More info – http://bit.ly/Ark8bk
In this video tutorial, Dubspot Electronic Music Production and Sound Design instructor Evan Sutton demonstrates arpeggiation and morphing function of Native Instruments’ FM8, and uses them to build TB-303 style acid/techno bassline.
We’ll start with a classic FM pair, which consists of two oscillators, each loaded with sine waves. Once a usable tone has been created, movement is introduced by adjusting the modulator’s amplitude envelope. The arpeggiator in FM8 is designed to take incoming notes and build a new sequence according to the settings in the Pattern Editor. It blurs the line between step sequencer and arpeggiator, as it has a step matrix, with many flexible features. The last step is to create some variations on the sound. FM8′s morphing capabilities allow for four different patches to be transitioned between (morphed). Remember that not all parameters in FM8 can be morphed. All FM8 library patches have four morph variations built in. Once the sound is complete, it’s time to jam. We’ll add MIDI control for the morph box in the host DAW, and fire away. – Dubspot Instructor Evan Sutton
“I’m starting a new series of “Quick Tips” videos – short tutorials in which I’ll describe several techniques (new and old) used in the synthesizer world. This is the first video, the “1980s Limahl-style” synth arpeggio.”
How to obtain the classic “aggressive” 303 acid rave popular in the early 1990s.
Roland TB-303 bassline
BYOC E.S.V. fuzz (germanium version)
Boss DD-3 digital delay
Roland TR-909 drum machine
“In this video I demonstrate how to patch the keyboard to VCO1.
I then play each arpeggiator pattern in sequence.
NOTE: The software still requires a fair amount of work to reduce the noise and buzzing from the waveform synthesis.”
Vintage synth demo by RetroSound
Roland Alpha Juno 2 Analog Synthesizer (1986)
Oberheim Cyclone Arpeggiator
more info: http://www.retrosound.de/
More info on the Juno 2:
This is an upgraded version of the Alpha Juno 1. It adds an extended 61 note keyboard with velocity and aftertouch and an external memory cartridge slot. Other than that it has the same great sound and features as the Juno 1. Sliders and buttons were replaced by membrane buttons and the Alpha Dial which is used to edit and browse through the extensive selection of parameters: DCO digitally controlled oscillators, LFO, bend, ENV, pulse, waveforms, noise, PW/PWM, high pass filter, VCF filter with freq/env/res/lfo/kybd, VCA envelope, chorus, and more.
Adequate in the studio or on the stage, the Juno 2 has 64 presets and 64 user memory patches, a nice LCD display, an LFO capable of a very slow rate for some cool sweeping effects, and a great bass sound (especially nice for acid basslines) and noise effects! It also has chord memory which is perfect for rave & techno, portamento and keyboard transposing. The PG-300 Synthesizer Programmer gives you traditional slider control of each parameter for much easier and faster editing.
And here are the details:
you can get some really great arpeggios on the kpro by simply using an odd time signature over a straight beat. Here I use a normal breakbeat, then use a side chained synth chord, but with the .75 arp speed. i use the same arp with the original breakbeat to add a really great pocket to the beat that nicely coincides with the synth chords, since they are using the same arp. lots more videos on my channel.
“Its not finished yet… but this yellow box is a MIDI arpeggiator. Its powered by an Atmega328 with Arduino bootloader and it also contains a PIC16F688 to receive MIDI synch on a second MIDI in port.
I wanted a standalone arp to go with some synth modules I’ve been building, and I was inspired by Reason’s RPG8 – although it does not look much like it.(does that make it a hardware emulation of a software emulation of hardware…?)
The minimal control surface (just LEDs and switches) actually works pretty well. Still need to implement a few more features like note insert, proper gate length control and to debug the weird things it does every now and then. When its all finished I’ll post some more clips and I intend to stick the source and schematics online too.”
Nice update to this yellowish synth:
Hello world, we have added a gate arpegiator to the Mochika XL with 4 patterns. while playing you can switch between eight notes in real time tweaking a knob. The gate arpegiator can be synchronized by midi at four different sync rates, and also you can change the sync rate while playing in real time tweaking a knob.
Homegrown Sounds has introduced ARP, an advanced polyphonic arpeggiator and note sequencer with scale remapping for powerful sequencing possibilities.
Here’s what they have to say about it:
With ARP, sequences can be re-mapped based on the played note – so, for example, a sequence can be forced to fit to the major scale. The idea behind this is to break away from the typical note sequencer where every key simply transposes the sequence, the ability to remap each note results in a much more creative sequence.
The Muter Section is a gate sequencer which decides which notes will play. ARP is also polyphonic and so can be used as a typical Gate Sequencer, or even more interesting as a polyphonic sequencer that syncopates. There is also the ability to offset the start note of each sequence so that when 2 notes are pressed together they automatically play syncopated. Finally there is OmniChorder which allows triggering up to another 2 notes when one note is pressed to create a chord, this becomes interesting when used with the Scale Remapper which can leave you with a selection of interesting one finger chords.
The demo version is fully featured, but times out after 10 minutes, it can downloaded here.
Full Feature List:
- Arpeggiator - Can be used as a classic ARP with the usual UP/Down/Alternate modes.
- Note/Sequence Repeats – This is used to play the note or sequence x amount of times before moving to the next note in sequence.
- 32 Note Sequencer Mode - This has a 2 octave range, centre value represents actual note pitch.
- 32 Note Muters – Basically a gate sequencer that decides if a note should play or not, can be used with the Sequencer or the Arpeggiator.
- 1-4 Octaves – Once the sequence is complete it will go up an octave as far as 4 Octaves.
- Fixed Velocity Mode – can use a fixed Velocity instead of played velocity, which is set via a knob.
- Latch Mode – Holds the note until the next one is played.
- Pulse Width – When Latch is off, this determines how long the pulse is, affecting how long the note trigger is held.
- Hold – This will hold any pressed keys until hold is depressed.
- OmniChorder - This can be used along with the Sequencer and also when the ARP is disabled. It allows setting 2 further notes to trigger to form a chord from pressing one key. Once this is enabled, the Scale Remapper can be used to manipulate the chord for each note in the octave, reminiscent of the classic Omnichord.
- Scale Remapper – Allows changing the Scale on each note (C – B) so that a sequence can be squashed to the scale:
- Over 70 scales to choose from.
- Sequence Offset – This allows offsetting the start note of each sequence when it is triggered. For example in Poly Mode pressing 2 keys together will start both sequences running, one could be set to start on step 2 so that it will syncopate. In Monophonic mode it allows building more complex sequence patterns as they iterate.
- Pitch Disable per note – This can prevent a sequence playing on the selected note, so that for example note C won’t play the sequence but just C notes. This is useful in Polyphonic mode so that one key can be consistent whilst another note can play a sequence alongside it.
- 7 Scale Mapping Modes – The mode decides how the scale is altered, when a note doesn’t match the scale, Up will select the next above, Down the next one down etc. There is also nearest, furthest and alternate. There is also a mode which holds the pitch of the octave, and simply uses the scale remapper to force the scale, useful for music without key changes.
- Works with the OmiChorder even when the ARP/Sequencer is switched off.
- Polyphonic – When used with a polyphonic instrument, notes can trigger individual sequences which is great for use with the Muters(Gate Sequencer) which can create complex rhythmic patterns.
- Midi Out – Can be used with any software or hardware midi instrument with host that support midi routing such as Reaper and Cantabile.
- Midi Volume and Pan – These can be used to set the volume and Pan of external gear (CC7 and CC10).
- Midi Channel – Use this to set which midi channel should be used.
- Manual Tempo – Normal Operation is based on the Host Tempo so that it remains in sync with the project, however manual mode can be used in the fashion of an old analog sequencer.
- Swing – Swing can be applied when the tempo is set to 32, speed can be reduced by changing the master clock tempo.
- Full VST Automation.
- Global / Local Randomizer/Default Buttons.
ARP for Windows (VST) is available now for US $20.
Test using arp sequencer
Awesome for spaced out effects, as well as extremely warm bass and leads. The filter is great, and even though it’s only a single osc. synth, without a sub-osc, it sounds huge. Extremely warm sounds. Because it’s semi-modular, you can get things super spacey. The sounds can actually have a very vocal quality at times. I’ve actually had it sounding like a child crying. Really weird = super cool!
A few simple Monotribe tips, in this video it is shown how to make arpeggio type fx using the square wave LFO, and how to use a slower tempo to get 1 or 2 bar patterns.