That depends entirely on the sound you want. I turn HPF keytracking off almost all the time as it tends to thin out the timbre in the higher registers. It is essential to turn off keytracking for thru machines and effects, otherwise you’ll end up being one of those “the monomachine sounds thin” people. LPF keytracking is good for most synth-y things. Not as good for percussion and effects. Try different things, see what sounds right to you.
[/quote]
Wow what a difference turning off HPF tracking!
Thanks!
That depends entirely on the sound you want. I turn HPF keytracking off almost all the time as it tends to thin out the timbre in the higher registers. It is essential to turn off keytracking for thru machines and effects, otherwise you’ll end up being one of those “the monomachine sounds thin” people. LPF keytracking is good for most synth-y things. Not as good for percussion and effects. Try different things, see what sounds right to you.
[/quote]
Wow what a difference turning off HPF tracking!
Thanks![/quote]
Thats “The Monomachine Secret”. I bet many MnMs have been sold on ebay due to not finding that menu!
Best advice I can give is to learn the routing through the busses, neighbour tracks and getting used to finding the sweet spot in the filters.
The filters in particular do not behave like a standard resonant low pass filter right off the bat and I found that once you come to grips with getting the best out of them everything else is gravy.
Quite often you can get a much fuller sound using 2 fx tracks for example along with clever bbox and fm machines with clever use of parameter locks working on various parameters.
Try using very fast arp settings for pitch mod fx that free up 3 LFO slots for other duties.
FM maschines make for good percussive workouts also.
Also try routing a sound out and back in for feedback effects also in creative ways etc…
That depends entirely on the sound you want. I turn HPF keytracking off almost all the time as it tends to thin out the timbre in the higher registers. It is essential to turn off keytracking for thru machines and effects, otherwise you’ll end up being one of those “the monomachine sounds thin” people. LPF keytracking is good for most synth-y things. Not as good for percussion and effects. Try different things, see what sounds right to you.
[/quote]
Wow what a difference turning off HPF tracking!
Thanks![/quote]
Thats “The Monomachine Secret”. I bet many MnMs have been sold on ebay due to not finding that menu![/quote]
Son of a … ! I didn’t know about this. This is an essential tip. There should be a super sticky thread with tips like this. But that will never happen.
Experimenting a bit with the V-0 machine tonight after watching a video on the Voder: http://www.youtube.com/watch?v=5hyI_dM5cGo
Set LFO to volume, and play with the multiplier and depth to taste. You can get some cool vibrato effects, which can get interesting when you inject some randomness with the arp. I feel like there is a lot to be unlocked in the voice synth if you treat it right. Also good with pads to get rhythmic, flowing sequences.
I feel n00b as hell for asking this… but is there a reason the reverb ‘pulses?’ It’s like the tail has this permanent modulation/vibrato that no parameter or LFO has changed, and I even made sure to turn down/off the delay on the Reverb machine track. It’s the same speed no matter the tempo or I wouldn’t really care.
Am I just missing something painfully obvious here? Or is this just the sonic signature of the MnM’s reverb? There’s nothing I’ve found in the manual or any of several MnM tip guides that talks about it
The first thing I did was completely preset wipe the thing, so I can’t figure this one out at all o.O
A single trig at the start of the pattern, Amp only. I’d thought that might be it when I had it in ‘all trig’ mode or whatever it’s called, so I tried just an amp trig and it is still doing it.
I have a solid signal, just every time I mix in reverb it starts doing a fast ‘wuhwuhwuhwuhwuh’ no matter if I use all trig or amp trig only. It sounds like an LFO modulation or the beating of two detuned oscillators.
1 ‘all trig’ for track 1, the synth (also tried amp trig only).
1 ‘amp trig’ for track 6, the reverb. Amplitude envelope decay/release are wide open.
internally signal is routed via the AB bus.
Starting to think this is just how the reverb sounds. Like it’s simulating some sort of reflections or something.
Yeah, that’s the conclusion I’ve been coming to. I’ll save the MnM reverb for the more subtle stuff and let the OT handle most of the big ambienty stuff.
Hey KrisM - As a relative MM newcomer, I was confused by the pulsing reverb problem as well. I believe the issue is the default reverb setting has a short decay. Once decay/damp/gate on the synthesis page are adjusted, along with the hold/decay on the amp page, it should ring out as desired.
After taking some time to get to know the reverb machine, I’ve come to really appreciate the possibilities for synthesis and percussion, especially once you start playing with the filter envelope, HPQ, etc. Don’t give up yet!
Not sure if this is super relevant but… I posted this video I made on Sunday in the music section of this forum but I feel like it might be helpful to some people here. Feel free to ask me questions about it
LPF keytracking is good for most synth-y things. Not as good for percussion and effects. Try different things, see what sounds right to you.
