Workshop 9 - Native Instruments Reaktor 6 - Build Your Own Synths with Drumcell, Raiz and Richard Devine

Lesson Info

Workshop 9 - Native Instruments Reaktor 6 - Build Your Own Synths with Drumcell, Raiz and Richard Devine

Hello everyone has everyone doing today excited to be here thank you thank you gentleman down in the front okay, so reactor six so reactor six it's a crazy crazy uh tool that you're able tio use to create your own since and create your own effects now before I kind of dive into the new features of reactor six so I'll talk to take a little brief history lesson the beginning so the beginning native instruments wass was founded around is in nineteen ninety six and it was around thiss program called generator which was kind of the first the first version of reactor essentially andi with in here you know, we were able to virtually patch all these things together to create our own instruments and effects so it was just another picture of generator and you can see how it's uh it's not that great to look at I mean it's kind of confusing it's very pixelated but again this was back in nineteen ninety six so now there's kind of this this huge resurgence of modular synthesis you know there's a lot...

of people that are now starting to get into, you know buying a lot of modules starting to create their own their own racks so you know, appear we have some of the original modular systems that were created we've got moved we got boo kla got some demos of euro racks in here and again, this resurgence of of modular synthesis has been really, really popular. But with this, you know, there's, it's, it's bulky to bring on stage it's very expensive. It is a lot of fun, it's no it's that's addiction. But now, with the introduction of reactor of reactor six, we've now introduced this this feature called blocks, which is kind of this virtual modular system where you're able tio virtually patch all of these different blocks or modules together to create your own, to create your own sound cool. So taking a look at the blocks here, so I have I have a couple different blocks set up here a couple different modules on. Basically, I'm going to kind of go through how we can go about patching this stuff up to start creating our own sounds. So right now I have basic. This is a recreation of monarch where I have three oscillators here have my mixer, my filter envelopes. I'm also able to control my output on here. So what? These blocks I have essentially a crazy library of blocks that I could easily just drop into this into this window here. So on the left, I have my library, I got my reactor blocks and there's a bunch that I could start choosing from so, for example, if I go to monarch here, I can choose the either the filter, the eighteen eighty s envelope or the monarch oscillator, and then I'm able to just drag and drop it, and then it creates it down here for me, so different different folders in here contain different blocks, so under the bento box, we have stuff like an l, a faux step sequence, sir, whereas in rounds, we have the effects that delay in the river from rounds. So right now, we're looking at the blocks, if I click on the horizontal lines here now, I'm able to bring up the area where I'm now able to start patching all this stuff together. So it's been kind of redesigned the interface with the blocks it's a lot easier to to patch all these things together, you don't have to have a crazy deep understanding down to the core level of of all of these blocks. So, for example, if I keep double clicking on the oscillator, you were able to see how this was created and it's been redesigned down to this core level for even all the since they're already created inside of reactor, all of those have been kind of redesigned to allow for a better sounding, better quality sound, with all the all the instruments that are being created in reactor so you can see it gets pretty complex down here, so if we go back to the main level here this is where it just I'm able tio easily patch things together and all of this has been has been changed from reactor five. The interface is a lot cleaner now, so we'll start patching some things together here so the first block that I dropped in here is I have my my keyboard input, so from here I can just click and drag I'm gonna drag the pitch to the three oscillators here and the note in so this is going to be for my keyboard. So whenever I play a note on the keyboard it's sending the pitch information to each of the oscillators here now that I have the oscillator set up, I need to be able to mix the three the three together so under my bento box under my mental blocks block I have the bento box mixer or I'm able tio ad in the three oscillators I have created here I was dragging in there we go, so making some progress now next step is gonna move passion the output of my mixer into the filter then I'm going to send the filter into my volume control and then from there don't hook up the output so I have sound but now, there's, the problem is the sound is just continually going, I'm controlling the volume using my vcr block here. Now, I don't want to have to keep moving this all the time, so we're gonna have to do is I'm gonna patch in the gate, a message from my keyboard input and then add the an envelope here. And then he used the envelope on the amp envelope to control how much, how much volume I'm getting out of the out of the way, so I connect the gate to the ap envelope now, before I patch this into into the volume control, if you notice on here on each block, I haven't a b when I connect up my envelope here and now it turns it turns black, letting me know that a signal is being sent into the into the volume into the volume block here, so once the a is highlighted, I can click on it, and now I can control how much the envelope is affecting the level of my visa here, so once it's all patched in, then I can start adjusting the parameters on the on the block itself to create the sound you can actually see, you can see the decay you can see in modulating on on the screen as well, so, so this is controlling how much the envelope is affecting is affecting the volume so when it's all the way up like it is now when I hit my note it the volume level mob is going to go all the way up to the top so I can adjust my decay wait go so another couple of things now I want to add to this so I want to add a filter envelope to this as well so just like I did with the with the amp envelope I'm gonna have to patch in the gate signal from the keyboard input patch it into the gate of the films or envelope now one thing that I'm going to do here though is I'm going to use the v c a to control how much of the uh, how much of the filter is actually being applied or how much of the envelope was actually being applied to the filter itself. So from here I'm gonna patch the filter out, put the filter on love into the visa for the filter amount and then I'm gonna patch the output of the cia into mahd a of the filter and now it's highlighted here and now even start adjusting how much is being applied? Wait so you can see that when I have the level all the way down on the filter amount of the none of it's not modulating the filter envelopes not modulating the filter cut off here but as I start increasing the level more of the filter is starting to be applied tio more of a problem is starting to be applied to the filter here so now it adds a couple other blocks here just kind of show you guys how easy it is to start patching things together now let's see I want to I want to make a dubstep wobble base that was a joke clearly it failed so I'm going to add in the bento box here I'm gonna go into the bedroom box folder and let's add what's at an l a photo this so I can just click and drag it and just drag it into the virtual area down here get myself some more room all right so from here I can then also I can just patch the output of the l a foe and then send it into mod b of the filter and now that I have it connected you can actually see that it's uh that's blinking it's changing colors so once I click on b now I'm able tio just how much of the elephant was being applied to the cut off the filter so once I start increasing that you can see that the uh how much is modulating you can see that it's moving currently e I want to change what kind of telephone away form is it's creating just click and drag it up increase that's sustainable wait so let's make this sound just a little bit more get a little bit more so on here because I have all three oscillators patched in already now this works you know just like any other any other sin here I'm able to start tweaking all the parameters and really start designing designing the sound booth wait so I just go to my mixer and dial back this second oscillator all of these parameters I can also map to my keyboard here so I just right click on one of the parameters here I could just too many learn ah there you go. All right so one other thing I want to add in here is gonna add in a step sequencer so I'm gonna go to my my pencil box here pull up the eight step so I can either drag it down here where I'm able to patch in all the, uh, passion all the cables but I'm also able just to double click it and just haven't automatically be added to the virtual rack up here so every going a step all right so I'm gonna have to do some re passion here in order for this to work so I could just click on the lines here hit delete and now I can start uh concert patching this stuff back in one other thing that I need to add into this into this instrument on building is I need to add a clock clock utility so at the step sequence or knows what b p m to be playing that so I can find that under my utility clock so from here I'm gonna connect up the gate to the gate on the steppe sequencer we're also going to connect the reset now going from the step sequence sir, this is we're going to send a pitch on was sending toe all three oscillators he also noticed that when I'm patching all these things together the virtual patch cables have been redesigned they're a lot easier to see what you're actually patching together, you know? It's just it's ah easier to understand so I have, uh have my pitch here. Now the last thing I need to do is connect up the gate signal to my envelopes that elephant was kind of getting annoying, so from here with the step sequence where I'm able to basically just click on each individual square and tell the step sequence or which noto actually trigger so so let me just get the get the telephone back and you're quickly so bento box lfo filter then just quickly patching it back in whoever I want so I'll put into modern day of the filter wait direction step sequence randomness going on here way so a lot of rent kind of random sounds going on there was a strong trump meet behind the chances are that was really awesome but so a couple of things there's one ad in here so let's go to the rounds section and with inside of rounds I have two effects currently I have the delay in the river and that's the delay in the river from the from rounds itself. So when I added into the when I added into the my rack here actually visually it's going to look identical to the delay in the reverb inside of rounds itself so just click and drag it in there we go there's the delay let's get the reverb in here so I'm just gonna passions into the er to the end of my signal here and in the chain so I just delete that patch up the output so what I can do is actually I'm goingto patch in the l a foe instead of having a control the filter that you're gonna have it start adjusting the size of the room to create an interesting effect. So from here instead of patching it aiken just disconnect it deleted go so output from the l a faux I'm just gonna connected to model, eh? Eh? And I even see that I'm able to adjust that it's depressing the scythe so as you can see it cz very easy to just quickly grab grab all these virtual blocks and just drag him into the virtual work space here in quickly patch things together I mean compared tio reactor five it's again you don't have to have this crazy deep understanding of of how everything is created down to the core level but here it's kind of getting this virtual virtual representation of a of a of your own modular system so it's easy again you're just able to quickly patch anything into anything adjust the modulation of any of the parameters so you're able to again just create some crazy sounds out of this and start you start getting into that world of modular synthesis so uh that concludes my portion of of this demonstration now next I'd like to introduce a couple of people we're going to be having a panel discussion I like tio introduce carmen rizzo the artist relations manager from native instruments as well as our two artists drum cell and rice both enjoyed behavior all right we're going to get to this european and at the end we're going to pop up and show with something as well very, very and so we're going to hold off on the q and a until the very end if it's okay so save your questions so okay guys so we're talking about reactor six maybe you guys can explain to the audience a little bit about yourself as an artist and as a label your way start this sir um well, about thirteen years ago in los angeles we started our record label called troy behavior droid recordings depending on who us on basically, we started off as a collective of guys in los angeles who we're really into techno and unfortunate living in a city where technologists didn't seem to really exist or be relevant for that so way kind of just really tried to curate as much as possible and trying to help build a scene in l a, um, trying to get like minded individuals together as a collective people who are into techno bringing them in. And we kind of formed a little bit of a newsletter where we were getting information from different promoters around los angeles who were throwing techno events and basically sending out an email to a lot of people that were meeting in record stores, et cetera, et cetera. So on, who were into techno, and I mean, to make a long story short, that newsletter grew pretty large, and we saw an incredibly big, um yeah push music exactly doing events ourselves pretty regularly, a lot of street promotion at the time flyers were still relevant. We've linked up with some good, like minded individuals from detroit who had moved out to l a and just through this whole kind of network of people migrating from midwest who had this strong techno background. Growing up with that scene in the midwest the nineties, it was really easy for us to kind of get get a good vibe seeing going pretty quick on that home, we started biting artist from us, lord heroes that, you know, we admired in the nineties people from like t j hyperactive like dearborn, guys from detroit, new york and like most said, uh, establish the label as an output for our own original material and kind of just put l a on the map for techno. There were a few guys doing stuff with time, but obviously it wasn't anything like detroit or new york or even the u k so really set out to just make an impact and bring our own style at aesthetic to the technology on our own. Yeah, yeah, like throwing the events in l a was a great way to kind of build a foundation in the city for starting attack we've seen, but the record label was what kind of broke us more outside of our own like hometown. And after releasing records, he was releasing records of his brother fidel as rice and I was really seen records is a drum cell. We had some audio injection deejay, hyperactive a lot of people who are in the city really kind of broke the name out on ah national and international level so that really helped us take our events outside of l a and started throwing parties all over the world I mean, we've done things in amsterdam detroit, new york you mention it so way started droid thirteen years ago but I mean things really started taking off on a bigger level I would say within the last six to seven years back home in los angeles techno is pretty big it's a big electronic music scene you guys are obviously a big part of it would you say though that all the artists including yourself you're very technical? Yeah obviously from listen to music so you use a lot of the products and you've used every actor for a long time, right? Yeah definitely I mean, all of us were our big nerds is for anything that makes noise synthesizers were really big into computers. As a matter of fact, the first time I met these guys was actually one of the first times that I ever saw anyone do a live p a like on a desktop computer with like a c r t television screen and they're like doing a live p a and I think that's like when we first met I walked up and I was like, dude that's awesome like what do you guys do it and that's kind of just been history from there so we've all been like really big music nerds and um on all fronts from hardware synthesizers and software synthesizers and everything I don't think any of us really purists we just love anything that makes noise is really important in this crucial saying if you're a purist or not because I think for all of us who make music it's just they're all tools and it's how you use them and what you make you know with them so you do use hardware since so you're used to modular since ok, so you've been a reality user let's say for how long actually reactor was one of the very first instruments that I adopted into uh to my kind of music making process I had an old friend from high school who it was like this weird hacker geek and like always was talking about c plus programming and all those super complicated shit that really impressed me and I remember he's he's really early versions of reactor number looking at the interface and like seeing the structure mode and all these panels and being like, wow, it was incredibly intimidating and I remember when he first gave it to me I had like the original version of a reactor three with a little blue usb dongle key and playing with it I was impressed on two levels one how in depth it was an application and then second of all how easy it was to use and how flexible like it was just like cavities, endless libraries of sounds that I can pull from so it ended up being I think let's think assed brand said the company was based on this original program which was called generator back in nineteen ninety six and it was the vert I think it was the first virtual modular sin which made it really convenient for people who didn't want to bring all these cracks around so fast forwarding to reactor six from reactor three which was easy but not easy for all of us who aren't super deep right? But now with with six with the blocks you guys have prepared something to show us here and I thought it was interesting how you were mentioning which maybe if you want to share how on the plane you just kind of came up with something which was really good that you played me and it just showed how easy it is now I feel because, um so much of the since that and I make are based often reactor whether it's like razor and monarch and lots um it's quite simple not right? Yeah. So what did you guys from hair? So we could maybe, you know, mom than even start to open up the sure the session and we can show yeah, basically I mean, I wasn't on some crazy advanced beta list and reactor six is obviously quite new, so I barely just got my hands on it and uh is that already going right? So I don't I basically got it installed just not long ago and it was fun to just kind of open up. I sat on the airplane and it felt like incredibly familiar territory for me just kind of playing with modular synthesizers in general and came up with some patches pretty quickly let's see, you know what? Maybe evangelist can talk a little bit about your background with music? Yeah. Elmo definitely was one of the first guys who introduced me to reactor and I think the thing impressed me the most about it was just how diverse it was an instrument I mean, there were drum machines, effects units, delays compressors on dh like you said it was as complicated as you could make it but also is easy to just throw it on a track you know and very usable some of the compressors on their sound great. How do you do it sometimes there's a deejay said sometimes you've got the whole ring and when you do the whole rig, you bring a machine or well when I play live I played with tractor I have a pretty kind of complex live set up well, it's kind of a hybrid of live and d j but I play with two laptops and one laptop is, uh primarily just using tractor is four decks and kind of just selecting individual loops to play different parts of different tracks. And on my second laptop, I have machine as an external drum machine ad sequences on top of what I'm doing with tractor, but I don't really have any audio clips and able to so much able to just kind of ends up becoming this external effects processor where I have all the auxiliary sends and returns set up on my mixer, and I use a lot of reactor patches for delays and re verbs and stuff like that to add on top of the tracks that I'm currently playing news, and we're set up where we use the auxiliary sense and run that through a bolton and more unique effects. And when you get out of the box and tried to rebut showing it enables a zoo host and in reactor as a vsd playing opened a procession on by basically built this patch here. I don't know how much of that is visible there, you see that? Yeah, so I just kind of, like, started putting some things together, you know, there's an eight step sequence, you're basically sending notes to the oscillator this module right here down there you see the bottom that's kind of red called kwan tizer I found kind of interesting it was this model that basically has a one octave of a keyboard you could see all the notes lined up here and you could easily select like three of the notes into a particular court structure so no matter what you send out of the sequence or into this kwan tizer it just plays musically really really well in that in that particular key so just go ahead and start playing this you can kind of hear it let's see is this turned up all right I was going for a second so in this particular patches started off with both a baseline that's running off this eight step sequence sir and then a lead since line on top of it so I got a low pass filter on this and I opened it up you can kind of hear the leads that line coming way with now the cool thing about the quantity is something that I like is that it has this offset thing where I can go ahead and start playing with that same cord but in different office so you get a nice little variety of melodies way have machine running that angel's kind of manipulating with that is running just a basic model nine trumpet not on the trump kids on closed my ass right symbols snare drums you're keeping your meter is touching, it isn't that's one thing that has changed every hundred six it's changed now the audio engine so it sounds a lot better than reactor five and I think they helped out with seem you so there's not as much having nothing when you're done there's a lot of really interesting modules inside of reactor blocks that it's kind of just sparking a lot of creative stuff for me. I mean, the one thing that I've always kind of enjoyed it about reactor, is that it's a lot of happy accidents, I mean, it's, it's, whatever kind of have this like a road block in the studio, and I can't seem to be able to think of anything new to add to a track or make it better. The second I open a reactor, it could be a simple is just kind of like over here on the side, you have these, um, more from randomized function where you just tap the randomized button and it just totally messes up the patch and you come up with all these interesting difference in patterns over single time, and then you just go ahead and start saving them as different snapshots. I mean, I could just kind of, like, go through some of these already knowing five so well going to six wasn't a big jump for you or thea same language, it wasn't you have to read the manual. You just just kind of jumped in familiar with me, but still a lot more intuitive. I mean, everything seemed far more streamlined and easily accessible. The folders were all kind of well organized, and it just seemed so much easier to kind of navigate myself around the software, find exactly what I was looking and you can drag and drop those modules and different orders. Yeah, it's super easy to, like kind of just you can hit the added, but and I'm sure he was showing you earlier, but you can kind of go behind the behind the scenes of the entire patch and kind of see all the different things that I was kind of doing a building, you know, started falling off with a clock and then sending the clock to the sequencer. And then we have these clock dividers that can multiply these things. I don't want to get too complicated, but it's it's actually, even just it is simple is like picking a few presets and then manipulating them. It was just instant ideas of stuff that is coming out. You just did this okay, all in the half light like a star ithe lessons you're going to suck your blood. Yeah, I brought some other kind of ensemble that I've made in the past which is kind of funny I know the grease or a little bit outdated I made this kind of silly three o three acid line thing that I've yeah says beverly hills they tow wait three or three, which is funny user group for years it's your own little private stuff kind of stuff that I've built for myself there's a handful of reactor patches that I kind of like within our crew, we've kind of just shared him, which has kind of a unique sound and stuff that you use it shows the way something else on the plane well, speaking about a little bit earlier about the simplicity of building sounds inside of reactor is the randomized function I was just saying where you could just hit this button and it basically randomize is a bunch of different sounds, so I have this reactor patchouli see if I can find it I don't know if he has conceded one second. All right? So it's basically these two people dancing back and forth and I'm not going to show you under the hood because it's my own shaker weapon but you basically just tap dancing people and you just get in random patterns for drum sounds to go over it remember wrong one there you didn't see you nor a solo so no matter I mean trying to tap dancer you just get random technol patterns that have worked in hundreds of tracks and I'm done that's your little cigarette that's not for free on the use of ok you guys should be hit too the user section for reactor it's really great because it is the best kept secret which is not even really a secret where it's a free if you are a registered user you and I and reactor people go up there and the posts a million million thousands of killings of free uh since effects all these different ensembles so go up there you can rape, pillage it's all free there's some really amazing stuff that shouldn't be free actually charging for this but I was going to touch on that because I think that's something that a lot of people don't really realize about reactors the user library is so extensive there's so much stuff up there but just having reactor alone is having this like multi synthesizer bundle of endless amounts of plug is that you can select from you go to the user library and you have everything from like you know, dynamic audio processing compressors accuse synthesizers, step sequences draw machines groove boxes and they're like they're all free and they're all downloadable it's like an endless supply of free v s tease there not be a season reactor and they're all very good they're not just some weirdo making something for fun they're actually really viable that should you know, actually cost money so saying that because we're short on time I'd like tio bring up richard devine it's ok? Because we only have, like maybe ten minutes tops and I won't ask for a few questions so richard, if you're here speaking of user library that is through the video because uh because richard actually has a great ensemble that he made that is free, right it's free on the site which you could take on he could just spend but thank you guys let's get a booth richard you've been obviously reactor guy from day one I've been using reactor since it was generator way, way, way back in the day yeah, but also from you your presets are all over all of the reactors, including six in sixty eight did the audio demos that are on the site right now is if you go up on two native instruments they also I think that the complete page just posted tio tracks I put upon soundcloud that we're all created making making music with reactor six and um of course I loved reactor I love any environment that's modular for those of you that's all mine were chuck before this a modular since you can could see a lot of similarities in the way that you build a construct things in reactor it's very much the same way you do things in a modular environment and since that's how I started out making music with with ma jewelers when I saw reactor and generate around like oh this is amazing you're able to take these visual blocks you know, event dividers envelopes, oscillators and filters and connect them with these virtual cables to build these patches and I think I thought that was an amazing concept because I'm also a mac caesars I used pretty much anything and I gravitate towards his environments where you think of something then you can just build it and reactor is one of those environments that right away just kind of was like yes, this is awesome and I was a huge advocate for reactor constantly if any of you guys follow me instagram or facebook you'll see that I posted a lot of my favorite reactor designers and stuff that I also make myself because I'm um I'm sort of in a click with all these other reactor guys builders like rico program child you've got rick scott there's an amazing you know, I was talking about it's amazing collective designers that are making some really, really cold stuff so what I'm about to show you here is physical aberration between myself and rick scott on igor who's one of the designers from twisted tools which you guys may know we all collaborated on this instrument I had this idea because I'm a sound designer so I'm always looking for ways to manipulate sounds that I capture out in the field field recordings or just sounds that make in the studio and I wanted to be able to create it basically a sample engine that was granular base that would take a sound and played it different pitches so um I could take a sample matt bank one hundred twenty eight samples dump him into reactor and then basically take all these sounds and have reactor play all these different positions and grain and pitch and control the density so basically I said it on autopilot when I do is I just record I wanted something I could just dump samples and doing it and it kind of playing different combinations for me so that I could generate different sounds with it and it's become a really helpful tool and what I what I did is they designed a five hundred megabyte sample library that actually uh is free. The whole ensemble is free it's on my website I gave it away a couple of years ago but I think a lot of people forget about him and have a few friends that still use it all the time on music tracks and stuff so it's just something that this is really fun to build and design and it's just a good example you know if you can if you don't have something you just build it that's a lot of times what I do as I'm always asked to do really strange things all the time, you know, making sounds for car engines or some you know, I have to design sounds for some television, so it's always a really weird situation that I get asked for my sound design work so I look at reactor and this is like a swiss army knife sounds like all right, I've got to do this well, just build it um rather than trying to find the sound it's sometimes quicker to just build, so so sure I'll play a little bit of it a few minutes I'm gonna make sure we have a couple of questions before we way could just go on all night with this each one of these is a great player, so basically, if I double, she could see all of my samples that were located here it's a simple matter that had dumped in their mapped across these keys so you can play, then you could play them on a keyboard. Yeah or um and also I also released the lamer template for those of you guys to do using the lamer app for the ipad so that you could actually control these various granular samplers with the with an ipad app um announced the release one for the hardware version of living there as well but basically yes you could take your these are just my samples that you take any samples you want but each grain cloud basically as it's playing a different random sample from the map it's changing the position so it's you little randomly just choose where in the sample it'll play and position jeter and links little it was like for how much about slice it planes that could be really short could be really long and then there's different my pension could slide so there's a course sorry it's kind of wild bum make weird so thank you for making weird stuff because I could say one thing about return is that when you upload that stuff you guys everybody gets off on like how many downloads and when we were at music in montreal we're talking to a bunch of other people they were doing this and it was just great because everybody they all kind of pride themselves on making something like this and sharing it and I think that's something that's not spoken about enough about the wonderful just sort of user group you know, for reactors that it's a really great community that people don't mind, you know, sharing it because yeah, I think it's just hopefully inspire people but in any way that I will use any instrument or piece of hardware software I think anything that offers this much flexibility and open ended this is really cool um but yeah, I mean, I just wanted something where you basically the user past input the least amount of information to get results very quickly and that's what's so great about reactor you could design an environment that does that where you just say hey want to dump a sampling and let it go on autopilot like most you know, techno maker it's great teo you put a little bit of time in and think about really what you want to do you could really come up with some really cool stuff that's very unique and specific t your art and video just because of time unfortunately I would love this to go on forever and I'm certain you guys but as well do you wantto asking it was just a few questions does anybody have any questions for transform? Yeah that's funny you made special delay on this special delay because can't and you can't do designed specially mba and spectral locator, which I was very excited about um could see this actually working on another one called involve er which was like a convolution type thing, but I don't know if I think he got a residency at her can we're somewhere paris somewhere, but it was a genius he did some great work, but yeah, I'm a big user of f a t stuff this well, I actually haven't I haven't gotten into the f a t new stuff in reactor six I'm basically mormon new users have been just I was asked, did the demo, so I've just kind of been touching the surface, but that was a question I had also, too, because I'm a big, you know, uh, user about fifty processing, spectral processing, spectral, blurring, and and so I want to do a lot of that with a cayman system and multiple other environments, so it was definitely something that I and many users have been looking for someone else have a question of your son. And what did you want to know? What you're talking about? My patch here? Yeah, I mean, this this is basically, like, a great, like one of the granular sampler players, I say in a sense that with added extra modules that are that they like effects, delay filtering, but there's a host of different there's, like the sample slice or transformer, you could do different it basically whatever you want, um, with what I've done is basically taking them the core like a sample engine and then just built at on modules around that to do extra things preach no, no, this sounds are regulated and all they're completely dry. Yeah, there's, no regulation on everything that you're hearing all the chopping is being done by reactor so it's deciding what it chops up, but I have. I probably didn't do a very good example of explain this. You see here this is the section down here, middle that's, his mission control. This is basically the auto random ization that controls all of the parameters off for granular samplers. You could turn this off completely if you want to just manually do each one by hand, but what this does is it controls how much variance and randomness for each one of the knob values that happens. It's kind of like this massive controlled chaos control over everything. You can dial it back to nothing, or you could have it going nuts if you want. Unfortunately, we have to end this because our time is up, but these guys will be hanging out. We'll be upstairs, be around. Um, I want to thank these guys for coming up here, so and also thank you, brian, on hope you enjoy reactor's status. It's really fun and creative.

Class Description

Lessons

1. Workshop 1 - Additive and Subtractive Synthesis with SeamlessR
2. Workshop 2 - Patchable Modular Software Synthesis with James Patrick
3. Workshop 3 - Rotary Mixers with Shaun Witcher and Zach Stone
4. Workshop 4 - FM Synthesis with SeamlessR
5. Workshop 5 - Native Instruments: Stems - A New way to play with Sian
6. Artist Talk 1 - Grass Root Collectives with Joe Kay and Robin Park
7. Panel 1 - We Can Work It Out: The Keys to Successful Collaboration

1. Workshop 6 - Warping in Ableton with Isaac Cotec
2. Workshop 7 - The Golden Rules of DJ Performance with DJ Hapa
3. Workshop 8 - Modular Synthesis with James Patrick and Richard Devine
4. Workshop 9 - Native Instruments Reaktor 6 - Build Your Own Synths with Drumcell, Raiz and Richard Devine
5. Workshop 10 - Reinventing Electronic Guitars with Livid Instruments Feat. Peter Nyboer and Vance Galloway
6. Panel 2 - Getting into the Zone: A Discussion About the Creative Process Hosted By Evelyn Malinowski

1. Workshop 11 - Songwriting and Composition in Ableton with Isaac Cotec
2. Workshop 12 - Max for Live with James Patrick
3. Workshop 13 - Reverse Engineering Sound Design with SeamlessR
4. Workshop 14 - Intro to Push with Thomas Faulds
5. Workshop 15 - Elektron Presents: Hardware Workshop with John Tejada, Cygnus and Devon Huges