Join Evan Sutton for an in-depth discussion in this video Advanced modulation, part of Drum Programming and Sampling with BATTERY.
- So we've got some really cool sounds going, we've got some nice effects. Now we're gonna modulate, okay? So we're gonna automate a little bit later. Modulation, though, tends to happen automatically when we hit keys and so forth. So what I'm gonna do, let's jump on to our kick drum over here. I really like this kick drum, by the way. It's got kind of a cartoony quality to it. And I'm gonna turn on my filter EQ and I'm gonna go back to that Peak notch filter that we were using.
So this sounds really cool when it's moving while it's playing back, so let's set up an envelope to modulate that cut-off frequency. So what I'm gonna do is go over to my Modulation page and look at my modulation slots on the right hand side. Now, we have these dropdown menus that say None with these faders in the middle. And basically, we have the modulation source on the left, the amount, and then the modulation destination on the right. We have eight possible modulation slots. One through four on this tab, five through eight on this tab. We have a handful of different modulation options.
The first of which are the two LFOs and the envelope that we're looking at on this page. The other ones are gonna come from different parts of BATTERY or MIDI that's incoming when you play back your sequence. First of all, we have None, that's what's already selected. We have things like Velocity, Pitchbend, AfterTouch, Key Position, those are all handy. You can choose a MIDI CC if you wanna do that, although if you wanna use something specific aside from the Mod Wheel, I'd highly recommend just using the automation tricks I'm gonna show you in a moment.
We also have Randomness, so we have Unipolar and Bipolar. Unipolar goes in one direction, up or down. Bipolar will go in both directions, like an LFO. We have a Constant, and we also have a Release Velocity if your keyboard supports that. Then we have our modulation sources from within BATTERY. LFO 1 and 2, the Modulation Envelope, which is the one that you see on the screen here. And then we can also even tap the output of the volume or pitch envelopes on the main tab. So let's just start out with our Modulation Envelope.
And we're gonna connect it to the filter Cutoff, all right, so we have that connected, let's take a listen and we'll start at the beginning, get a nice loop going. So we can hear it moving, but it's not happening as quickly as we'd like. so I'm gonna go ahead and switch to the simpler envelope. (repetitive drumming) Okay, I'm gonna lower the range of modulation, it's going a little too high, we're losing that meat section.
(repetitive drumming) There we go. That's nice, that's kinda fun, maybe a little more. Okay, that's pretty cool. Let me change our loop up a little bit here. (electronic music) All right, let's go over to our second section and let's use some LFOs.
(electronic music) Gonna select my three timbalas right here. I'm gonna set up modulation on all three of them at the same time, 'cause why not. Let's go over to our LFO 1, and I'm gonna set that up to modulate tuning. Okay, so these are sounding pretty cool right now, but if we wanted it to be a little bit faster, we could raise the frequency.
That's kinda cool, that's really groovy. We could also do something really slow that does not re-trigger every time we hit the key. That's what the button does, it makes it so that every time we hit the key, the LFO starts over in phase. Ooh, I like that a lot. Let's beat-sync it so it's less nauseating. (repeated electronic drumming) Ooh, this is gonna sound great.
(electronic music) Boy, is that groovy, I love it. Now, let's go over to our timbalae, We have a lot of different options as far as incoming MIDI is concerned. And the main ones that you're gonna use with Velocity such as Volume and Pitch are already mapped on the main tab, so you don't need to worry about that there, that's a really big timesaver. But as far as the timbalae, let's see what we can do. Let's go ahead and grab LFO 1, and what I'm gonna do is I'm gonna switch it to a sawtooth, so it's a ramp.
And what we can do, is turn off re-trigger. I'm gonna make it nice and slow, like a whole note. Listen. Gonna loop this section. (electronic music) Okay, now let's grab LFO 1 and patch it to Tuning. I love modulating pitch, it's fun.
Okay, well this is cool, 'cause it's slowing down, but what if I wanted to speed up? I'm just gonna hit the Invert button. (electronic music) And we can even start it out an octave lower so that we arrive at the original pitch. (electronic music) Let's make a bit of a bigger loop, this is getting kind of interesting. Very excited about this.
Here we go. (electronic music) See a lower reverb here. (electronic music) This is getting funner and funner by the minute. So we're kind of really getting away from what the original sound of the 808 was.
That's one of the reasons why I really like working with these old, classic analog sounds. They're really great for adding processing to and customizing. And modulation and effects go hand in hand as far as these customizations are concerned. But don't forget that with audio, things like pitch and timing can be really, really interesting for modulation and tweaking.
- Playing and editing factory kits
- Importing and playing raw audio
- Customizing MIDI settings and macros
- Modifying samples using alternate playback modes
- Vintage drum machine emulation
- Signal routing for optimal mixing
- Saving and archiving kits and sounds