Music Production in Logic Pro X - The Alchemy Synth | Tomas George | Skillshare

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Music Production in Logic Pro X - The Alchemy Synth

teacher avatar Tomas George, Music + Audio Production Instructor

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

12 Lessons (1h 57m)
    • 1. Welcome to this Class

    • 2. Alchemy Part 1

    • 3. Alchemy Part 2 - The Advanced Tab

    • 4. Alchemy Part 3 - Envelopes, Modulation and Effects

    • 5. Alchemy Part 4 - The MSEG Envelope

    • 6. Alchemy Part 5 - Mod Mapping and Show Target

    • 7. Alchemy Part 6 - The Arpeggiator

    • 8. Alchemy Part 7 - Morph

    • 9. Alchemy Part 8 - Sampling

    • 10. Alchemy Part 9 - Custom Performance Controls

    • 11. Alchemy Part 10 - Velocity Layers

    • 12. Alchemy Part 11 - Round Robin

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About This Class

In this class, I show you how to use the Alchemy Synth in Logic Pro 10.3. Alchemy is an amazing synth available to Logic Pro X and in this class I will give you an overview of using Alchemy to great your own music in Logic Pro X.

Alchemy is an amazing synth available to Logic Pro X and in this class I will give you an overview of using Alchemy to great your own music in Logic Pro X.

Meet Your Teacher

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Tomas George

Music + Audio Production Instructor


Hi, Tomas here. I'm a UK Music Producer, Audio Engineer and Composer I've been producing and writing music now for over ten years. 

I have a MMus Masters Degree in Music Production and a BA(Hons) in Music Composition.

I really enjoy creating and editing all types of music, but I especially love teaching it online.


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1. Welcome to this Class: Hi there. It's Thomas George. And welcome to this logic pro alchemy. Simple class. Sit in this class. I'm going to show you how to use the amazing Alchemy synth. So this symptoms of logic pro 10 point free and above And I'm going to explain the interface off the alchemy sense. I'm also going to have a look at the advanced tab in the alchemy synth mod mapping the arpeggio later morph Sampling velocity layers round robin on much more. So join me in this class If you're logic, pro user and you want to learn how to use this powerful alchemy synth 2. Alchemy Part 1: Hello. This lecture is all about the alchemy synthesizer in logic. Pro TEM Alchemy is only available for logic pro 10.2 or above. So if you don't have logic Pro 10.2 or above, I recommend going to the APP store on updating. Alchemy was originally developed by Camel Audio, and now it's part of Logic Pro, which I think is absolutely fantastic. It does combine riel samples with Simpson, so we got a really high quality simple, which is absolutely amazing. So let's open up alchemy that's going software instrument and choose alchemy and then double click here if alchemy does not appear. So this is the interface of alchemy. Alchemy does use up a lot of CPU power. So if you do hear any glitch ing sound, you might want to goto logic pro X preferences audio and then actually increased the buffer size. You may have a few Layton see issues, but like I said, alchemy does use riel life samples so it can use up a lot of your computer power on. The other thing you can do is change the quality. So for this tutorial, I'm going to leave it all on good, but what you can do is right on good or draft if you hear any glitches. And there once you're happy of your parts that you can always go back to ultra on the writer as an audio track and then have the audio as the ultrasound. But for now, once we're writing and exploring alchemy, I'm just going to leave it on. Good. So this is that interface. It's quite simple to use. We have a category here so we could choose, say, organs. A subcategory have digital genre and have urban Onda Tambor. Let's try simple and here we have two organs that are simple urban digital and organs. So let's hear these. We also have this eight way X y pad. So we have these different sections here which weaken scroll free move through of our Nice . This is really kind of the unique selling point of alchemy, this eight way X y y pad, which is really useful. You'll notice, though, when we go on to different Simpson, these dials and knobs actually changed. This one here starts up with effects, and then it has cut off them vibrato. This one starts off with rotary cut off in sequence, sir. So you have to remember that that we do have different sounds and different macros for each different Simpson. So in this lecture, I'm going to go through the browse on the simple. These are the different tabs of alchemy on in the next lecture, I'm going to go over the advanced tub. So the simple is basically just the bottom bit. Here of alchemy, we have these X y pods. Hair also on the A. D s are here. So we have the attack, the decayed and sustain and the release. So if you want more the pad sound we might want to increase the attack. So it takes a longer amount of time for a sound to fully come in on increase the release. So it takes a longer amount off time for our sound to tail off If you want more. The hard hitting sound maybe decreased the attack on also the release. So that is with a longer release and attack. And this is with a short attack and release. It really depends on what kind of sound you're after. So I recommend going through the about browse feature on just playing around to seeing what all the different sounds sound like. You can also automate this eight way X Y pad. We can also trigger it where they're midi keyboard. So if you go on to octave here on, say, I choose C one when I hit the button, see one, it will go to the 1st 1 I hit C sharp one go to the second de the third on all the way up to G, which will go to the last one. So if you have a larger MIDI keyboard or what I've got now is too many cables plugged in, I could have one to trigger the different sections and the ever to actually play the sections. We can change the rate so it doesn't just jump into the of one. We could change it to, say Try a whole note so it takes a whole note to move over to the next one. So if you want more gradual sound, this might be a better one to use. We can also control mod wheel, so when we use mud will it will actually control control seven, which is the volume trim that's changed this to control too, which is the cut off. You can't actually see this move, but we can hear it thistles me moving the mud will and we have all different ones, including you have investors. Well, let's try vibrato, so control free invests. Then when they moved, the mud will up, it will make the librato go down. Thanks, I we could automate all of this in as well, which I actually personally affair. Automating switching between these sections rather than triggering with a midi keyboard. I do believe you can get more precise, Sarah. So I'm just going to record Somethinin now. Let's just switch their mention a month so I can get this in time on. Just record something. Okay, that's double click on this command A and come on, cue. I'm sorry. And then key. Just two quantities. It okay? And then what we can do is actually re record is triggering the different samples if we wish. So we can use the midi keyboard to trigger this in. So let's open up Alchemy, then just hit. So that was may actually playing the C one and then the overnights as well, which waas a d one and then the one was triggered. The different sounds. We can move these in time. Also, this will trigger the different sections of Ah, eight way x Y pat. Let's just delete this for now. The way I like to do it is to actually automated him of live automation. So let's change read to latch a prenup, alchemy and then just play this in. Remember to change this back to read once you're finished. And another thing I like to do is change these dull nubs with live automation also. So let's change this back to latch. Remember to change it back to read. Now let's have a listen back to this. You can see it move in real time. Of course, we do have these X Y pads as well, and like I said, they are different for each symptom. So what we can do is actually save this preset. Can you hit, save or save us so I can call that Thomas organ Now I can go on my presets here, Thomas Organ. So we've got loads of different ones. We can actually play for you. Like I said, I recommend just going through messing around, finding a sound that you like, And then putting in some life automation to kind of really customize your own alchemy. Sarah, the next lecture. We're going to have a look at the advanced tab. 3. Alchemy Part 2 - The Advanced Tab: Hello and welcome to this lecture. This lecture is all about the advanced tub in the alchemy synthesizer in logic Pro temp. In the previous lecture, we looked at the simple and also the Browse Tab on. Now we're going to have a look at the Advanced AB. I've got their preset that I made in the last lecture Thomas Organ, and you'll notice straight away. There's just so much more going on in the advanced tab. You can really go in and customize your sound in alchemy with this event section, and I noticed straight away you've got these four different sources A, B, C and D. This is very similar to four different oscillators where we can actually have four different sounds playing at the same time what we can have just want to or even free no two straight away. It sounds a lot fuller of all four. This is because we have different waves for each, which give a slight different sound and also tuned differently. We have thes knobs here, volume true in the pan, and F one F two volume will obviously affect the volume of each individual source to affect the to notice that A is on minus 12. B is on minus 12 C was on zero and seven is on. So and day is on seven, which is 1/5 above F one. F two will come to you later on pan, obviously, Pan left and rights. We can also go in individually to A, B, C and D, which will give us more options rather than just the global source. So here we can actually choose the wave type. So we have stuff like sore signs, square or triangle. We have lows of other ones as well a complex pulse arm or sore sine and square ways to choose from. Then we have the volume, the pan, the course tune, oscillator or source. Let's go back to Global, and I'm just going to turn off B D. C. Just go into a way e o have fine tuned way could use this if we want to create a big kind of chorus. Sandvik fired to say a big 10 cents 100 cents to a semi tone on B, we could find tune, so 10 cents below. Now we can create a bigger chorus sound going back to a you also have position Andi speed the talk about these later on. We also have three different types of filters, and we can have these in serial or parallel. So cereal means they play one after the other and parallel means they all play at the same time. We have to turn on the filters. Here we have stuff like a low pass, which allows the lows, fruit and cuts. The highs are high pass, which allows the highs. Froome cuts alot a Band Pass, which allows middle bands, which so it cuts the highs and the lows. So I've got loads of different filters. Then we've got stuff like bit crusher compressor tube. So I've got loads of different effects. We can also add on this as well as a filter. We have the cuts off, so if the cut off isn't is on full, it won't actually filter any of it on their Wilmore. And then the more we bring it down, the more filter the residents actually creates a bit of feedback at the cut off point way. Also have a real time spectrum waken see some of the ways of what we're playing, going back to global We also have a global filter. This'll will filter all four of the sources. So if we turn on all four off the sources, you hear this band pass filter, which has drive, which is a bit like favor Dr Go fruit and changes filter. Let's change it to a low pass thistle oh, passed away on your notice. You can't really hear any high when you increase highway. Residents will create feedback, have a cut off point, create some weird washing signs of this we can create two filters, can have these as parallel or are Siri's. If it's all the way down, it will be parallels. Play one fills thin the other. If it's all the way up way, Siri's, which means both the filters. At the same time, we can actually have a bit of a balance between Siris on the parallel. The parallel and the Siri's Theo have the voices. So if you want to have a mono phonic lead sounding synth, recommend having one voice. It means you can't play two notes at the same time, but generally for lead symptom on a phonic. Since one voice will sound better, we can have to glide as well. We want to create a gliding. Signed rates will actually glide up mawr as the notes get bigger compared to this over on time, that's you create more even glide for wherever the notes. So if you're gliding, say, for example, one active and you want the glide up slowly, maybe choose rate. But if you want the glide to be the same distance as, say, 1/5 and choose time, quite a subtle difference. But it can make us quite a lot of change when you're going in making large simple riffs. Of course, we've got simple down here, the simple tub so we can still go in. Change some of this on. That's just a quick overview of the advance tab in the alchemy sent for Logic Pro TEM. The next lecture. We're going to go into even more detail 4. Alchemy Part 3 - Envelopes, Modulation and Effects: hello. In this lecture, we're going to continue looking at the advance Stab in the alchemy synthesizer in logic Pro temp. So what I've done is I've just thrown in a few loops. I just quickly played in this keyboard part and just dragged over an apple loop from the Apple Loot Library. So let's go over to the advanced up. And also let's start from a fresh sound. So let's go on file and clear. Let's hear this back just with the clear sound. So it just really gives us one saw oscillator or one of these sources switched on. So if you remember from the previous lecture, we've got the different sources, so these could be different oscillators. We could have them all along or one or two or free. So it's a, B, C and D. We also have two different types of filters. We have the master section here, so we have the master volume Japan on the tuning, and we also have the voices. And then we have the glide for the voices. So if anything has an origin circle round it like this, it means it's bean modulated. Means is actually effects being processed to this. So going down here, we have the modulation and you can see it's the modulation for the master. We have the a Hey, H d s are one which stands for attack Hold decay sustained and release A lot of synthesizes are just attack the case sustaining release. But alchemy also has a hold and going down the modulation we have velocity. So this is basically how hard the note the keys are hit or how loud the notes sound. So if we actually turn off the velocity, it will sound the same volume all the way through On if we turn off the hdrs the a hate d s are. So if we turn off the attack, hold decay, sustain and release the notes will just go on indefinitely. Let's just hear this. So, yeah, you really wanna have Thea envelope on? So the a H. D s r is really just the envelope so we can go through and drag these different points here , or we can just actually move them with these knobs here so we can change the attack. So if we have a slow attack coming a lot slower if you have a faster attack then that will come in a lot quicker. So if we dragged all the way down, the note will just come in straight away. And if we pull our ally up? No, it will take a long time to come in. So you want to find the balance? Really? It depends on what you want to create. If you want to create a big pad sound, I'd recommend having a long attack on a long release. But if you want more hard hit in, Simpson and I would have a much shorter attack and maybe a sure to release. I just go for it and play. Remember these because it really does depend on the kind of sound you want to create is great, because you get visual here off what the sounds actually going to sound like So you can really sculpt the envelope toe what you want it like we can click on these knobs and you'll notice that the modulation actually changes. So if you go back to the master, this is the modulation for the master. But now let's just change the modulation for the source and you can turn on the target here So the target is basically what is affecting the I have a source we have so this target will affect this source. So let's change this to an LFO or low frequency oscillator and let's change this rate to 1/8 notes. We could also shape the LFO so we can change signed of this as well of the attack in the phase and a ticket on the delay we can sink it to the tempo clock which is 120 beats per minutes or we can choose a rate way could also change the way for the telephone. You could also change the depth here. So if you want full LFO, we have 100% want no LFO we have a zero well minus 100 It comes in here Let's change it to zero zero is actually no f l a l a phone and we can go all the way down to what minus 100 changes elephant giveaway. We can do these for each off the different. Not so we can change it for the tooting as well so we could put in effect or a modulation on the tubing. So there's loads of stuff as well. So let's have a look at the sequence s who can choose sequence or one. So the sequence allows us to actually crater in sequences so you can go through when you could have one beat or 100 26 beats. It seems, Let's just choose six day. I think that's a good number on when triggers on It resets this pattern every time. So let's turn off trigger. This sounds quite strange that they were at the moment because it's actually assigned to the tune. So let's turn off the tune on. Let's actually add this onto the volume. So if you click on file, we have different presets here. So we have all even steps we could go free and actually changed the amount we want. It comes through in percentages. You can also choose the right here so you could have it 1/4. So between the number one and four on different rates as well, you can also choose value Lemp full swing so we can swing this. But for now, let's just leave this on value of a presets as well. So all odds steps we can turn off either the LFO or the sequence of here so you can create some call rhythmic sounds with sequencer. Now let's add on the second source here, this one I'm going to turn on LFO on the volume. Let's go to telephone shoes as 1/16 night. We also do this with the pan so we can add on the LFO with the pan which concerned pretty cool So the pan will flip between the left and the right, go through and change the different waves as well to make it sound a bit different from the first source, we could even choon this. So let's chewing this down on architecture. 12 semi tones. - I just added some filter there as well. We can choose between filter one and filter to with this knob here. So it is in the middle. It will be hard fell to 1.5 filter to us all the way to the right will be field to to all the way to the left filter one and anyway in between will be in between these two. We also have different effects as well. So let's turn on the effects. So this is the effects for filter one, and this is the effect after filter to. So let's edit filter one main weaken. Go down here to effects on Let's choose Let's choose Plastic River. We've got loads of different stuff here, all different effects, which is pretty cool. We don't just have the main. We have the filters for A, B, C or D. So you can click on this drop down menu here, and we could choose, for example, Filter one effects a. So this will just play the effect a after filter one. So that's changed this to distortion. So now it plays the effect main, which is the reverb after filter to on after Filter one. It will play effect A, which is the distortion. So basically, if we change this, this will just play fills one and filter, too, which would just play the main. So if we just so low the second source, it doesn't have any distortion. If we solo the first source, we'll have distortion on the main because the effect a selected here you can go for and choose. For example, let's try filter to effect be for the seconds second source, the same wave we've got the revenge here. Let's go, Teoh effect be so just added a phaser to the second source. So source A has a distortion on the reverb source Be as a phaser and river. - Okay , so in this lecture I've gone over They're envelope, which is that a hate d s are the attacks that hold this is they attack the whole the decay , the sustained on the release I've also gone over the modulation So how we can modulate the different knobs on also the effects and as well the LFO, which is a low frequency oscillator We're going to dig even deeper and go into even more settings in the next lecture where we continue to look at the alchemy, synthesizer and logic Pro temp Thank you for watching this lecture. 5. Alchemy Part 4 - The MSEG Envelope: Hello and welcome to this lecture. In this lecture, we're going to continue looking at the alchemy synthesizer in logic. Pro temp. Previously we had a look at the envelope with which is a hate ds R, which stands for attack. Hold decay sustained and release. Most synthesizers just have the A. D. S. O is a tactic. A sustained release. Alchemy also has the whole stage. We also have another envelope. I'm going to show you in this lecture. This is the end sag envelope. This gives a lot more customization for creating envelopes and effects in alchemy. But first of all, let's actually clear this project by going to file and clear. And then I'm using the same loops is before just a simple keyboard part on a simple drumbeat. If you remember previously, what ever has an or in circle round? It means it has modulation effect. So looking at this cleared alchemy session, the master volume actually has H d s are so the master volume has an envelope on its already on velocity. We need this envelope on because we're about this envelope. Even if we add a new one, the notes will just go on and on and on. So let's hear this without a H d s are envelope. Okay, so what we can do is just add on this end sec envelope underneath. Just click on this drop down button here, get M sec envelope and choose here and said one initially, it doesn't really look much different, but if we double click, we can create new stages or for right click or it will go wherever we click. Now let's listen back to this. You can also sink this to the beat clock. Weaken. Sink this to our tempo, which is 120 beats per minute. Just by hitting this sink bottom and we can actually drag and it will snap to the grid. Now, this will be in time, which could be really useful if you want to create a kind of rhythmic effect who wanted to be in time of our project? Let's just hear this back now. You'll notice wherever this small triangle is well, actually sustain at this part, you can actually drag this out and this will create a loop. We even have different loot modes. Let's try backward and forward or folding back We can also turn off trigger mode because trigger married will restart the whole envelope whenever a different note is triggered. So I'm just going to turn off trigger mode going down. We actually have small editing functions here, so we have slide. So this was slide all these stages out and it was snapped back. Whenever we let go on stretch, she'll stretch this outs. You have different options by personally, just like to use the normal. And if you go and file, you have loaded different presets as well. So we can test out a few of these presets and even go in and edit the presets. And once we've made our own kind of sound, we can go into file and save and say this as our own preset. I'm just going to call it Thomas. Now I'm going to click on file and presets on Thomas's that so it can easy just create our own presets and save these m. I think this is a great idea for creating some new rhythmic ideas on Deacon. Put this individually on any all these knobs. It doesn't have to be on the master, so let's actually turn this off on, Let's put this on the volume off source A. So let's turn on the target. That's choose M sec, one said. The same one we had before. Let's hear this back. So the moment this doesn't really sound any different, that's because we only have source one on. We add on the other sources. Let's drop source people down 12 semi tones or one octave, and that's actually add a different M sec envelope on here. So a new M sec for now, let's just choose a preset and this will so indifferent to the first source. So let's hear them both at the same time. Let's try adding a sequencer. And then underneath this, I'm going to add an M sec envelope M sec to let's see what this sounds like. I'm going to send this to filter to to move this knobs that goes all the way to filter to on, then on filter tubes cut off. I'm also going to add another M sec envelope. Let's try a new one. Let's try another preset. For now, that doesn't work too well, so we can always go in an experiment. So let's click on this and turn off this M SEC filter. Let's try on the pan of source bay. Let's try. I never am sec envelope. So this random ones pretty wacky. So a good thing to do is just go in it and experiment and try and customize your sound. For example, this I probably wouldn't have come up with that, but me having the m segue, the envelope, it gives me a lot more options to really explore my sound and create some new, unique sounds for my project. So let's add on source one. We have source B well, source A and source bay. - You can even do this with their tuning. It can sound sound a little strange, but basically any of these knobs you can modulate on you could much late with the regular envelope. A hates D s are or with M sec envelope. It allows you to go in and really customize and create new stages. Whatever you want in the envelope, which can be really useful for creating seem unique, rhythmical effects in alchemy. So thank you. Fortunate lecture. The next lecture, we're going to dig even deeper into alchemy. 6. Alchemy Part 5 - Mod Mapping and Show Target: Hello. In this lecture, we're going to continue looking at the alchemy synthesizer in this lecture. I'm going to show you mod mapping on also the show target bottom. So I'm just going to clear this by going to file on and clear. And we've got the same media information on the same drum loop from the previous lecture. Mod mapping is basically modulation for your modulated effects. It's a way we can exaggerate or un exaggerate certain sandal, certain modulated sounds so you could make it more intense or less intense. So that's just quickly find the sound. Let's go on the volume for source A. I'm going to add honor. LFO. Let's hear this back on. If I hit this arrow here, allow us to add on a modern map so I'm going to select new mod map and if I drag it down, will make it less intense. And if a drive up but it'll exaggerate it, we could also double click on Add new sections here so you can add on new stages. Right click, double collected. Delete these stages, but for now, let's just strike it down. You can hear its way less intense. Let's exaggerated by dragon get up. So if you quickly want to effect on affected modulation, you can just add on a mud flap. We could just go on this. You can exaggerate. It will make it less intense. We can basically do this for anything that has modulation effects on so we can go on the tune and that's let's go on the pan on add on the telephone for the pan. Also going to add on a new model. This will be quite hard to notice if you haven't got headphones on. It was basically swapping between our different ears or different. Speakers can just go in and quickly modify modified information, so it's basically modulation after a modulated effect. Let's turn it off. £4 let's turn on the sore wave. So let's turn on source number be, Let's go on the volume on I'm going to stick on a sequencer that's add on the presets. It's try hey, going to add on a new map and this brings me on to the show Target bottom. So if we still let the show target button, this will show us anything that is basically modulated. So if I click on LFO. On it goes LFO. One sign quickly snapped to that. So if it much later than effect, we can see which ones they are with Orrin. Circle around them or we can just quickly go to show target and find them here. Just woken. Go in and tweak are affected sounds. So this is basically how we can use the mod map. Like I said earlier, is basically modulation. The forearm modulated effects. If you want to over exaggerate or if you want to make out sounds or are modulated sounds more intense. Weaken quickly do this. We have mod maps on the show. Target Britain is how we can access are modulated information really quick. So thank you for watching this lecture. I hope you found it useful and I'll see you in the next one. 7. Alchemy Part 6 - The Arpeggiator: Hello. In this lecture, we're going to continue looking at the alchemy synthesizer on this lecture. We're going to have a look at the arpeggio later. So I just got a simple loop here. I just created of a few chords on one kick drum just on a loop. So let's go over to file and clear and start from a blank slate for our alchemy sound. Let's just hear what we're working with, okay? And all we have to do is go to art down here in the bottom, left. And here we have the arpeggio. Later we have mode. At the moment, it's Modoff. If we turn it on, it would be mode up. So this will start on the lowest notes. We move it up, it will be mowed down, so this will start on the highest notes. Then we have mode up and down. Then we have mowed down and up, and then we have mode as plates as the courts applied. Then we have random. So this will just play in a random order. Our recommend going through in experimenting and seeing what sound will be suit No suitable for your track. But I'm just going to leave it on mod up at the moment. As long as we have sink selected, this will actually sink to the MIDI clock of our tempo, which is 120 beats per minutes on the rate is on 1/8 notes, so the arpeggio will play 1/8 notes. If we change it to an asterisk, this will be a dotted eighth note or a T will be a triplet. I'm going to try 16th notes. This is 16th dotted nights. This is 16th triplet notes. If we turned off the sync button, then this will give us natural time Value is concerned. Quite cool. If you put up really high, it consigned a bit like a tremolo effect. But for now, I'm going to sink this and change this back to 16th notes. Going alone, we have active. So this is the number of octaves are arpeggio actually covers the default is one. If we drag up, we can have to on then free and then four. I'm just going to leave this on one, then we have length. So if you want really punches to cartoon notes, we can put the lamp all the way down. We want longer, Smoother Lagarde Tonight's weaken Increase the lamp. I'm going toe put the length down. Actually have quite like this The cartoon nights. Then we have patterns where we can select different patterns. Then we have swing. If you want to swing the notes basically it means the first no is a bit longer. Okay, then we have no velocity if we want to increase the velocity or decrease in the velocity. But I actually like to do this in the step sequence of here. As long as velocity is selected, we can go in and customize our sound. We have different options as well. If we hit this drop down button, we have tunes so we can actually go in and change the tune. So this is in semi tones. If we change it to minus 12 will be one active lower in this step. We also have patent, so you can create the biggest sounding arpeggio by panning grits. So we have left obviously. Right Then we have length on swinging AARP mild one art Mod One is basically where we can change the sequence, sir, to modulate one of thes knobs here. So For example, if we click on Filter one now just right in some information and then we can go untended. Target unfulfilled toe one. Then go to note property and art mud one. So this will actually control their filter cut off to get the most at the filter cut off, though they actually have to drag the cut off all the way down. And then we can go through and customize this sequence. Er, who wish for it to control the filter cut off? I personally just prefer using the sequences to do this. So let's change this to sequencer on, then using our page. Aita is just an arpeggio later. - Okay , We also have this multi bottom allows us to actually go in and see some more stuff so we can turn on or off the notes of these blue buttons here on these little lines of kind of a circle around it will hold the notes. It will tie the notes together. We can see here the transposition information so we can see the minus 12. We can see the pan information below can also drag out and increase this. I'm going to leave it as it Waas. We also have split. So this is if you're using a MIDI controller on you. Want to play notes on one hand on Have the upper hand arpeggio hated you? Can you split? We can go through actually change this if you wish. Let's just turn on Amity keyboard by hitting. This are but in here. So I'm playing. This is really if you have a larger keyboard. I'm just using a 25 key keyboard at the moment so you can split it. So half the notes on your one hand. I think this is so your left hand's can be arpeggio hated new right hand can play chords. I prefer going in separately and writing this information rather than trying to play in with two hands. If you do want to have your left hand's arpeggio eighties and your right hand playing chords or just holding the notes, go through and find which notes is the cut off point on the split. But I don't really like to use that, to be honest, so let's just ignore the split, put it all the way back up again. So all the notes on your keyboard are actually arpeggio hated latch. This is a different way. The arpeggio two notes are played, so latch off means when they hold a key down or hold several keys down. Let go. It will stop playing the arpeggio. If I put the latch on to hold, we'll continue playing arpeggio to turn it off. We have to go back off and then we have at So hold is if we play notes than play over notes , it will swap to them even when you're not holding the notes. But say I play one court, I'll let go. Then I play. Never called. It will swap to that second card on ad. Well, actually, add on notice as you play them. So instead of actually swapping to a different chord, it will add these notes on top off what's already being arpeggio hated. One other thing we can do is go over to file. We can add presets. This is a preset I made earlier. Click on Thomas, and to save your presets, just go down to file safe. You can add a new one that's called this Thomas, too. Then I could go click on file preset Thomas, too. You can also copy these preset sounds. So, for example, we want to actually add an arpeggio on the separate sources because at the moment is on all four sources, even though its only source one that's actually selected. So I'm going to go on to a go file paste this pastes arpeggio information onto source a going to go to all again go to file clear this clears are arpeggio information. So if I turn on bee, the bee won't have any arpeggio information. But a If you look over here, will have arpeggio information just going to change this wave to a sine wave and change the tuning to minus 12 so we can hear source b will be obviously conductive lower on will have no arpeggio information and source A will have this preset I just loaded waken add on separate arpeggios as well for each source. So source See, I'm going to add on the presets Thomas it's a source A Let's try Thomas too. So say let's try Thomas Source Be completely clear. So we have separate arpeggio informations now source A and so see and source B has no iPad your information just going to change this wife way. You could also go back to all and add on the arpeggio for all of them. It really depends on what type of sound you want to create if you want to lay a symptoms together or if you just want one big AARP agitated sound. So, like I said, we could go a, B, C or D and add on separate arpeggios and then blend them here in the sources. Or we can just add on the same are paginated information with all. So this is basically how we can use the arpeggio in logic. Pro 10 on with Alchemy synthesizer. Thank you for watching this lecture and I'll see you in the next one. 8. Alchemy Part 7 - Morph: Hello and welcome to this next lecture In this lecture, we're going to continue looking at alchemy Synthesizer logic, pro attempt. So in this lecture, we're going to have a look at the x fade X y on the X fe linear. So these are different settings in the morph. So if we go down to morph so we click on Advanced, um off, which is below global A, B, C and D. And if we go on X fade ex wife, this will bring up on X Y pad, which allows us to blend amore between our four sources A, B, C and D weaken go between them by dragging this blue ball. Or we can move X access which will move this blue ball left and right on the Y axis which will move it up and down. We also have explained linear which will move between in a linear fashion. So it's just the X axis. So these other tabs here more x y and morph Lilia, we're going to look at in their future lecture. So let's go and file and clear and just clean up this alchemy project. So it's completely blank now, On what I've done is I've just played in a few cause I've just dragged over a beat from the Apple Loop Library. Obviously, if all your sources are exactly the same, there isn't really any point morphing between them all because it won't make any difference . So now I'm just going to go through and change a few of these sources. So do sound different. Some good to change this sore wave, too? A sign wife. And then I'm going to actually change the target for the volume. Well, I don't know. Talk it. That's add on the telephone and change this rate. 2/8 notes. Let's hear this back. Okay, now let's go on Source Bay Going to change this wave Teoh Trying the wife and I'm going to actually add on the LFO for the pants it flicks between the two headphones. So new LFO going to choose 16th night? Let's hear this back. Also going to drop this and active. It's let's drop it minus 12 semi tones and see how much you're going to leave it. As a sore wave dropped the volume down on. I'm going to add on our Page eight on our pension so we click on up here and that's our Padgett. This so change mode to up and then going to select See here on going to a NSYNC this and make the rate really fast. So it creates a kind of tremolo feel. Let's change the motor up e Remember to turn on here and get to drop this inductive as well , or is a member to turn on your sources with this on button or it won't actually play. We won't be able to hear it play. Okay, let's go to D. I'm going to change this to just change it to a sine wave and drop and put the open active this time and they're going to add on a sequence of just to create more of a rhythmic feel for this source. Let's say this E Okay, now we've got all force sources playing or creating a different sound. Now we can go back to morph and become more between these four different sources. So we have source a telephone. Then we have sole spate, which has the l. A photo of the pan on the quicker rates and then they have sore See, which has that Karachi tremolo arpeggio hated sound. And then source day has that rhythmical sequence sound on. Now we can blend between all of these just by moving this blue ball around, so this could be really useful for breakdowns. Or if you want a lot of space and movement in your synthesizer, this will really create more of a live feel rather than just having the same thing over and over again. Or you can do in logic probe of Alchemy, which I pass. Do you think it's fantastic is we can record in the live automation? So if we just hit this automation button here and chains read to latch, just going to drop the quality too good so we don't get the lacking issues on now, all we have to do is play this him moved this blue ball around, and it will record in all this live automation. - So sometimes we can get a bit of lagging with alchemy because it is quite a powerful synthesizer, and I am bringing the screen capture software the same time. So if it does do that, just go back in and you can even draw in. If you get the pencil tool what we want to happen by personally, just like playing into Let's continue doing this. Okay, so there we've got a live automation. So let's change this latch back to read and go back to the start, and now you'll be able to see this blue ball actually moved with a live automation on will create a lot more kind of breath and movement and will make us that Simpson's sound a lot less rigid and sound a lot more fluid on Maura. Live sounding for a synthesizer, which I think is fantastic when you really want toe, create a track that doesn't sound too boring and repetitive because you do hear a lot of dance music that's just copy and paste. Copy and paste. Copy and paste. This way, if you are making a lot of electronic music or even live rock music, adding this outcome E sim for the live automated more for create a lot more riel freedom and breath in your son. Let's hear this back. I wear the same with the X fe linear. You can actually record this and also okay, so now if you go on mix and we can actually delete all automation. So if we go to mix glee, automation, weaken, go down to delete all track automation Now we can record in X fate linear in the same way. So let's change read to latch. I'm going to do the same with the ex fate. Then think about X fate Automation. It doesn't give you as much customization as the X y pad because on the X Y pad we've got to access the why on the X and expert is literally just the X. We can easily just go in and drag a line down like so. Then we can see a small blue ball just move over. And if we create another like so we can see it go to a and then back up today. So in a way, the X fade linear is a lot smoother if you want to go between the four sources. But I do believe that ex fade X Y just gives you a lot more space on breathing room in your music. But this is basically how we can use the moth in the alchemy synthesizer I passed. You think this is fantastic for creating more live Simon synthesizers? Really going in customizing and making your own unique sound. So thank you for this lecture. I hope you found it useful, and I'll see you in the next one. 9. Alchemy Part 8 - Sampling: Hello. Welcome to this lecture. In this lecture, we're going to continue looking at the alchemy synthesizer on. We're actually going to use the alchemy simple as a sampler. So let's go on file and then go to clear. And here you'll notice on the sources. We have four sore waves, so we have different waves that sine wave triangle, wave, soar, way square wave. But if we click on this sore wave here, we can actually import audio and use this as a sample. So here we can actually access our samples taken that even preview these samples before we load the men. I'm just pressing the down arrow on my keyboard and we can find a sample. We like an Eva DoubleClick or go down to import. And now on my media cabled it plays. The kick drum is, however, pitched, so we do want to just have one pitch. So let's go over to a for source A and then change the pitch to off. Now, wherever I play on my media cabled, it will be the same pitch. Let's go back to Global and I want to change the voices to just one the moment it's on eight. Let's change this, the one on the one to change the mode to re trigger. So now we have our kick drum sign on. What I want to do is actually add on an arpeggio later for this kick drum so we can draw in and create some rhythms. So let's go down to up and here we can actually turn the arpeggio toe on. But make sure we select source A. It doesn't matter which mode because it's just one note. Now let's say this just holding down one night so you can draw in what we want to actually happen with the kick drum, we could drag it out, see if he wants along the loop. So here we could draw in Arctic from Pattern with the velocity. Okay, let's go over to source being out on here, I'm going to add a snack. So the same type of thing click on Wet says sore wife. Let's go to import audio and here I'm going to find a snack. Let's go down to import. Let's do the same kind of thing. We want to change Source bay. We want this to be mother for Nick and change to read trigger, and then we want to turn off the key scale. Okay, let's go back to Global. Let's add an arpeggio for here as well. Office leads us too many snacks, so let's just raw in some of these so you can really go in and choose what possibly want. And like I said before, we can extend this if we don't want it just the same loop over and over again. Okay, let's do this with some high hats as well, so let's click on. See? Click on where it says saw Click on load Audio. Let's find some hats. Obviously, you will need to have your own drum samples to do this. There are various different packs you can use. The one I'm using is the vengeance. E G M Essentials. Volume one. She's a great drum pack. It's about $80 if you want to take e g. M. Seriously, I recommend having you look at it. So let's import this on the same kind of thing. Let's go over to see turn off the pitch. So 10 of the key so the key scale is off. Let's go about to global on and we want to change this to re trigger on to one of folic. And let's turn on the R P J. You can change the value to actually 1/16 notes. If you wish we can do more than velocity. We could actually pan this if we chose to add on a bit of pan information just a wide and our hats signed a little bit. Okay, let's hear what this sounds like. We can go into the envelope as well. So if a source see volume, let's turn on the target. Let's open up the envelope so that HDs are one. Let's choose a new one. Just going to make a bit quicker so we can increase the attack time if you don't want to commit straight away. But I do quite like the kick. So I do quite like the hi hats coming in straight away. I'm going to leave that. So I'm gonna actually change this to turn off on Let's affect the cut off here. So the filter that's select this, too all the way to effects to so source A and B have filter one. Andi, so see, has filter to so filled to Let's turn this on, and that's just cut out a few off the high notes. So let's cut that few of the low notes. So we need to add on a high pass filter. Let's hear what this sounds like. Now let's try a low pass, okay? And that's basically how we can create a simple drumbeat by using the alchemy as a sample. Or we don't have to only import one sample, so one drum sound. We can import lows of sample, so let's actually go on to number days. Let's go back into Global Selected Day. That's import audio and here have actually got a load of string samples. Well, it does. It plays more than one note. So it's been sampled. Is the C in C sharp D de shop a f etcetera. So here we can go through and find some of these samples someone's actually played in and use this as a polyphonic sample. A. So we're playing more than one notes, so this could be quite interesting. Let's try this, Sir Carter up, Bo having regard less trailer garter, that might be quite interesting so you can select base. You could even direct them into the drop zone or we can hit import. This will take a moment or two to actually load because we do have several samples on what the alchemy simp does. It automatically matches thes two keys so it knows all the information. So let's go today way. Get much higher quality sample sand When there's not just one sound, it's several sounds or put together, so if we click on the edit button here, you can see it's loaded in these different sample sounds. I'm just playing the notes on because the arpeggio is selected for the drums, plays the drum loop, and it allows me to have some freedom of my fingers and play some of the simple parts. Actually, these sample string parts and where it doesn't have the notes so below sea to actually just using this Lois one on pitching. Get down. So if you do want the best quality samples of the recommend staying in the range of where the samples you loaded in our so we can close this window here by hitting this X in the top right, and this will bring us back to the advanced tab. So this is basically how you can use the alchemy synthesizer as a sampler. You don't just have to use one sample. You can use several different samples, So if you do have any samples where you've got different pictures, you can uncertainties in an outcome. You automatically match them. They don't even have to be named. But it will help if it's named if there aren't the clearest sounding samples. So if you recorded in each ellos or guitar sounds or anything pitched, you can put this in the sampler and the you can play it in alchemy synthesize. It gives you a different option to the excess 24. Do you think this way is a little bit quicker? And it doesn't allow you to use this arpeggio hater, which could be really fantastic writing in drum parts really quickly. We can even add effects to each of these. If we wish. We don't have to just keep it like so we can go to effects and say on Maidan ones, add a bit of reverb, go down to classic. Riva might be a little bit much if you hold the sample stand for a long time. Noticed they do actually run out. So what we can do is turn on the loop for these samples as well. So let's go back to the editor. So if you go on D and click edit, you can go through and loop these. So let's go to sleep mode and let's turn this onto continuous and this will make thes small arrows appear. And now you have to really go through and fine tune and find the section you want to lose, because it's not always the same in the wave. So you might have to spend a minute or two going through and finding a good loot point. And to create a leap, we have to double click on our separate samples. We have to change the loop mode to continuous notice. These small arrows actually appear. We contract these around and this will loop the loop section. The loop section can be quite hard to actually find, because in the sound wave, it does fluctuate and velocity volume on brightness. See, do you have to go through and try and find a section that will be good for looping. And then we have these arrows here. These are for the cross fates this cross fades in and act would have it too far away. It won't actually cross fade. So just be careful of that. Probably about here. Okay, that works on the nine. Thing is, we have to go through all the different samples and do this for all of them. So let's go to continuous move the loop over and then move. These cross fades over. Also, just leave it going on. It will. So make sure you go through and do this for all your samples. If you do want to loop because they can be quite long if you want to hold down chords that you don't really want the samples to disappear. So it's like this expert in and now we've actually loaded in a sampler. So we've got kick drum, snare, closed high hat and also got this string part. Like I said before, you will have to go in and edit the string. But let's go to the lotus one just here on turn loop mode onto continuous and then adding these cross fades. Now when we play really low, just go round and round and round. Once a credit pedal, why do you think It is slightly better quality when you just have only the pitch notes. So it can just go between these pitch notes on alchemy. There's a fantastic job of this. If anything, I think it does do a better job than the X S 24. Just because we are so much other stuff built in, we don't just have a sample. Oh, we've got synthesizer. And yes, it's really powerful tool alchemy. And hopefully this lecture is just showed you some of the sampling capabilities of the alchemy Simp actually has. So thank you for watching this lecture in the next lecture. We're going to have a look at mapping this X Y pad to our own customized settings and sounds so thank you for watching, and I'll see you in the next one. 10. Alchemy Part 9 - Custom Performance Controls: Hello and welcome to this lecture. In this lecture, we're going to have a look at the performance X y pad in the alchemy synthesizer and how you can customize this to your own needs. So let's first of all, go on file and then clear what I've done off screen. I've just played in a few chords, and now we just have their simple sore wife. I'm going to edit this on show you how you can map and customize this ex wife hot. So what we have to do? First of all, it's actually send some of these knobs down to these eight knobs down here, and then we can actually customize them on this part. So I'm going to change this sore wave to sign wife. Let's just hear this back, okay? And I'm going to right click on this. No. So instead of adding a target, we can actually just right click and go on to add modulation, and then I'm going to choose LFO. Then I'm going to send this rate now, but down to this dial here, down to dial one. So if we right click on this right now, add modulation and let's choose perform control one. Then we can choose Storch Store snapshot one. So this is stored like so let's actually change the rate to 16 teams and then click on stores that store snapshot toe one. Then when we go to two goes back down to course notes. Okay, let's actually do something with this filter cut off. Let's change this to a high pass. That's right. Click on add modulation. Perform controller to Then we can click on this and go on store. Snap chop to be number two. Okay, lets out on another source. That's Adam Source Bay. Let's choose Square Wife on. I'm going Teoh, right Click this pan up as much elation. Let's add on a sequencer in sequence of one and that's right. Click this attack up as modulation. Perform and control a free that's also right. Click the gate up, add modulation. Perform control the free so this will actually control both of them. Let's move this noble and not actually let's increase the cut off on the rate for controller or part number free. So right click store snapshot to remember free. You could also go in on rename the snapshots so I've got number one so far, I think that sounds quite full. So I'm going to rename this to full but say, Let's cool this schools high pass or hey, HP because there's a lot of high pass filter there. So this one's called HP. Call this one pinch because it sounds like to me, anyway, sounds pinching really fast. So I'm going to call this pinch. But I like to call stuff Whatever sounds sounds like to may, let's go to full. Let's add on another wave here. Let's add modulation to the for you. Let's add on an envelope. Actually, let's add on a different type of envelope. Let's try the M SEC envelope that's been done to death. Naturally, add modulation. Perform to control them before the depth. Let's change a few more of these. Not as well. Okay, that's right. Click on this number four store current snapshot, and that's here. What? This sounds like the rename this one organ. I think the sounds like organ kind of sound. Let's just go through these four. Obviously, we can do this with 5678 on with another source. Let's go into the arpeggio tonight and that's going all on mode that's puts on up on the rates. That's right. Click add modulation. Let's go to perform and number five. This is the right sounds quite different than let's go back to perform. So I'm going to pump up the rate for all the face for number four. I'm going to put the right all the way down, right click and store current snapshot. Now let's hear these four and still the same with number one. Let's put it down. Not as much about here. Okay, Store current snapshot. Okay, let's go to effects. And they all seem to be sent to effects. One effects may filter one Sorry and after filter one, its effects main. So let's add on some effects. Let's choose classic Riva. We get in the mix. We're actually going to send at modulation. Perform troll the five. Okay, let's go back to perform. So Control number five doesn't just control. The arpeggio rate also controls the reverberate, so you can have one knob controlling many different effects so you can really go in and customize the maker on own sounds out of this. So let's go to pan for sine wave number one, we can add modulation perform, and we can even send this to this X Y pad. So let's send it to X Y pad one. So this will control the pan. This is quite hard to hear. Let's go, Teoh arpeggio. Let's click on active add modulation. Perform. Let's go to X Y pods number one. So that's edit these for their ones. That's right. Click. So you can have a lot of fun doing this stall. Current snapshot on the organs sound. I'm going to increase it here. Okay, There's so much more we can do. We have another X Y pad. We can actually are just here. And this is really just the tip of the iceberg. Weaken Go into mixing crazy sounds just out of this. But I think you're starting. You should be starting to get the idea how we can customize, make this ourselves on, put different knobs and effects all on different jobs, and then blend between them to make some really interest in sounds. Of course, we can automate this in. I'm just going to turn off the leap, go to the start, turn on the automation, change it from read too much, then hit Play that. I'm just gonna meet this stuff around. Okay, Great. Let's say this back. Let's change latch back to read. Of course, we can go into the automation and tweak it by hand so I could bring this back up. So do some really cool, interesting effects with this. - Okay , so in this lecture, I have showed you on the hell could be synthesizer how you can customize this performance X y pad. And also these x Y pads here so you can go in and make your own sounds and then automate them of live automation. Thank you for watching this lecture. I hope you found it useful, and I'll see you soon. 11. Alchemy Part 10 - Velocity Layers: Hello. In this lecture, we're going to continue looking at the alchemy synthesizer and in this lecture on going to show you velocity layering. So velocity Layering is basically where we have different samples, and some are set on certain velocity. So if you play already keyboard softly, it triggers some samples. If we play hard, it would trigger other samples. It's quite easy to do, and I'll show you how you can achieve this in the Alchemy synthesizer. So let's go on file and then clear. Let's go over to source one A. Let's go to import audio here. I've got a load of different string samples you want to go through and find urine samples. These have different key, so someone's played all different types and styles on certain string instruments. On divorce, they play different notes. So see it C sharp, D d sharp e f etcetera. So I've got some here, some staccato down. Bo Forte is basically allows to Carter. So let's say that select lease on. I want these when it's played hard. So when you play hard, it triggers the staccato Andi. I want to trigger the MF staccato. So that's the moderately loud will play softer. Actually, we could even trigger Lagarde s O. When I play hard on my media keyboard, it will trigger these stabs on. When they're play softly, it will trigger the smoother sounding strings. So let's just import. These are selected all these, by the way, by just holding down shift that's hit import. Let's change this to sample, uh, as well. Make sure mapping is on pitch. This may take a moment to load, as is only a few samples, not so many view of selected lows of samples that might take a few minutes. And also it depends on how fast your computer is. So let's go over to source number A. Let's go to this edit button. Okay, at the moment I was playing fireplace Soft place. The cast fo play hard place to Carter, so whatever I played in the moment on whatever velocity I play, it's staccato. We don't really want this. What we want to do is have this, so it's only loud. This hair goes from 0 to 127 so zero is no ive lost information. One is very quiet on 127 is the loudest velocity. So we can just click on all these. We have to hold down shift, then just drag it up to about, say, 70 60. You can even go on this are here. It's actually allows us to find exactly where where we want it. Okay, We have the high velocity on. We have the low velocity. So the low velocity iss 70 Anything under 70 we won't be able to hear this sample information. It goes all the way to 127. So let's just play in the media cabled softly. Nothing is coming out. We can see small red dot This is the information or the velocity that we're playing now I'm going to play a bit harder way you can actually hear this is going to pump up the octave. Okay, that's add a new group at an empty one, and great to tell you has nothing group one as this. Also, when I select group to play hard, it will play the information from Group one. So group to let's hit this plus button on his import. So I gave it to here. You can see import now we can actually import some more information, so you add some more samples. So before we have these of stubby, staccato toes and now I'm going to add some leg arto so basically some smoother sounding strings. Let's try MF. Actually, let's try piano, which just means quiet. Uh, okay, that's hit import. Make sure samples on pictures selected. We'll take a moment to load them on. This play quietly will play the Lagarde. And when they play hard way, we could leave it like that. If you want both playing or we could go for you, select them all here. Okay, on drag it up or drag it down. So before I believe it was at 77 Look, it went from 70 27. So this one, we want 0 to 69. Remember, we can just go on here 69. Oh, the annoying thing is there isn't actually a way to select them all. You do have to hit. Shift can be a bit annoying, but that is the way alchemy of set up. So let's just select all these. Drag this up to number 69. Like I said, we can just find tune it or fine additive over here. Up to get to know. Okay, so now when I play softly, we'll play this nicely. Garter strings play Heart will play the stubby staccato strings. Group two hasn't actually got anything, so let's just right. Click on. Delete this. Now we have a great one. I'm great. Number one and great number free. We can even actually select all this information by holding down shift again. Right? Click and copy. Then go over to grape, right. Click on pace to existing group and choose group. Now this paste this information into here, you can delete group number free. Just so it's a bit neater. Now it's all in one window. Okay, We could add the loops like previously unto each one of these if we wanted to, so we can turn a loop on. But it really does depend if we want to do this. Depends how long the home the note for these samples do last quite a while. If we do want to do this, we have to turn the loop onto continuous. Then we just set the loot markers and then we can add on the cross. Fade here as well. So that's basically how we can add this for lost the information. So basically, when we play soft it will play a certain sense on when we play harder, it will play another sample. We can go back to the main window, the advance window, by hitting this X here and go back to Global. We can go through and edit this global envelope as well and we can add on of a sources We don't just have to have this sample. So let's add on Sign wife. I'm going to put up one act if also going to right. Click the volume Add modulation. Let's add on a new LFO So this is how we can create velocity lays in the alchemy sent in logic Pro TEM Thank you for watching this lecture on. I'll see you in the next one. 12. Alchemy Part 11 - Round Robin: Hello. Welcome to this lecture. In this lecture, we're going to have a look at the round robin sequence for the alchemy synth in Logic Pro TEM. So what the rain robin does? It basically rotates different samples. So if we have free snares, for example, and we want to play a different snare each time, just a mix up to add a bit of variation, we can lay these snares. And then the round robin will just go between these free snares round around. It's really easy to stoop, and it might be useful if you want to create more of a live sounding track or if you just want to add a bit of variation or experimentation in your song. So let's go over to file. Unclear. Now we have four sources as always, only source A is selected. Let's click on sore here and go to import audio. Now we need to find some samples. I'm just going to use some snare samples, so I'm going to go to this snare folder. Just don't have a few different snares, just a roll around the track. This might be good for more rock Music It could be is for electronic, more musical safe. So I'm going to find a few that similar sounding but also slightly different. Try these free and now we need to go down to sample. Uh, and this is quite important. Let's change the mapping to drums. This is because we don't want these to be pitched as the drums. We just want one sound. So let's go to import. No, on another thing is begin to turn off the global envelope because we don't want it to start and stop. You want the whole sample to play. So let's just turn this off. Okay, Great. Let's click on a and click on at it. This is quite tricky to see, but we basically have our free samples here one on C one on C shop on one day. What we need to do to create the round robin is need to put all of these on to the same note. So let's create some new groups that's here empty and then the way I like to do this is select the 2nd 1 right click cut, go on group to like click and then pace to existing group group to as Adam never group Empty on, Click on the fair drum cut, great free right click pace to existing grape group free. Okay, now we're going to drag all of these onto. Let's change this two d one, actually, because normally I like to have this now on day, so I'm going to leave group free on day. Great to going to move this two d can be quite tricky to do this, to be quite careful as we go along. There you go because said it can be bit tricky just to grab thes and move it to D. They are quite small on another thing is now we've moved this from C shop. Two days actually change the tuning slightly. So all we have to do is hit this learned. But, um, you can see that says D flat. Hitler then hit the note day. Let's change this down here to day, so it's really simple. That's good to the 1st 1 We're going to drag this to day as well. Okay, same as before. The key here says, See one. So we're going to hit learn than hit deep, and it's moved this two day. Next, we're going to go down to wets has always moved this two round robin and the same for group to change. Always two round robin on group free change, always to Brian, Robin and I. With a hit day, it goes through the difference less so. If one that creates some interest in rhythms or change the sounds around a little bit, we we can do this is quite simple. That's how we use the round robin with sampler in alchemy in logic, pretends exit this. When does all we do is hit this X? Let's go back to Global and here we have the source become, of course, add on arpeggio to this. So let's go to up that's mode. It doesn't matter they all the same note that's put mode on on Let's just play. Obviously, that's too many. So maybe just on you can hear. Now let me just drag these out the way, and hopefully now it should create a different snare sound every time it triggers. You could use this for one shots or sound effects, or kick drums or even Tom drums if you want to correct Tom Fills. But I would say this would be more useful for live star music rather than straight electronic music, but it will still have its use go in an experiment. If you do want to have a difference, sample trigger and each time, just remember, all we have to do is click on import audio and then just drag these over and make sure that on drums hit a learned button to change notes and change it to a round robin. It's really is quite simple. So thank you for watching this lecture. I hope you found it useful and I'll see you in the next one.