that sounds great 
agreed!
I need to get some quality time in with my OP-1 stat or I may soon forget its mystical electro powers and sell it off 
(canāt hold on to idle gear)
that sounds great [/quote]
Thank you
you just have to get the filter close to resonance to set it up -FMing the filter freq is just a nice way to change the timbre, if the FM takes the resonant freq too high (or the default nominal filter freq begins high) the filter resonance will die sooner, so lower freq resonant filters should ring longer, like a lower pitched bell [/quote]
Iāve been wondering something since I started messing with this over the weekendā¦ is there a way to control the pitch of the filter freq? i.e., can the Chromatic mode pads be set up to change the filter freq? So far Iāve been unsuccessful with getting that to work with the Impulse or Noise machines.
No.
Chromatic mode controls the frequency of the oscillators, not the filter.
Youāll have to manually record/p-lock/LFO&ENV modulate the filter frequency to change the pitch.
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@insect this makes me think that 4 days ago I had the MD triggering my Volca FM (by mistake) without a MIDI machine, just the notes of the tracks being played.
Even if it was not exactly like the video bellow, the result was close.
And as they were both plugged in OT inputs, I could switch from one sound to the otherā¦
[/quote]
oh man, I know how nice the Ableton vocoder can be! And now imagine you can do this with the AR and all the parameter locking.
A brief glance at what it takes to implement a vocoder would make it clear that a sample <=> synthesis vocoder wonāt happen in AR, so I would focus on the wonderful new things it has rather than wish for capabilities beyond its remaining DSP horsepower. If thereās any computational juice left, Iād rather it be put towards more LFOs, intertrack-routable LFOs like on machinedrum, or any of the other more bread and butter capabilities that would yield more widespread benefits among its tracks. Iām very grateful for the new trig modes and the surprisingly great sounding synthesis engines.
What i also like about the IMP generator is that it can act like a pseudo sidechain compressor if you mix it in with a sampled loop.
Hereās a (crappy) example:
https://soundcloud.com/system-libre/sidechain
Livid Instruments DS1
Livid Instruments DS1[/quote]
Hey thereā¦
Questionā¦ how do you connect the Livid to the AR??
Probably a USB cable and laptop.
With the justified excitement about the OS1.30, many of us will be experimenting with the new machines. The free New Blood soundpack is a fantastic source for inspiration. Copying kits across projects is somewhat cumbersome and I thought I do us a favor by summarizing the settings that are used in the soundpack. This resource of examples can be found [HERE (pdf file). The formatting is not pretty and I will do the polishing for inclusion of this in my [url=āhttps://dl.dropboxusercontent.com/u/8732611/Elektron/ElektronMusicProductionTips.pdfā]Notes](https://dl.dropboxusercontent.com/u/8732611/Elektron/New Blood - Learning from Simon and Cenk.pdf). This will however take time but I feel that many of us are keen to play with the new machines a.s.a.p. 
Hope you find this summary of āLearning from Simon & Cenkā helpful.
EDIT: Dropbox closed my public links due to high traffic. I will find a more permanent and free solution. (The original file was very large, I reduced it now but I do not know whether they will lift the lock ā¦ they want me to pay for the pro account ā¦)
UPDATE: Dropbox thinks I should spend money for your downloads. I now have now created an alternative link:
[http://www.informatik.uni-rostock.de/~ow/New Blood - Learning from Simon and Cenk.pdf](http://www.informatik.uni-rostock.de/~ow/New Blood - Learning from Simon and Cenk.pdf)
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Wellā¦ there is a way to make the frequency of the filter resonance sounds on impulse machine more ātweakableā.
Use the scenes. Setup a basic frequency for the filter on impulseā¦ than use each scene to add always ad differnent amount like +1 ,+2, +3 and so onā¦ or what ever numbers match your likingā¦
its not chromatic playing, but it gives good control over choosen āpitchā status, to modulate or pitch shift the whole sequence liveā¦ its fun
Haha, wow! Nice work.
Did anyone notice how the silly EDMpattern of A16 actually literally evolves? Listen to it for two minutes. 
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Nice trick!
Youād be surprised to how close the filter frequency is to chromatic pitch in reality! Each step will actually correspond to a semi-tone, albeit with a fluctuation in pitch of about +/- 12 ct. Freq set to 63 is a middle C iirc.\
If you really want to fine-tune, you can set up a square LFO on the absolutely slowest setting and modulate the filter frequency. Since the depth is a 14 bit value you will have finer control over the frequency.
(I do this sort of LFO as a constant value a lot, pair it with TRG, fade, and you have a linear modulation envelope instead. I kind of prefer this to the available sloping waveforms)
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Very good tips pulsefrequenz & Simon - will be trying them out soon.
@insect this makes me think that 4 days ago I had the MD triggering my Volca FM (by mistake) without a MIDI machine, just the notes of the tracks being played.
Even if it was not exactly like the video bellow, the result was close.
And as they were both plugged in OT inputs, I could switch from one sound to the otherā¦
[/quote]
I do a similar thing with a resonator. Here is an example of a MD drum pattern triggering a resonator. The bell pad like sounds are MD drum loop triggering the resonator. You can get some nice āhappy accidentalā melodies this way.
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Nice trick!
Youād be surprised to how close the filter frequency is to chromatic pitch in reality! Each step will actually correspond to a semi-tone, albeit with a fluctuation in pitch of about +/- 12 ct. Freq set to 63 is a middle C iirc.\
If you really want to fine-tune, you can set up a square LFO on the absolutely slowest setting and modulate the filter frequency. Since the depth is a 14 bit value you will have finer control over the frequency.
(I do this sort of LFO as a constant value a lot, pair it with TRG, fade, and you have a linear modulation envelope instead. I kind of prefer this to the available sloping waveforms)
[/quote]
another trick I found out today:
use a peak filter. set resonance and filter to your taste and in tune. Lock filter freq per step for your melody. Set filter decay, filter sustain and filter release to full 127. Set filter env. modulation in the middle to 63. Modulate the filter with LFO, set to x2k with a depth of 8, speed to 63.
Lock different amounts of filter env. modulation (like 65, 67, 62, ā¦) to different scenes. Now you can transpose your melody using different scenes. ItĀ“s not always really 100% in tune ā¦ but it kinda works.
you can also tweak the speed parameter of the lfo for different timbres of the sound and have fun ā¦ also tweak the lfo fade parameter and have some more fun
I also found a bug ā¦ I guess.
When I set a trig condition for a trig, letĀ“s say to 23%, I canĀ“t set it back to always or no condition. I have to remove the parameter lock for the trig condition to set it to āalwaysā.
Pretty sure this is normal behavior, as it is a p-lock only parameter.
Pushing the TRC encoder in to set it to no condition is the only way to make it no condition from a previous/conditional state.
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