and use these to pitch them independently. This is more similar to how synths handle pitch, in that you would pitch each oscillator independently and then merge them into one signal. I don't know if this would be a good idea XD But my issue is that I have no clue how to actually implement this. I can see that I would have to create a script that tells kontakt which sample (note value) to play depending on the knob. I wouldn't want to stretch the pitch, but swap to a sample of a different pitch.
Thanks for reading my comment!
I hope you can give me some advice!
Edit: Alternatively I could just forget the layering, and let people do that themselves. I think I just wanted to highlight the importance of fading different instruments in and out in this genre.
Hey Joshua, glad you enjoyed the video and it was well timed for your course! In terms of your Kontakt question, I think it is an excellent idea to build in the extra functionality, as it is core to your genre's (horror) theme. I would be inclined to use groups and busses to help you out with this. If you put each sample into its own group, then you can use the group tune control to pitch the sample. If you want to control the pitch of several samples at once, you could use a loop to adjust, say, 5 groups at once instead of just one (check out my ADSR videos, its the same type of looping system) . Then, if you want to control the volume of each sample or a group of samples to fade in and out the sound, you could send each group or collection of specific groups to a separate bus and then use the $NI_BUS_OFFSET in the set_engine_par to control the volume of each bus. I'd use this method to keep the coding simple (which usually makes it more stable) and still have the tuning and volume controls you desire. Otherwise, spreading the different sounds out over the keyboard could be a great idea to. Plus you can colour the keys to show the sections (something I should really do a video on soon).
@@StephenOConnellCmdShiftNew awesome! I will go through these different ideas and see what works! I'm super grateful for your insight. This project is a bit ambitious for my first instrument 😅 I was hoping to include an instrument selector too. Haha. It's a lot of work. Thanks again.
@@StephenOConnellCmdShiftNew I think my question may have been slightly misunderstood though sorry!
I think because what I'm wondering about doing is a little unusual.
Basically I have made a variety of different horror loops that all span different ranges of octaves. This is because some only make sense when played at certain pitches. And I was wanting the engine to play two loops at once. Easy enough, except for the issue that the samples all have different ranges and thus would overlap inconsistently if layered.
So I was wondering if there was a way for me to make it so that there is only one note for the player to press, and the value of the note that will be played is determined by two knobs, one for each loop. However, these loops don't take kindly to being pitch stretched and so I have already repitched them manually, while the files were huge which sounds much more accurate, and then rendered every other note at a smaller file size for use in the instrument.
My question, no worries if you can't answer, is whether I could somehow tell kontakt to play a different note than the one which the user is actually pressing, or control what sample is being played. One terrible way I can think to do this is to split every key of one loop into separate groups 🤦♂️ but that would be pretty nonsensical.
Anyways I don't want to use up your time! Thanks for your response I'm going to have to investigate this a bit more 😆
Friend, I have a question. I needed to insert new signatures at moments where they are not exactly in time, not even in subdivisions of time, I would like to start a new signature anywhere and from there start a new time, how do I do that? In ProTools I did this in a very practical way, anywhere in the session I wanted I could start a new measure. In Logic this is very difficult, it seems that the software does not accept a new measure unless it is exactly in some subdivision of the song.
Hey, I believe that is the way Logic hands it, it's unable to create a new meter unless it is from the start of a bar. My advise in this situation (and this is how I work when scoring); Find the closest beat or subdivision to where you want the new time signature. Work out what the bar leading up to it would be and change the time signature on that bar (example: if you are in 4/4 time and the closes subdivision is beat 4 of the 4/4 time, change the time signature of the bar to 3/4 so the closest beat is now a beat 1). Then, on that odd bar (for example, the 3/4 bar), add a tempo point at the start and at the end. Then, change the end tempo time code to match the exact moment where you want the new bar. This will stretch only that odd 3/4 bar and place the next bar's beat 1 at the point where you want to create the new timesignature. From there, you can create a new bar. It is definitely a fiddly process and is a nightmare when trying to adjust after writing music already haha.
@@StephenOConnellCmdShiftNew This is definitely not "Logical"!!! ahuahua I'm also doing it like this, but it's a nightmare having to do these calculations during the creative process, especially when working with MIDI. This is something they should change as soon as possible! Thanks for the tip anyway my friend!