#How to change morph mod controls Patch

If you do the same, youвЂ™ll hear that itвЂ™s not a particularly useful sound in its current state.

#How to change morph mod controls Patch

I like making sounds that are fun to play and very approachable, and probably the cheapest and easiest way to get your kicks on a synth is futzing around with the filter cutoff (thereвЂ™s a reason that the cutoff frequency knob is the biggest one in WavetableвЂ™s interface), so IвЂ™m going to make this patch sound good no matter where you position that knob.ДЇirst things first, IвЂ™m going to turn the cutoff to zero and hit play. ItвЂ™s no fun to have patch thatвЂ™s just too quiet even when youвЂ™ve got your faders slammed to max! If youвЂ™re not using Wavetable, you can still use an instrument rack in Ableton to morph multiple parameters of any Ableton instrument or VST at once, and if youвЂ™re not even using Ableton, your synth likely has a few Macro controls you can use the same way weвЂ™re using the instrument rack.ДЄlso pump up the output gain of this synth from -9.0 dB to 0.0 dB so we have plenty of output and, as a result, plenty of flexibility during the arranging and mixing process. I know that to make this part really interesting IвЂ™ll need to change a variety of characteristics of the sound over time so IвЂ™ll create an instrument rack containing this instance of Wavetable by selecting it and hitting command+G (or going to Edit->Group) so I can create some macros. Now letвЂ™s move over to the amplitude envelope on the right and bring the sustain down to nothing and the release down to about 200 ms since we want kind of a pluck or a percussive strike sound. Keeping in the вЂњbasic shapesвЂќ category, select the sawtooth wave.

In all the demo audio weвЂ™ll be listening to a nine bar loop, but this type of arpeggio sound will often take up 32 or 64 bars of an arrangementвЂ¦ or even more, slowly morphing over time.ДЇloating PointsвЂ™ вЂ ArgenteвЂ™ a beautiful piece of music that prominently features an arpeggiated synth morphing so slowly itвЂ™s almost imperceptible at times, over the course of almost five minutes.ДЇirst letвЂ™s add an instance of Wavetable. Starting with such a wide note palette allows us to move up and down the frequency spectrum simply by manipulating the frequency cutoff knob to dramatic result.

Our MIDI part starts on A1, which is at 60 Hz, and sweeps all the way up to A3 which sits squarely at 440 Hz, with strong harmonics reaching all the way up the frequency spectrum when the filter is wide open. Note the MIDI part - the arrangement is critical to the sound that weвЂ™re going for - weвЂ™re covering about three octaves of territory, the lowest octave being the first.