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Our services include Sound Engineering, Audio Post-Production, System Upgrades and Equipment Consulting.
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Monday, March 18, 2024

Cubase 10: Channel Settings Workflow

The Channel Settings window provides a flexible and efficient environment for many basic mix processing tasks.The Channel Settings window provides a flexible and efficient environment for many basic mix processing tasks.

Could Cubase 10's Channel Settings window become your go-to mixing tool?

Cubase's Channel Strip has the potential to make mixing much more efficient. Indeed, the same concept has translated fairly well from its hardware origins into most modern DAWs now. But when screen space is at a premium some implementations can require considerable screen real-estate — and while the collapsible Rack system in Cubase's MixConsole is brilliant in so many respects, accessing all the controls for each channel can entail a lot of opening/closing of Racks or scrolling up/down.

A small-screen-friendly alternative is to build your workflow around the Channel Settings window. Sure, you can only display controls for one channel at once, but this window makes the complete Channel Strip's controls available in a very easy-to-use format. And with the useful refinements Steinberg made to the operation of the Channel Settings window in Cubase 10, you really should consider putting it at the heart of your mixing workflow.

Channel Guide

The Channel Settings window can be opened for the currently selected track/channel by clicking on the 'e' button in the Project window's Track List or in the MixConsole, and it gives you access to the full control set that's found in the MixConsole — but in a larger, easier to use GUI.

As in previous versions, the contents of the MixConsole's EQ and Channel Strip Racks dominate the central portion of the display, but in v10 Steinberg made some worthwhile tweaks to what's possible here. For example, the UI was improved to offer better access to the core controls of each module, the visual feedback/metering was revamped and, while the EQ section could already be viewed in an expanded form via the Equalizer tab, you can now do that for the Compression section too (via a further 'e' button). The Channel Strip tab now includes a compact version of the EQ section in situ, and you can drag and drop to change the order of the various modules in the signal flow, which makes it much easier to see and configure your preferred processing chain.

The Sound Of Beating Drums

When considering what the Channel Settings approach might offer you, there are two key questions to ask. First, are the tools provided up to the job? Second, how can they facilitate a more efficient workflow? The first is a huge question, but by way of example let's briefly consider a common mixing task: submixing a multitrack drum recording. In the example shown in the first screen there are seven mic channels, with single kick, snare and hi-hat mics joined by pairs of overheads and room (ambience) mics. For all the shiny appeal of your third-party plug-ins, the stock Cubase plug-ins in the Channel Strip and EQ sections are more than capable enough for routine mix-processing tasks like this, so the bulk of your work can easily be done in the expanded Channel Strip display.

The exact settings required for each module across the various drum channels will obviously be project-specific, but it's worth exploring some cool features in the Channel Strip plug-ins. For example, the Noise Gate features a very useful input filter, and you can activate this via the AF button. You can then engage the LST (listen) function while you adjust the Freq and Q settings of the filter to focus the action of the gate within the dominant frequency of each sound source. In this drum mix, I used this on the kick, snare and hi-hat mics, and it allowed me to maximise the spill rejection from other drums into those mics.

You can now access the full control set for your selected compressor within the Channel Settings window.You can now access the full control set for your selected compressor within the Channel Settings window.It's also worth noting that all three compressor options (Standard, Tube or Vintage), which offer different characters of compression, also include Mix controls — making it possible to experiment with parallel compression on individual drum mics without leaving this window. And that, alongside the expected four-band EQ controls and an expanded display of the EQ curve, the Equalizer tab grants you access to controls from the MixConsole's Pre section. Most usefully, this includes a variable-slope low-cut filter for routine high-pass processing, and the Phase button (a polarity inverter), which is useful to optimise the phase relationships of multiple mics used on a single source. In this drum mix I used the low-cut filter to remove unwanted rumble to varying degrees on all the tracks (yes, even the kick), and set it higher for the two room mics, to prevent the kick being too ambient.

The EQ tab includes full access to the four-band EQ but also the very useful high-cut and low-cut filters from the Pre Rack section.The EQ tab includes full access to the four-band EQ but also the very useful high-cut and low-cut filters from the Pre Rack section.The Tools section offers a choice of the DeEsser (useful for vocal tracks, obviously, but drums too on occasion) and EnvelopeShaper. The latter is very useful for drums and a doddle to use. In this mix I use it to enhance the attack of the kick and snare, to help them punch through more clearly. Finally, I applied a subtle amount of saturation to all the channels (you can choose between Magneto II, Tape or Tube options) and limiting (Standard Limiter, Brickwall or Maximizer) just to control any really hot peaks.

I've provided a couple of audio examples, in which I compare my raw drum tracks to the drum 'mix', with processing configured solely in the Channel Settings window on each track. To my ears, the end result is clearer and has more punch — I achieved what I set out to achieve using only these tools. So whether or not you have access to third-party, channel strip-style plug-ins, I'd say the Cubase Channel Settings toolset could take you a long way along your mixing journey. For routine mix tasks, at least, I'd answer our first question with an emphatic 'yes'.

As you build up experience with the common control set, your familiarity will translate to much faster operation...

Command & Conquer

What about ease of use? Well, like the channel strips on a hardware console, a good dollop of that ease of use comes from the consistency of the control set for every channel. As you build up experience with the common control set, your familiarity will translate to much faster operation. But the other element that contributes to workflow efficiency is how quickly you can navigate the controls within the Channel Settings window itself. If you're fortunate enough to own Steinberg's CC121 hardware controller, that navigation will be very slick. But even for the rest of us, there are options and shortcuts that can speed things up.

As a starting point, for frequent use, I'd define a keyboard shortcut for the Edit Channel Settings option (you can create/edit shortcuts in the Edit section of the Key Commands dialogue) so you can quickly open and close the Channel Settings window; I've assigned the 'E' key to this, as it matches the on-screen button.

To get the most from the Channel Settings window, defining a few key commands will greatly enhance the workflow, including the ability to swiftly move between different tracks and channels.To get the most from the Channel Settings window, defining a few key commands will greatly enhance the workflow, including the ability to swiftly move between different tracks and channels.For the fastest workflow, two further options are worth enabling, and both are accessible from the pop-up menus in the top-right of the Channel Settings window. First, from the Toolbar menu, enable 'Always On Top'. This prevents the Channel Settings window from disappearing behind other windows as you work (once open, it's always accessible). Second, from the Function menu, enable 'Follow 'e' buttons or selection changes', so that when you select a different track/channel in the Project window or MixConsole, the Channel Settings window will update to display the newly selected track/channel's settings.

Given that the Channel Settings window only displays settings for the currently selected channel/track, the other thing we must be able to do is move efficiently between tracks. There are buttons for this in the Channel Settings window itself but key commands can speed up navigation, and it's well worth defining keys for the 'Select Track: Next' and 'Select Track: Prev' commands (which are found in the Key Commands window's Project section). As you navigate with these keys, the Channel Settings window will automatically refresh to reflect the selected track/channel. It's very slick and well worth a tick in the 'ease of use' box.

For Better Or Worse

To finish, one further Channel Strip/EQ workflow tip is worth mentioning. When editing multiple channels, such as the drum kit recording in the example, I often find it useful to toggle all my Channel Strip and EQ settings off, for an A/B reality check as to whether my processing is actually making things better or worse! In practice, this can be a bit of a pain, as in the MixConsole you have to bypass both the Channel Strip and EQ Racks individually for every channel involved to do this. Now you could, I suppose, go to town and design a macro to solve that... but a simpler approach is to quickly select multiple channels and then press and hold Alt+Shift to temporarily 'Quick Link' them. Then, when you click on the bypass buttons on any of the selected EQ or Channel Strip sections, those Rack sections will be bypassed for all selected channels simultaneously.

Audio Examples

cubase_0220_audio01.mp3

This audio example is based around a seven-microphone acoustic drum recording, featuring kick, snare and hi-hat mics alongside a pair of overheads and pair of room (ambience) mics. In this clip you hear a short section the unprocessed recording presented in three sections as follows; (1) just the kick, snare and hi-hat mics, (2) just the overhead and room mics and (3) all mics with a basic level adjustment to balance the overall sound of the kit.

cubase_0220_audio02.mp3

This second example presents the same three sections of the drum recordings but after basic processing options have been configured for each microphone channel via the Channel Settings window, as described in the main text of the workshop. On each channel, the processing involves frequency targeting use of the noise gate, high/low cut filters applied, modest amounts of compression (3-4 dB maximum) using a medium attack time, some more targeted EQ to shape the sound of individual mics as required, application of the EnvelopeShaper on the kick and snare mics to enhance the attack of both drums, subtle application of saturation, and limiting applied to catch any stray peaks. The Distroyer plug-in was applied as a send effect on both the kick and snare channels (as described in the December 2019 workshop) for a little extra edge. Finally, a further 2-3 dB of compression was applied on the drum bus.

The differences between the unprocessed and processed versions of the drum mix are relatively modest but do result in a somewhat punchier sound suitable for the project (a garage rock track) they are part of. However, what’s key in the context of the article is that (a) all processing was done using stock Cubase plug-ins and (b) all the processing options were applied via the Channel Settings window, with the task taking no more than 10 minutes in total. Further processing might be required as the full mix evolves, but the Channel Settings window provides a powerful and efficient means by which this kind of basic task can be performed across multiple channels/tracks.



Published February 2020

Friday, March 15, 2024

Steinberg Cubasis 3

While the Cubasis UI remains familiar, there's a  whole raft of improvements in version 3.While the Cubasis UI remains familiar, there's a whole raft of improvements in version 3.

For those who want an iOS workflow that closely follows established desktop conventions, Steinberg's Cubasis is probably the most popular DAW/sequencer app currently available. Naturally, the feature set is scaled down from Steinberg's flagship Cubase Pro, but Cubasis has always struck an excellent balance between a well-chosen set of core features, a slick UI that works well on the iPad's relatively compact touchscreen, and a price that makes it accessible to almost anyone with a serious mobile music-making habit.

The latest update, to Cubasis 3, is a significant one. Indeed, it's so significant that Steinberg are presenting this as a new app rather than a free upgrade for current Cubasis users; Cubasis 2 will remain available via the App Store at a reduced price. Some may grumble at this — and it would be helpful all round if the App Store made a system for 'upgrades' more straightforward for developers — but it's worth noting that any in-app purchases made in Cubasis 2 can be activated in Cubasis 3 at no additional cost. As Steinberg have already provided Cubasis users with over 30 free updates since it first went on sale, I think they should be cut considerable slack. After all, it's important for all users that the Cubasis project remains financially viable.

The new UI is more easily customisable. For example, you can set the Mixer view to one of three diferent zoom presets.The new UI is more easily customisable. For example, you can set the Mixer view to one of three diferent zoom presets.So, what's new in Cubasis 3? Well, lots actually — it has pretty much been rewritten from scratch. This has enabled Steinberg to take full advantage of more recent developments in iOS and in Apple's hardware, and of particular note is that it also means we now have universal app status; for the first time, Cubasis can run on your iPhone as well as your iPad. (iOS13.0 or later is required, so you'll need a device that supports that — an iPhone 6S, or iPad fifth-generation or later, for example).

As you'd expect, Cubasis 3 on an iPhone demands more scrolling, good finger dexterity and decent eyesight, but having undertaken a quick tour on my (now aging) iPhone 6S I'm left impressed at just how well Steinberg have translated the workflow to the smaller screen. While working is undoubtedly faster on a larger iPad screen (the new version ran very smoothly on my first-generation iPad Pro), having the option to carry Cubasis 3 around in my pocket is very welcome!

Group tracks are a  major new feature, and allow easy configuration of the tracks within a Group.Group tracks are a major new feature, and allow easy configuration of the tracks within a Group.While Cubasis 3 will seem very familiar to users of previous versions, Steinberg have made a huge number of refinements to improve both the workflow and visual experience. For instance, editing of audio, MIDI and automation has been improved substantially, while the bundled effects and instruments have been visual revamped.

Perhaps even more useful (particularly given the iPhone support) are the new UI scaling options. You can zoom in/out on various views, as before, but you now also get some UI presets that allow you to change the display quickly. This includes the Mixer, for which a combination of full-screen mode and three channel-zoom levels make for much easier operation.

To me at least, Cubasis has always represented the best balance between features and usability in any iOS DAW/sequencer...

Of the other highlights, top of my personal list is the addition of Group tracks. If you're familiar with Cubase, you'll know this is Steinberg's take on creating subgroup buses — so you can route several tracks (for example, a set of individual drum tracks) to a Group track. You can then control the overall volume of the Group or apply Group-level effects before the audio flows to your master output.

Creating a new Group track is easy, and standard (audio or MIDI) tracks can be added to and removed from Groups with ease. Group tracks make all sorts of mixing tasks much easier, including the ability to focus your broad-brush mix–level automation down to a few instrument groups. It's a simple but powerful addition.

It's now even easier to move projects you start in Cubasis to the more powerful Cubase DAW software on a Mac/Windows computer.It's now even easier to move projects you start in Cubasis to the more powerful Cubase DAW software on a Mac/Windows computer.There are all sorts of other useful refinements and additions, all of which either improve the workflow or offer new possibilities. For example, getting into the technical nitty gritty, the MIDI editing resolution has been increased to 960 pulses per quarter note. If you're particular about the precision of your MIDI sequencing, this is a very useful step forward. Also, tracks can now have up to eight insert and eight send effects, and these can be re-ordered easily, and their position set pre- or post-fader. Events can now be colour-coded vertically — and in the absence of something like Cubase's Marker track this provides an easy way to identify the different musical sections in a project. Automation is now supported within Micrologue ARP (if you have the Micrologue in-app purchase) and AU MIDI effects. Oh, and Cubasis now includes a proper History List for undo/redo operations, making it easier to navigate individual steps in your project editing timeline.

Another personal highlight is the improvements to the MediaBay, where you manage your various projects, audio files, MIDI loops and so forth, and can find options for mixdown and exporting your projects. There are many improvements, but the option to use AirDrop to transfer your Cubasis project to your desktop machine, and then have Cubase open the project, is super-cool. If you've used only Steinberg virtual instruments and effects in the Cubasis project, their Cubase equivalents will automatically appear in the desktop version of the project too; it all worked very smoothly for me.

If you purchased Cubasis 2 recently at full price, you may feel a little aggrieved at the lack of an upgrade route to Cubasis 3. But if you've been making music with Cubasis for a while, Steinberg have added more than enough to the Cubasis experience to make v3 a very tempting proposition at this price. To me at least, Cubasis has always represented the best balance between features and usability in any iOS DAW/sequencer, and in Cubasis 3, Steinberg have raised a high bar even higher.

Information

$49.99.

www.steinberg.net 



Published March 2020

Wednesday, March 13, 2024

Cubase Padshop 2: Grain Oscillator

Padshop 2's Granular Oscillator, with layer A  set to its initial state and a  sample dragged and dropped. Ready to commence pad creation!Padshop 2's Granular Oscillator, with layer A set to its initial state and a sample dragged and dropped. Ready to commence pad creation!

Cubase 10.5's Padshop 2 granular synth can create wonderfully engaging pads from any sample.

Cubase's Padshop has always seemed to me to be something of a hidden gem, but with the Cubase Artist/Pro v10.5 update this granular synth was treated to a significant overhaul. Where once we had only a 'lite' version of Padshop, we now get the full version of Padshop 2 (which is available as a paid product for users of other DAWs). Padshop 2 still includes its predecessor's dual-layer (A and B) engine, the Grain Oscillator, flexible filter, modulation options and effects, and all this is contained in a refreshed, yet still familiar GUI. However, it also boasts an expanded preset and bundled sample collection, drag-and-drop support for your own samples in Cubase, improved sound modulation, additional filter options, an integrated arpeggiator/phrase player (which will be familiar if you use Retrologue) and a new Spectral Oscillator.

The original grain oscillator and the new spectral oscillator make Padshop 2 an intriguing option for sound creation, but they might be unfamiliar concepts to many taking their first steps in DIY sound creation. I hope to take a detailed look at the Spectral Oscillator in a future column, but this month and next I'll do my best to nudge you along the learning curve for the Grain Oscillator, by looking at the creation of pad/soundscape-style patches.

Padshop 2's new Spectral Oscillator provides some very different sound-creation options, which I'll explore in a column in the near-future.Padshop 2's new Spectral Oscillator provides some very different sound-creation options, which I'll explore in a column in the near-future.

Grain Brain Drain

If granular synthesis is an alien concept, Simon Price's article in SOS December 2005 (https://sosm.ag/dec05-granular-synthesis) is an excellent overview. In essence, grain-based audio processing involves dividing your audio sample into tiny sections (each a fraction of a second) called 'grains'. It's rather like beat-slicing but done on a micro-scale: if the individual grains are played back in sequence at the original speed and pitch, you simply hear the original sample, but grains can also be played back individually, sequenced in original order, sequenced out of original order, looped, re-pitched, filtered and reversed; multiple grains can be played simultaneously, different grains can be used on the left and right sides of the stereo image and, well, you get the idea.

There are all sorts of options and combinations, which mean that granular synthesis makes it possible to create entirely new sounds in which the original sound source is unrecognisable. Its potential for original sound design is huge — and you need nothing more than Padshop's Grain Oscillator to get started.

Clean Drop

To begin our introductory tour of pad creation using Padshop's Grain Oscillator, start by: (1) ensuring only layer A is active (turn off layer B via its power button, located bottom-right); (2) selecting the Grain Oscillator in layer A (the button located top-left of the oscillator panel lets you toggle between the grain and spectral oscillators); and (3) ensuring that layer A is reset to its initial state (use the drop-down menu towards the right side of the Plugin Functions section, which is the topmost tool strip).

Having 'blanked' layer A, rather than choosing one of the preset samples, you can use one of v2's most significant new features: you can drag and drop one of your own samples (mono or stereo) into the Grain Oscillator. This can be done from various locations, including the Project window, but for the example illustrated here I dragged a sample of a sustained guitar chord from my OS's file browser. If original sounds are what you want, starting with your own unique sound source is obviously a good plan, but almost any sound can provide something useful.

No Pain, All Grain

The Grain Oscillator's control set is split into three main sections: the waveform display, with its series of numerical/rotary knob controls; the 'position settings' (on the left); and the 'level settings' (on the right). In the waveform display, you can set the range of the waveform to be used for the grain-based playback by dragging the start and end markers. You can also set the starting position for grain playback by dragging the waveform playback head or by adjusting the Position (Pos) knob to the left of the waveform display.

Tweaks to the number of grains, their relative starting position and the playback speed produce timbral changes, but not always a very musical result.Tweaks to the number of grains, their relative starting position and the playback speed produce timbral changes, but not always a very musical result.

If you now play a few MIDI notes into Padshop the odds are that you'll hear a very static sound, albeit one that's pitch-mapped across the keyboard. So while the sound will change in timbre as you move the playhead position, you'll need to twiddle a few more knobs to create something more pad-like.

A decent first step is to tweak the Speed knob. When you play and hold a MIDI note, this setting controls the speed and direction in which the playback head moves through the grains from the starting position. At 0 percent (the default value on initialising the settings), the playback position is static (the same grain is played repeatedly), hence our currently rather bland sound. But you can set the Speed between -200 and +200 percent. At +100 percent, the playback speed sequences the grains at their original tempo, and you hear something approximating the original sample. Well, sort of, depending on the MIDI note you play and the Shape setting (which creates different crossfade styles to smooth the transition between grains), amongst other things.

Negative Speed values move the playhead backwards through the original sample, and they can produce some interesting, often unsettling, effects. In this case, I opted for a Speed of +6 percent and the 'Welch' Shape setting, but what's 'best' will almost always depend on the nature of the original sample and what sort of result you want; there are no magic numbers to share!

Granular synthesis makes it possible to create entirely new sounds, in which the original sound source is unrecognisable.

It Takes Two (Or More)

Next, try: (a) increasing the number of grains being played at any one time; and (b) ensuring that each grain uses a subtly (or perhaps not so subtly) different playback start position. The Number setting can be adjusted to a maximum of eight, but even values of two or three (used in my example) will have a noticeable impact on the sound. To the left of the waveform section, adjust the Position Spread control (I opted for 10 percent) so that each grain starts from a different point around the playback head. These adjustments should add greater complexity/richness to the sound.

To add further sonic variation, you can also adjust the Random Position and Position Channel Offset controls. The former injects some randomness to the start position of each grain, while the latter applies start position differences between the left and right channels, to enhance the stereo width. In the example, I dialled in 10 percent for both. (By the way, it's also worth noting that Padshop always creates left and right channels, even from mono samples.)

My Grain Oscillator configuration is complete: it's the core of a pad sound — but the filter, modulation and effects options can help to make this patch sound much less 'static'.My Grain Oscillator configuration is complete: it's the core of a pad sound — but the filter, modulation and effects options can help to make this patch sound much less 'static'.

More Than Noise?

By this stage, the sound can easily be one in which it's impossible to identify the original sample — but it may be as much 'noise' as 'musical', and in most cases, you can shift the balance towards the latter by experimenting with the Duration setting. This adjusts the length (duration) of each individual grain, and it influences the timbre of the sound and the pitched elements. With lower values (shorter grains), pitch is dominated by the frequency at which the grains repeat, while at larger values (longer grains; I've used 50), pitch elements from the underlying sample tend to dominate.

You may also need to experiment with the Duration Key Follow setting. This interacts with the Duration setting, with shorter Duration values generally requiring higher Key Follow values (and visa-versa) so that pitch is mapped in a conventional fashion across the MIDI note range. As a guide, start at 100 percent (which worked fine in my example) and then switch to 0 percent. See which feels most natural, and adjust to taste from there.

Rich Pitch

Provided you're using more than one grain, perhaps the last initial setting to tweak before digging into the modulation options should be the Pitch Interval. If this is set anywhere other than zero, grains are randomly played either at their original pitch or at the specified pitch interval. Certain values (eg. a fifth) produce more obviously musical results, but the -12 semitone setting I used here is always a good bet; it adds a little low-end depth and richness to almost any sound.

See You Later, Modulator!

With sufficient tweaking of the Grain Oscillator controls that I've described above — and, as always, a little luck — you'll hopefully now have created a pad-like sound of your own. But while it could well be usable, chances are that you'll feel it could be made somewhat more interesting and engaging!

That's where Padshop 2's filter, effects and modulation options come in, and is where we'll resume our look at Padshop 2 next time. In the meantime, I've created an audio example below that demonstrates the various stages of my pad's development, from original sample through to my final Grain Oscillator tweaks. I've included an example of how this sound can then be enhanced with the filter, effects and modulation options, so you can get an idea of where we're headed next.



Published March 2020

Monday, March 11, 2024

Cubase: Padshop 2's Modulation Matrix

You can target a number of the Grain Oscillator's parameters for modulation in Padshop Pro 2.You can target a number of the Grain Oscillator's parameters for modulation in Padshop Pro 2.

If you want to inject some motion and mystery into your pad sounds, why not fire up Padshop 2 and enter the matrix?

In last month's introduction to Cubase 10.5's Padshop 2 synth (https://sosm.ag/cubase-0320) I explained how to turn your own audio samples into basic pad sounds with only a few of the synth's Grain Oscillator controls. Those sounds were usable enough, but also a little 'static' for some tastes, and Padshop 2 has plenty of options for injecting more interest and movement into the sound — and this time, I'll explain some ways to do this using its modulation section.

If you're new to rolling your own synth sounds, modulation can seem a rather mysterious thing. At heart, it's actually a really simple concept: you use one control or parameter (the 'modulation source') to change one or more other parameter (the 'destination') over time — the mystery probably stems from the sheer number of options modulation can open up! So where do you start? Well, thankfully, Padshop's modulation system (enhanced in v2) is easy to use, and is centred on two fairly conventional approaches: a 'modulation matrix', and a streamlined MIDI Learn/parameter assignment system.

I'll discuss some examples below, and you'll find accompanying audio examples on the SOS website (https://www.soundonsound.com/techniques/cubase-padshop2-workshop-0420-audio).

Package icon cubasepadshop2workshop0420.zip

Target Practice

First, decide which synth parameters you want to modulate. As with any synth, most filter and effects parameters offer plenty of potential, but for those with last month's introduction to the Grain Oscillator fresh in the mind, we'll start with some candidates in the oscillator section. Click on the Matrix tab to access the modulation matrix, where you can link up to 16 different modulation sources with parameter destinations (the 16 slots are arranged in four banks of four).

A drop-down menu in any of the matrix's Destination slots allows you to select your modulation target. While not all of the Grain Oscillator's controls are assignable (I'll come back to this), Grain Position is a great choice: as outlined last month, the Grain Position defines the starting point in the waveform for grain playback, so modulating this will give your pad sound some timbral variation over time.

A further drop-down menu in the corresponding Source slot allows you to select the modulation source. There are plenty of possibilities, but for this example I've selected one of the four LFOs, configured to follow a sine waveform over four bars. I've also set the Depth value in the matrix to 10, for a fairly modest amount of modulation. With the modulation configured this way, when playing and holding a note over four bars (or longer), you should notice a slow and steady change in the pad's sonic character.

For more hands-on control, instead of the LFO, try selecting the Mod Wheel as the modulation source. If you're a good keyboardist, note velocity or aftertouch will also work well, as they allow elements of your playing dynamics to change the timbre of the sound. For more timbral change, the other two Grain Oscillator parameters to try modulating are Speed and Duration. In both cases, start with small, positive Depth values — otherwise things can soon get weird. That said, if 'weird' is what you want, target the Formant control; even with low Depth values, it can produce some wonderfully unsettling tonal/pitch variations.

Outside the Grain oscillator itself, parameters in the filter section make good modulation targets if you want to add movement to your pads.Outside the Grain oscillator itself, parameters in the filter section make good modulation targets if you want to add movement to your pads.

Of course, with 16 modulation slots, you're not limited to targeting only one or two of the Grain Oscillator's parameters. Other classic candidates are the filter's cutoff, resonance and distortion settings. It's perhaps worth noting that the filter section has its own dedicated ADSR envelope, which can be used to modulate the filter's response, and this includes a Velocity setting which allows the envelope's behaviour to be modulated by note velocity. But you can also configure the filter cutoff, resonance and distortion as destinations for any of the other modulation sources in the matrix. Again, using a slow-moving LFO to gently sweep any of these parameters and making them react to note velocity can be great ways to induce further timbral variation.

You can create a step-based pattern (with a maximum of 32 steps) which can be used to modulate any of the matrix's destination parameters.

Step On It

Padshop 2 offers many modulation source options, but a personal favourite that I keep coming back to is the Step Modulator, which is accessed via the Step tab. Here you can create a step-based pattern (with a maximum of 32 steps) which can be used to modulate any of the matrix's destination parameters. Usefully, Step Modulator pattern presets can be saved and recalled.

The Step Modulator provides a very flexible modulation source.The Step Modulator provides a very flexible modulation source.

With this, you can achieve all sorts of outcomes, from modest tonal changes (using a smooth set of step pattern values and a low Depth value) to strong pulse-like effects (using a step pattern of alternate high/low values and a high Depth value), whether targeting grain position, filter cutoff or volume. For pulse-like effects, you can control how obvious the pulse or rhythmic pattern becomes by adjusting the Depth control to taste. And, if you specify the mod wheel as the Modifier in the appropriate modulation matrix slot, you can then vary the degree to which the Depth parameter is applied — and therefore control the intensity of this pulsing effect in real time.

Rocking The Mod

No menus required: initial links between sources and destinations can be established via drag and drop.No menus required: initial links between sources and destinations can be established via drag and drop.The examples above provide some fairly safe places to commence your voyage into pad design. But Padshop's modulation system allows almost endless combinations, as well as some different ways to set things up that can make more complex creations easier to achieve. First, note that Padshop 2 allows some modulation options to be configured via drag and drop. Beside some of the controls that can act as a modulation source you'll find a small 'four arrowhead' icon. If you click (and hold) this, and then drag away, the parameters that can be targeted as modulation destinations will become highlighted. Simply drag to the desired destination and a modulation link will be established; the link will be added automatically to an empty slot in the modulation matrix, where you can fine-tune it. This is a great way to, for instance, link the mod wheel to a parameter or two.

Second, I want to revisit that point about not all grain oscillator parameters being available as modulation destinations in the matrix. Why that is, I don't know, but Padshop 2 does include a conventional MIDI Learn system that provides a workaround — while you can't, for example, target the grain oscillator's Spread, Offset or Grain Number controls using an LFO or the Step Modulator, you can link them to the mod wheel or another MIDI continuous controller if you want to change them in real time.

Grain Oscillator parameters can be modulated via MIDI even if they're not present in the modulation matrix. MIDI Learn is supported, as is mod wheel control.Grain Oscillator parameters can be modulated via MIDI even if they're not present in the modulation matrix. MIDI Learn is supported, as is mod wheel control.

Right-clicking on any control opens a pop-up menu to configure this. For instance, targeting all three parameters I mentioned above with the mod wheel can provide some cool tonal variations for your pad sounds. Incidentally, while none of the parameters in Padshop's Effects page are available in the modulation matrix, they can all (including the controls within the four-band EQ) be modulated via this MIDI Learn approach.

Double Trouble

I'll leave you with two thoughts. First, recall that in the examples I've used here I've used only one of Padshop's layers. You can, of course, make perfectly usable pads with a single layer, but there's twice the fun to be had (and twice the complexity of the sound that can be created) by blending sounds from two layers. Second, despite its name, Padshop can be used for sounds other than pads. Hopefully, that's a topic I can return to soon, while also exploring another pair of Padshop 2 features — the Spectral Oscillator and the arpeggiator/phrase player. 



Published April 2020