FX Routing and Automation Part 1
Before we get started we going to get into some fix routing and automation and you know, just showing you a lot of different ways you can mess with your effect inside machine but I want to make sure there's there's nothing that anyone needs to be cleared up from yesterday vianney lingering questions before we kind of diamond or even anybody online if they have any questions from yesterday they didn't quite get answered before we kind of get started so it was quite a lot that we went over right? Yes, I just want to make sure you know, give you guys a chance to ask any question that you may have even if you thought of something after like man I should ask this so if you got anything before I kind of get into this studio audience I mean you get the first shot exactly when you're going into machine can you uh say what you're doing um so low the drums and stuff because I finally fired lineup yesterday and uh get the kid loaded so I was thinking of you on air or e I couldn't figure out what ...
the bun was I was carrying a sign each one individually yes oh, so you want to load a full kid? Yeah, well he will be in full kit you're gonna press about browse on your controller and right into top is going is going to say what you're in you're there in groups sounds instruments effects or samples if urine samples that's it's gonna load toe one pad so the samples were just one pad if you want to know the whole kit you'll go to groups and then you can browse through the kids and that's the way you load the whole kit it'll fill the hole all the pads up on that the the assignment on the top right or the the lonely and looking at you hit low yeah so if let's say if I found a kid I wanted to say I wanted this kid here hey load and now uh you're good to go so you know any time you want a little full kit it's actually the title is groups and started machines ok anytime you want to fill up the entire set of parents just loaded group oh no awesome is so far in the chat rooms I think people are still waking up around the world uh I'm with you there you guys make sure that you got it straight from j case in this in any of your some moments from yesterday and we'll try and get him assessed here let's rock into this day my friend I think I would more yeah with that can you maybe go and show us where you would fund because that those kids they come with a machine and could you maybe show us where we would find that file to be ableto import those well, I don't have it with me but yeah, if you if you actually you mean just to actually install it yeah, because I still I still went through yesterday go try to find those and I you know, I knew I'd have to import them somehow, but I just didn't know what the file name was or or if I even like if maybe I just had the zip file and I didn't even down with you should if you if you just person purchased it online, there should be a download in your account for the library. Oh, you like if you if you if you just purchased it online, there should be an account for the low that's why I bought it from so if I bought it from guitars and she bought it from guitar center, there should be a disk in the in the box and actually the discus on lee the sound files they didn't put the actual machine software, so you know when you got your your machine studio, whatever it is and they told you to go to the website to download the software but there's actually a disk and there's like a little folder, I don't send my bag, I should have grabbed it, but yeah, I mean, but if you don't have it, I could I don't know yet everything getting a stall for you, so if you see that often, so I'm going forward to today, my friend, we're good, I think. Yeah, I get their breakfast going in here. All right, so, yeah, man today, which is goingto have some fun with the fix and show you some stuff. Maybe you do know, maybe you don't know show you some different ways. Tio manipulate your sounds and really easy ways to kind of add a little bit of variety with the effects and automation. I think the automation of machine is really simple, like there's a button that says auto, you hold that and you turn a knob it's recorded you don't have to be in. You don't have to have the sequencing and record mode, and long as this plane you can, you can just do that, and it pretty much everything inside of machine is automate able. And even if you don't wantto do it manually, you can go into your software and like you see these little circles around all the knobs you can actually automate just by dragging him. And you can also down here at the bottom. Let me pull this up so you could see right here where you're automation section is you can actually manually add specific. So let's. Say, if I had a drum kit going and I want to add a modulator on right, click on it. And you see all my parameters right here because I only have a sample were loaded. It gives me the options. I can either modulate the stuff for the sound itself. So if I want to, like, modulate the output or the swing or the group, I could do that. Or if I want to modulate the sampler, I get all these different parameters. And then I could just say, if I want to modulate pitch being I could put that in that I could actually go in as long as this one paint can go in and actually draught in so there's a lot of different ways, you can do it now. The first thing I would we always get asked is, can you draw, you know, smooth curves and it's. You can't really draw like smooth curves. You know, it is really more step based. You can turn your step grid off because it's going to be based on your step grid. So this grid right here, if you turn this off you can get a little bit more smooth but it's not going to be like a straight curve or straight lines or anything like that, but so I find it a lot easier depending what you want to do just to do it directly from the hardware so wanna do now just do a really basic drum patterns? We can kind of do some effects on maybe a few different drums and, you know, I got to get my pattern in view because I don't like it off the screen so let's do this, which is to just make a quick little to bar so let's say now you can modulate any type of affects or any of these parameters, so right now I just modulates something maybe we want to modulate let's do like maybe the compressor or we can do like the the sample reduction or even just a built in filter from one to modulate just directly on maybe maybe on the shin air. So as this plane let's do like sample rate reductions, we put this back up so you see it, you see it actually in their book you could see it just draws that automation in. Now if you want to clear if you don't like it for a shift and clear which actually clears onto your animation, it clears it out so really easily going on to make stuff let's say so you like a little bit of sound like that, but you really don't want it on the whole pattern, you can actually just automate that so let's, say what? Automated over here. So we'll do this first, and then we'll come back around and do the fits. Maybe we'll do some drive just a few points, and as you can see as I start automating it, it keeps adding each parameter that I'm automating down here and you can go through and actually delete these if you want, you know, or again, if you if you have pain on you want to kind of fix it, you can go in there and kind of draw it, joe, and see, I mean, you can do if you have your grid off, you could see you do a little bit, you know, kurds, but they're not perfect, you know, curves or not going to be perfect waves there's no presets to say, you know, kind of make a a sign wave modulation, you know, by default or anything like that, but again, I find if you want to draw in, turning off the grid really gives you a lot more control, you could just go in and much later, all that stuff, and again, if you want to clear it out just go to include that out and it's gonna be for any each sound so if you do it on the kick you can go in and clear the modulation just for the kick if you do it on the snare you can do it just for the snare so really basic automation is probably gonna be adding like a reverb to a snare you know? So it's we'll just go in and little debt let's say we go shifting, browse and we'll find just the basic river being here let's do the plate river so do the plate river but right now it's on the snare so as you could see the control how much riverview have is going to be on the output so on the mix so let's say you want to automate that really simply you could just play live you can see it kind of went over into when I read were not looped it and this is a situation where I want to show you a different way to do it so and this is something that I think a lot of people on aware of but you can actually step sequence your your automation so if I just went on a specific share it can go in and do that so let's say we got this plan and I want to step move sam what do you want this last one as I press it now, the screen actually shows me all my parameters that could mix again and I could just put it on that one right there, so you kind of see it was kind of there and I can actually go in each step by step I can actually really just how much I wanted to the k just by holding steps you got a lot more control that way and I think that's something a lot a lot of people don't realize, you know, a lot of people you could look at it and see I can go in and drum automation or I can go in and do it, you know, manually, but step mode really gives you a lot more control because, you know, if you really want to control the tail of that reverb, you can just go in step by step and actually just picked exactly where is that so really, really cool their networks would pretty much any parameter that you're going to want to automate let's do something another common one is probably a filter, so I'm clear this automation and this time I'll go let's do leslie, I want to do automation for the entire group, so if I want to do automation for the entire group, what I would what I would normally do is just send that whole group to another input for another effect so let's say I want to go here and I just look like a filter here and we'll just do this and this is this is going to get into a little bit of where you can use different patterns tio actually control your automation so let's say I have this filter loaded right here what I'm gonna do so I'm gonna go over here and you can either do this for your output you need to do the whole group or you can do it kind of like, you know, the auxiliary kind of like we show yesterday with the parallel stuff I want to send the whole group there just to give you a full effect so we go right here and for my output I'm going to send it over here too that filter so now the entire sound is going through that filter I was I was on the south understand it was on the group make sure yeah, I think I did it on this on the make sure sent the whole group. Yeah, I just sent that sound so that's that that's a common mistake actually so you could see right here I was I was actually still in the sound to have and I sent it so and I do that a lot, so don't feel bad if you do that do that a lot of times in here so make sure you're on the group and again I want to send that output here so there we go so now you got the whole filter going here now I want to kind of do is you know, make a few different parents maybe with the filter and let's say in this first one I really don't I really don't want it on it also here and from our frequency just turn all the way up so let everything go through but they let's say I want to do another pattern someone to this and in this planet I might just kind of do so now I got that right but the thing is now switch back and forth between these patterns and these just this is just automation so this is strictly for you to be able to control your automation so how this would be very beneficial if you like performing live and say you want to set up your own you know you could set up a bunch of different patterns with your own effects change and you can switch to those laughter you can just you know, press pattern and lock it and now you're on the page with all your different automation patterns you could set up all different types of you know, multi effects if exchange in each pattern can have different one so let's say let's let's just was just go crazy little bit so we got a filter in there right now let's say ok, the filter of sounds cool but let's say I want o maybe add something else along right with that filter on that same pattern so what I would do again is I'm just going to go shift actually school here get out the pattern screen, go over do a shift, browse and let's say we want to add were crazy and added it let's do a frequency shifter let's say we want to add a frequency shifter in there something like that so right here what I would do is maybe all this pattern when I don't want it on I would just go over there and I don't want that lot I would just actually turn it down there so again this one doesn't have anything on then I come over here and now you can automate say I want to do actually it's time we're going to the step mode into it so we'll go it now let's just do it this way go pattern just this automation for that so so now we have that there and I could go through, go back and do whatever I want let's say may we wantto that's what the frequency of you if you look in the software you can always see us actually automated could see it moving remember that's just in that patterns and I'll come back over here and there's nothing so you know that's that's one of the benefits of actually routed it to its own group because you can actually set up patterns specifically for that automation and you could just continue building like that let's say ok, we like that that's cool we're going to go in and maybe want to add what were you guys were here? Maybe like a river but a crazy like ice reverb or something. So any questions so far right? Could you could you explain a little bit mohr exactly what you're seeing on the pads when you go into step mode explain what? You know what each block of the pads are you mean the actual yeah, well, you know what the steps so ok, what you're seeing and so this screen right here as you see it moving around that's what you talk so that these these air basically your nose any time there's something lit up that's your actual notes that you've laid down and since I'm on the snare that's what it's showing here so you can see I got the snares right there and if I wanted I could make it actually follow the sequence sir so far the answer nelson would show up so any time you're in step mode if a pad is lit up, that means this actually got data on it I'm assuming that's what you were good question. So and one thing to remember about step mode is its velocity sensitive. So if you if you hit the pad, you know, lightly is going to be a lower velocity, if you get hit harder is going to be full velocity and you can put fix velocity on in patna lt's. So if you land, I understand you want them all to be too saying you could hit fix velocity and and any pants hit is going to be full velocity. So and you can set which velocity you want. So you say, maybe you're putting down a percussion and you want it all to be the same, but you don't want it to be fool. You could say, I wanted to be, you know, you could say whatever you want, so if I wanted to be around, you know, seventy, then that means anything I hit is going to be seventy instead mode. So if you like programming it's, that mode is definitely, you know, a lot of stuff you can do in terms of determining your your velocity and your groove and stuff like that. So any any questions so far about get back into creating jake a lot of the questions that come into the chat room a kind of some entry level and I want to just direct all of you guys to machine tutorials dot com for all that stuff jake gave an amazing job getting all that stuff in there we're going to try and dig into some of them or intermediate aspect so by all means managed keep rocking on cool so ah good good point on that one so let's get back to my building up my effects so we have this going and I might add something else now go brown was top of my head like you see that was like crazy river you really don't want that on everything so again what I would do is going to my patterns and I would make sure that it's often my first pattern so what is going to turn out put down that bottle to my second fatter and now and actually automated press auto so now I just have it just right there if you didn't like that of course you can go in or delete that so and you could mess with anything that someone of this with the size so now I just have it right there just on that pattern so I've come back to my regular pattern and I'm good you know and how you can go back over what you would really start doing with something like is if you if you don't want to if you wanted to be a little bit more instantaneous, you could make your patterns a lot smaller so what we do is I'll go into my pattern grid and instead of having a set too quick and let me explain it's really quick I know it's not specific to this, but the pattern grid the quick mode is really going to light it great patterns in musically useful, you know value so it's going to go one bar, two bars for bars a bar sixteen bars whereas if you just said it on one bar you know you've got a lot more to get to maybe a four bar parent you go one, two, three, four so that's just what the quick motives that's the default mode I mean it's really cool? This one is almost as cool as the president record button and setting your bars is pretty much the same thing, but it's just allows you to have a little bit more control over it. So again, listen let's, go back and obviously I want to I'll change that great, I would change it to let's do one for so now what do we do now? We'll make a new pattern and now since my pattern greeters want one fourth I could change my length, you know a lot instead of change that one bar's changing it at one four so I could make my patterns a lot smaller so now you can get into making some really crazy affects just you know that air that are smaller you don't have to actually wait for the pattern to come around so as soon as you hit it your effects will be there if you want so let's say we want to do something on here and they want to do uh stillson stillson I've ever been there we'll be oh we'll go with you to the frequency so get it might be like well why would I wouldn't really want that repeating now you probably wouldn't but the thing is now you can perform it so and then you can go back to your regular one where it has no has no effect so it's really cool and again you can you can continue building up a cz much as you want now I know a little bit later we're going to get with flex and he's going to show some of the multi effects stuff so I won't get into that I kind of let him I'm getting to it but there's other ways that you can stack up your fix as well, but again one of the really, really beneficial things is being able to sequence these affects because remember you can also you don't have to do it live you can do this in your arranger so if you've got multiple scenes in your ranger that you can have you know one of your affects you know kind of a whole scene for your effects or a whole line and say I got my filter what this ad it wasn't just a filter anymore so we're just going to say uh crazy like crazy so my crazy effects and now aiken set up my different patterns you know, to go along with my songs so if you and your hook you want a certain effect just for your hook you make a pattern for that effect and you make your automation and it's just going to be in that section of your song if you want certain effects you know, for your control you can actually build all your patterns for your fix so you don't you don't always have to put your affects directly on your sound or directly when you group an automated even though you could do that but that's going toe you know affect everything and I think if you if you round it to a different group and make patterns specifically for those effects because you a little bit more control of how you late things out so you know I didn't but no I figure I might as well ask no help everybody else along could you explain um how the routing to a secondary group using the ox channels can can be beneficial for wet and dry mixes. Yeah, yeah. So less similar to what? We was pretty much what we showed yesterday with the prayer low compression. This one, of course, is sending everything there let's say you want to have it affected, but not as much you can use your auxiliary instead of sending the whole group is right now I have the whole group going there, but I could still go over, and maybe we'll just we'll just change it. We'll just do it and show how it works and show the difference. July sounds so right now, this whole group you can see it's going there, but I'm going to say, master and then I would come over here to the auxiliary for the group and I must send auxiliary over there. And you see as I name that sound crazy filter, it shows up. So now I know exactly where I'm sitting. It too. So and then now you can you can mess with your level here and now what you can do is you can automate. This is what he's talking about what you're wet and dry mix. Now you can automate this in addition to you still have that those separate pattern. So you can you can automate how much of the sound is going to the effect and then you can still automate you know with your patterns in terms of the different types of effects so that's that's a little bit more you know again just more control dependent on exactly what you want to do I mean there's really no right or wrong way to do it and that's what that's what's so fun about machine there's so many ways of working and it's so fun tio route stuff and so many different flexible ways that you can you can come up with so listen and let me just let you hear what this happened what this sounds like so you get the idea so lets go of what I want to do now let's do something that I think it's kind of popular um the tapes stop I'm going to do a tape stop inside of machine because you know there's a lot of plug ins out there they let you do it but sometimes you know you just don't want to buy a plug you know you just spent whatever you spend on the shoot is like do you know I've got to be able to do this but you know I'm really not trying to spend that much on a plug in just to do it so there's actually ways that you can do that in machines so let's go that when you said it was really quick just to show you the level so that gives you control over the level is going to so I could actually go in and, you know, automate that just right there so now that's directly on the group and now what aiken was I could still go back and mess with those patterns but that automation that I just put in on the group that's still affecting how much is getting sent to these patterns so just get a little bit of a different sense so you know, cool stuff, man of course, again, if you guys got any question so far, please feel free to ask so we'll go through it so yes, sir uh uh I was doing this ah give ah parallel compression try and I was trying to send it to ah two pro tools through an audio track but couldn't figure out howto route from machine like do I route the compressor to president ford life you're doing the parallel compression you you probably don't want around them both and you can send them both out of the same output. Oh so so let's say if I wanted to round this output this audio here I could route this to say external one and then I would also around my group to external one and so that way it wouldn't pick up the if you're using as an auxiliary, so in the case of the parallel compression, since you're folding both of those back together, you kind of want to think of them and it's coming in on the same thing so you can either wrap them to their own. But each each pad is gonna have his own output that you come round to you see all these extra output show up, and those will show up as inputs inside of pro tools. Um, it will be a lot easier if we could kind of do some doll stuff, but we're trying it would be easy to show you, but you so you do do the output you cannot write you can you go out the pad? It depends what you depends on what your routing if you're doing a whole group, you want to send the group. If you're just doing a specific pad that you want to send the pad so depends on if you if you're in the case of the compression, is on the pad, you could just route that pad out output and it's going to wrap that sound however much of the auxiliary that you're routing to that pad, both of them get both right the cake and write a compressor, right, okay, right. And you can round it it's going to makes it is going to fix it it's going to mix it exactly how how do you have it set up? What? Your auxiliary that's how it's going to imprint right or or if you want more control you can round each one of them to their own track and pro tools in that way you'd have like say the compressors output going to his own track and the dry kate going to his own tracks so that will be like having a drunk, wet back kind of and then just business yeah, but just always remember what your auxiliary it's not it's not totally wet in the same way as if you were just using it as an insert effect we're affecting the whole thing was your auxiliary remember you you adjust that level so it's just a little bit, you know, going to that effect so it you know like again it just depends on what you're trying to do and how much control you want over the sound when should get it into your dog but definitely definitely a really good question I appreciate don't no problem so let's uh, any questions when I'm getting us set up, so now I'm going to set up a uh I do like a little basic tape stop on the on the group so I would just delete this