8/30/2023 0 Comments Arturia matrixbrute![]() However, like the previous case (the drum example), I can post audio. I'd like to share an example patch, but being on the new Firmware, I'm afraid that'll have to wait. This allows a combination of rathceting notes and continuous notes through the two filters (or another ratchet division using the other LFO with a different Seq Mod Mod Amount for its rate - it's the MxB, so may things can be done!).īy setting the sequencer Gate time to max, rather than using max release time for the VCA envelope to ensure full base volume for the whole step duration (A = min, D = min, S = max, R = any value), then using the techniques above for variable gate times per step (for non ratcheting steps) in addition to the ratcheting.īTW, the upcoming firmware has a couple of goodies that can be made good use of for the LFO ratcheting method. ![]() By assigning the ratchet LFO to the filter VCAs (Level) instead of the final VCA, you can get separate ratcheting for each filter. ![]() Used together with the Macro assignment above, gate length and saw-envelope saturation or lower volume can also be adjusted.ģ. Using negative values for the MOD lane gives a longer gate time. Turning the Macro counter clockwise gives shorter gates and less amplitude.Ģ. Turning the Macro clockwise will shift the waveform towards the positive - for a downwards sawtooth this results in a variable longer gate time and also in a "hold" at the start since it is being saturated as well. ![]() ![]() This can be offset, literally, by assigning a Macro knob to the (VCA) column where the LFO is assigned. The LFO waveforms are bipolar, so straight up VCA modulation only gives a half cycle of sound. To expand a little on the LFO style ratcheting, as shown in guyaguy's excellent tutorial video, here are 3 additional techniques:ġ. ![]()
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