Automation in Modulation
Now there is an important thing that we have to bring up which is automation in modulation and this is really kind of geeky but it's going to make sense in a second so automation modulation automation is the movement of a control across the arrangement timeline of a session clip in other words, I think of it as a mixer if you have a mixer and you're moving the fader that is what automation is its is if someone were sitting there and moving it automatically for you every time you're like you tell your intern what to do and they do that every time that's what automation is modulation is a little different modulation is also a movement of a control across arrangement timeline or session clip but relative to that defined parameter value this is where it gets a little nerdy in other words, automation happens first automation is the mixing like like that the volume but modulation is now a zero to one hundred percent of the automated amount so if automation was zero d b the modulation can be ...
changed from zero to one hundred percent of the total void I know weird but it's useful so let's say I have this clip I'm gonna turn off this for now it's playing right let's say I go with my mixer track falling I'm just going to click this and right now I'm gonna put up it zero t b right wolf it's a zero d b that's its full notable you now if I right click any one of these parameters I have show automation which is what I just did let's show modulation modulation is now here but notice if I make a point it says one hundred percent right there up at the top and then if I change that it's a percentage amount so now if I play see that little orange dot that moves right here well, since it's a percentage if I move this that same fate is happening but as its modulating the actual final uh volume of the mixer right? So I'm modulating a zero to one hundred percent of whatever I said the the the top to be which is the mixer this could be really useful if you have something like let's say you fade something well, you might later mix it and want the whole thing to be louder but the same fate to be there. Well, if you modulated the fayed will be exactly the same but you can always change the actual final volume of what the loudest parties that make sense that's really helpful in mixing and something's um you might not have to use this ever or you might use it all the time too create really strange intricate movements and modulations but now you know there's automation which is moving the parameter and modulation which is a zero one hundred percent guys have any questions on that it almost sounds like modulation is kind of like a dry what of automation but with like with track volume that's one thing how would that work with like ah a delay if you have an automation that's changing over time and a modulation that's also changing over time yeah great question so I'm going to just I can right click and delete automation so I can delete that volume automation and then I'm also going to come into my track following you modulation I'm going to select all of it by just pressing holding going across to going to hit that delete I'm just deleting stuff so we don't get confused what's happening all right so way got this delay happening right? Well let's say I show automation let's automate this just randomly all right so now we can see that automation happening right see the little red dot and how it's moving the driveway I'm gonna make this a little bit more simple that was a little intense all right, so now let's you can see that I'm going right click show modulation I'm gonna make so it zero percent right here so it's negative fifty all right so see how there's like the oranges moving separately I'm gonna change this a little bit do that all right so you can see that automation is moving that parameter but then modulation is saying no, I want it to be less than it actually is I want to be zero percent of what that final ism moves separately so you can do things another good example is so we're fading are wet dry over time it's getting more intense over time, right? Well let's go into our wet dry modulation and then do something like actually let me, uh delete all of this to start ok, so I'm putting in drama owed control be and I'm just going to do this quick trick is I can actually select that area and then control d or commanded to duplicate it actually wasn't quite what I wanted there we go all right, so we have this kind of shopping effect chopping is happening but it's still rises up over time because the automation of that effect so it's modulating it back and forth but then still getting more mohr wet as it goes, that makes sense awesome. But now we know at the very basics of how we can take one of these sounds and turn him into multiple versions let's turn off that way oh, I deleted the automation so you don't see it but we remember that example we can just get the kick we can just get the snare we can edit it through our envelopes so just looking at the clips, the clip view, we've got the launch modes. We talked about creating random ization through follow actions, the different trigger modes that we can use, that in our live sets, awesome samples, we can transpose things, bring up and down volume, really control the playback of the sample. We've gone over wart modes, looping how we can loop and start sections as well as envelopes to create modulation and changes over time. Now, ah, you can really play with these envelopes on your own for creating changes in your music. Create different versions. Let's, say your drums change, and so does your melody through movement in your distortion or delays, or all that stuff. That's. Why your envelopes are super cool.