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Samplecraze Using a Step Sequencer to control Filter Cut-Off and Resonance [TUTORiAL]

Samplecraze Using a Step Sequencer to control Filter Cut-Off and Resonance [TUTORiAL]

奇妙 2020年12月7日| 123兆字节

使用步进音序器作为调制器来处理滤波器截止和滤波器处理器的共振,以为鼓拍增添动感和动感!
视频教程介绍了如何使用步进音序器控制滤波器的截止和谐振,如何使用步进音序器来控制滤波器的截止和谐振。

有很多方法可以使用滤波器处理器为现有声音添加色彩和动感,而一种有效的技术是使用DAW中的步进音序器或任何第三方步进音序器插件来调制滤波器处理器的各种参数。

步进音序器
每次使用DAW创建一系列Midi音符以触发事件或声音时,它都被称为序列。在DAW中,按照项目时间线从左到右播放一系列Midi音符。每个音符都会触发声音或事件。这是步骤排序的最基本形式,因为步骤排序本身使用Midi数据来触发时间线上的事件和声音。实际上,您可以创建一个Midi通道,选择一个Midi源来放置Midi数据(MIDI键盘),或者使用铅笔工具并绘制Midi音符以形成一个序列,然后在播放时触发该序列。然后,您可以分配这些midi音符来调制您选择的任何内容,在本教程中,它将是滤波器的截止和共鸣。

更好的选择可能是使用具有内置网格的专用步进音序器,您可以在其中输入注释并对其进行编辑以进行品尝。音序器将被同步到您曲目的BPM,并且您将获得一些动态工具来调整音符数据或为音符添加重音等等。

步进滤波器
步进音序在编写音乐序列时非常有趣,但是当用作调制器来触发滤波器单元的各种功能时,它们就会发挥作用。但是,为什么不使用实际上是专用滤波器定序器的步进定序器来控制滤波器截止和滤波器谐振呢?换句话说,您只有两个目的地可以玩-滤波器截止和滤波器共鸣,但是您拥有完整的Midi音符输入控制以及模式触发和模式模式。

但是,在我们进入这个奇妙的过程之前,让我们看一下什么是过滤器以及它的行为。

滤波器
滤波器可以消除不想要的频率,也可以提高某些频率。删除哪些频率,剩下哪些频率取决于您使用的滤波器的类型。

截止频率
这是滤波器开始滤波(阻塞或截止)的点(频率)。滤波器将根据所用滤波器的类型将频率的音量降低到截止频率之上或之下。

这种“频率量的降低”被称为衰减。在低通滤波器的情况下,截止频率以上的频率会衰减。在高通滤波器的情况下,截止频率以下的频率会衰减。简而言之:在低通滤波器的情况下,我们试图阻止某个特定点以上的(较高)频率,并允许较低的频率通过。对于高通滤波器,情况恰恰相反。我们尝试切除或阻止特定点以下的频率,并允许更高的频率通过。

类比器仅使用电路,因此,滤波器衰减频率所花费的时间与截止点之间的距离成比例。由于滤波器衰减是由算法(而不是电路)确定的,因此当今的技术可以立即切断滤波器。这就是为什么Arp或Oscar等滤波器更富有表现力和温暖的原因,因为它们完全依靠电阻器和电容器先进行预热,然后以渐进模式工作(渐进倾斜或弯曲的意思是相对于瞬间)。根据滤波器的衰减程度或衰减方式,我们可以了解使用模拟滤波器可以实现的声音类型。

坡度/坡度
滤波器衰减的速度称为斜率或斜率。现在要提出的另一点是,您通常会在模拟合成器的滤波器旋钮上看到每八度具有12 dB或24 dB的值。这基本上意味着,每当频率翻倍时,滤波器都会将该频率下的所有信号衰减12 dB或24 dB。这些也称为2极或4极滤波器,每个极代表6 dB的衰减。这就是模拟电路的构建方式,滤波器用来执行手头任务的电路数量。

谐振
大多数合成器制造商,在大多数模拟合成器的情况下,最常使用术语“谐振”。其他合成器或软件合成器制造商可能会称其为强调或Q。

在截止点提高窄带频率称为共振。如果要最大程度地增强谐振,则滤波器将开始自振荡。这意味着即使没有接收到输入信号,它也会产生可听的正弦波,更像是啸叫声。

在使用步进音序器控制滤波器的截止和共振视频中,我向您展示了如何使用Cubase的库存步进滤波器插件创建步进音序。我将确切解释该过程的工作原理,并通过无数序列示例进行演示,向您展示一个序列对过滤器的巨大影响,更不用说同时使用两个了。我遍历了不同的过滤器目标,并向您展示了如何从序列,模式和过滤器设置中获得最大的收益。

该视频中使用的插件:

该视频涵盖的Steinberg阶跃滤波器

主题为:

  • 使用过滤器截止
  • 什么是步进音序器
  • 调制效果和路由
  • Q和带宽
  • 共振控制
  • 声音设计最佳实践

FANTASTiC | 07 December 2020 | 123 MB

Using a Step Sequencer as a Modulator to process both the Filter Cut-Off and the Resonance of a Filter processor to add spice and motion to a drum beat!
Using a Step Sequencer to control Filter Cut-Off and Resonance is a video tutorial explaining how to use a step sequencer to control a filter’s cut-off and resonance.

There are many ways to add colour and movement to an existing sound using a filter processor and one such potent technique is to use the step sequencer in the DAW, or any third party step sequencer plugin, to modulate the various parameters of a filter processor.

Step Sequencer
Every time you use your DAW to create a series of midi notes to trigger an event or sound it is termed as a sequence. A sequence of midi notes are played in your DAW from left to right in line with the timeline of the project. Each note triggers a sound or an event. This is the most basic form of step sequencing because step sequencing itself uses midi data to trigger events and sounds over a timeline. You could, in effect, create a midi channel, select a midi source to lay down the midi data (midi keyboard) or use the pencil tool and draw in midi notes to form a sequence that is then triggered on playback. You could then assign these midi notes to modulate anything you choose and in this tutorial, it will be filter cut-off and resonance. This type of note inputting and re-triggering gives you huge control and flexibility but it can be time consuming and laborious.

A better option might be to use a dedicated step sequencer that has a built-in grid where you can input notes and edit them to taste. The sequencer will be synced to the BPM of your track and you will be afforded some dynamic tools to shape the note data or add accents to notes and so on.

Step Filter
Step Sequencers are great fun to use when writing sequences of music but they come into their own when used as modulators to trigger the various features of a filter unit. But why not use a step sequencer that is actually a dedicated filter sequencer to control both the filter cut off and filter resonance? In other words, you have only two destinations to play with – filter cut-off and filter resonance, but you have full midi note entry control along with pattern triggering and pattern modes.

However, before we can jump into this wonderful process let’s take a look at what a filter is and how it behaves.

Filter
A filter allows you to remove unwanted frequencies and also allows you to boost certain frequencies. Which frequencies are removed and which frequencies are left depends on the type of filter you use.

Cut-off frequency
This is the point (frequency) at which the filter begins to filter (block or cut out). The filter will lower the volume of the frequencies above or below the cut-off frequency depending on the type of filter used.

This ‘lowering of the volume of the frequencies,’ is called Attenuation. In the case of a low pass filter, the frequencies above the cut off are attenuated. In the case of a high pass filter, the frequencies below the cut off are attenuated. Put simply: in the case of a low pass filter, we are trying to block the (higher) frequencies above a certain point and allow the lower frequencies through. In the case of a high pass filter, the opposite is true. We try to cut out or block frequencies below a certain point and allow the higher frequencies through.

Analogs use circuitry and for that reason alone, it takes time for the filter to attenuate frequencies, in proportion to the distance from the cut-off point. Today’s technology allows for instant cut-off as the filter attenuation is determined by algorithms as opposed to circuits. That is why the filters of an Arp or Oscar etc, are so much more expressive and warm as they rely completely on the resistors and capacitors to first warm up, then to work but in a gradual mode(gradual meaning sloped or curved as opposed to instant). Depending on how well a filter attenuates or the way it attenuates gives us an idea of the type of sound we will achieve with an analog filter.

Slope/Gradient
The speed at which the filter attenuates is called the slope or gradient. Another point to raise now is that you will often see values on the filter knobs on analog synthesizers that have 12 dB or 24 dB per octave. That basically means that each time the frequency doubles, the filter attenuates by 12 dB or 24 dB everything at that frequency. These are also known as 2 pole or 4 pole filters, each pole represents 6 dB of attenuation. This is how analog circuits were built, the number of circuits being used by the filter to perform the task at hand.

Resonance
Most synthesizer manufacturers, and in the case of most analogue synthesizers, the term resonance is used most commonly. Other manufacturers of synthesizers, or software synthesizers, might call it emphasis or Q.

Boosting the narrow band of frequencies at the cut-off point is called resonance. If you were to boost the resonance to the maximum, then the filter will begin to self oscillate. This means that it will generate an audible sine wave, more like whistling, even when receiving no input signal.

In Using a Step Sequencer to control Filter Cut-Off and Resonance video I show you how to create step sequences using Cubase’s stock Step Filter plugin. I explain exactly how this process works and run through countless sequence examples showing you what a dramatic effect one sequence can have on a filter let alone using two simultaneously. I run through different filter destinations and show you how to get the best out of your sequences, patterns, and filter setups.

Plugins used in this video:

Steinberg Step Filter

Topics covered in this video are:

  • Working with Filter Cut-offs
  • What is a Step Sequencer
  • Modulation Effects and Routing
  • Q and Bandwidth
  • Resonance Control
  • Best Practices for Sound Design

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