This can be enhanced with the Depth control and altered using the Offset control. If you set the LFO to 1/8 and the step modulator to 1/16 you get a sort of pulsing effect as they go in and out of sync. When doing this it creates some very intense rhythm effects, particularly if you set the synchronisation of the project to different Quantize levels. If a more rhythmic feel to your track with a step modulator is something that you want, it can of course be linked in via the Matrix from the LFO. Obviously, in normal circumstances you wouldn’t have these anywhere near this high, but for electro-acoustic sound design and generating noise other than white or pink it is enormously useful. By turning these up to 100% you allow the synth to create grains of totally random lengths and pitches within an octave higher or lower than the original. The default settings are the shortest length and the original pitch of the waveform. These enable you to have grains of varying lengths and pitches. Within the main Grain window at the top are controls for Random and Spread in both the Pitch and Duration sections. This should not be confused with a step-sequencer, although it can work as one with appropriate settings it will modulate the full range of pitches available from the oscillator if the Depth control is set too high.Īlthough the synth doesn’t contain any noise-generation facilities it is quite easy to create some pretty crazy and pitchless sounds. As with all other modulation devices in the synths it needs to be routed to the destination via the Matrix section. There are several presets available with appropriate settings already selected. There are several controls here, including number of steps and speed. It is the bottom tab, and when selected brings up a largish orange window. This can be accessed from the bottom of the screen in the same location as the Matrix. Padshop – the second of Cubase’s new synths – contains a Step Modulator. If you have a keyboard with many additional knobs and sliders, the same principle can be applied by right/-clicking on the control in Cubase, selecting ‘Learn CC’ and then moving the desired hardware controller. This immediately assigns the selected controller to the mod wheel regardless of what else is routed to it. To do this, or for any other control, right-/-click on the relevant virtual instrument control on the screen the bottom option from the dropdown window is ‘Modulation Wheel’, in which the top option is ‘Enable Mod Wheel’. However, via the Matrix, Cubase assigns the mod wheel to be an amount controlling the depth of the effect – but I wanted the mod wheel to control the speed of the LFO for some dubstep-style bass lines. For example, I was trying to route the LFO to the filter cutoff via the mod wheel. You will eventually find that the Matrix can’t quite do everything that you want. This can be useful if you have your global pitch range for the synth set, but want a one-off effect on specific notes. So if you want to have an unnatural pitch slide, select NE-Cutoff as your source, turn up the Depth and select Pitch as your destination – and listen to the synth fly. When this is selected you can use any of the commands to control anything else in the synth. You will notice in the dropdown window that Note Expression is an option as source signal. However, Retrologue again enables you to use the Matrix to do what you wish. The Note Expression dropdown panel in the Key Editor window contains only a small number of automation controls. It also avoids the issue of moving automation data when shuffling MIDI parts around as it remains with the individual note. This is enormously useful for the odd note that needs a synth effect, such as a sudden dive on the filter, but you want the rest of the synth to remain unaffected. Draw in your automation for that note and let the synth do the rest. Retrologue and Padshop both respond to it happily, so to access this and adjust individual notes click on any MIDI data and access the Note Expression by double-clicking on any note in the Key Editor. Unfortunately, this wasn’t receivable by many virtual instruments. One of the big features in the major upgrade to version 6 was the addition of MIDI CC (Controller Channel) data editable on individual notes.
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