Really cool sound! If I understand correctly, sidechaining modulation acts almost like the amp control on an LFO, right? So env 1 controls the movement of the modulation, but the sidechained macro determines its maximum value?
Correct, it acts like a volume control for the amount of modulation applied to a control - with the up arrow working with positive modulation values (so to speak) and the down arrow negative. Remember you can also use a modulator to control the SC - so you could have an LFO controlling the amount of envelope modulation being applied to the filter cut off frequency. Sidechain modulation also gives you the option to automate modulation amounts, So with this chord sound, I could automate the amount of envelope modulation being applied to the cut off.
great tutorial. I don't understand though what would be different if i just automate the filter cut off simply. What does using SC to automate it brings to it , (makes it different )?
Depending on how you set up the modulator, they yeah potentially it will sound different. I mostly tend to automate the cut off using the SC modulator as to me it sounds a bit deeper and warmer.
So this "chord" is not meant to be played as a chord is it? bc/ it doesn't sound as good if there are 4 notes being played simultaneously. Also, thank you for the side note of mono to stereo. If Izotope would have demonstrated this I probably would have spent the money on their Ozone advanced, but they didn't so I didn't know what the hell they were good for!!!! Thank you. :-)
The chord is programmed within the synth - the different ratio's on the operators creating the effect of you holding down 3 notes in a natural minor scale, so to create this sound and hold down 4 notes on the keyboard you'd be effectively playing back 12 different notes. It depends on the notes you play back as to whether chords will work with this type of sound - notes an octave apart will sound good, as will notes 5 semitones apart. However, bare in mind with this type of chord sound every note you play, you'll also be playing back a note +3 and +7 semitones above that note.
Thank you so much for finally adding some processing to your tutorials! Keep 'em coming!
Christopher Pisz There's actually quite a few! If you go back through the older videos.
Really cool sound! If I understand correctly, sidechaining modulation acts almost like the amp control on an LFO, right? So env 1 controls the movement of the modulation, but the sidechained macro determines its maximum value?
Correct, it acts like a volume control for the amount of modulation applied to a control - with the up arrow working with positive modulation values (so to speak) and the down arrow negative. Remember you can also use a modulator to control the SC - so you could have an LFO controlling the amount of envelope modulation being applied to the filter cut off frequency.
Sidechain modulation also gives you the option to automate modulation amounts, So with this chord sound, I could automate the amount of envelope modulation being applied to the cut off.
***** Totally makes sense, thanks!
Great vid mate cheers :)
great tutorial. I don't understand though what would be different if i just automate the filter cut off simply. What does using SC to automate it brings to it , (makes it different )?
Depending on how you set up the modulator, they yeah potentially it will sound different. I mostly tend to automate the cut off using the SC modulator as to me it sounds a bit deeper and warmer.
ok. i will follow what you do . you are very good . thanks
the page from the link is missing!
just checked the link and it's working ok this end.
So this "chord" is not meant to be played as a chord is it? bc/ it doesn't sound as good if there are 4 notes being played simultaneously. Also, thank you for the side note of mono to stereo. If Izotope would have demonstrated this I probably would have spent the money on their Ozone advanced, but they didn't so I didn't know what the hell they were good for!!!! Thank you. :-)
The chord is programmed within the synth - the different ratio's on the operators creating the effect of you holding down 3 notes in a natural minor scale, so to create this sound and hold down 4 notes on the keyboard you'd be effectively playing back 12 different notes.
It depends on the notes you play back as to whether chords will work with this type of sound - notes an octave apart will sound good, as will notes 5 semitones apart. However, bare in mind with this type of chord sound every note you play, you'll also be playing back a note +3 and +7 semitones above that note.