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I’m going to post привожу ссылку resources I can find so we can all get some game going with this very deep instrument. Hosted by Nimbus Frse. I added logic pro x alchemy manual free link to the OP, but the list of changes to Alchemy is pretty good reading, so here it is. Alchemy is an easy-to-use, yet powerful sample manipulation synthesizer.


Let’s Dig Into Alchemy – replace.me

Logic Pro unlocks your musical creativity, and gives you all the tools you need to turn your ideas into fully realized professional music productions. Learn. Introduced in Logic Pro , Alchemy joins the upper echelon of sound design Read it now on the O’Reilly learning platform with a day free trial.


Logic pro x alchemy manual free.Alchemy overview in Logic Pro


Reduce this to 0. You could also try creatively adjusting the envelope. Move out of the Global view to see the individual controls for the Source. We need to change the Source from being Mono note the circle icon to the left of the Edit button to the interlinked Stereo option.

Pressing the Edit button brings up the Sample Mapping screen for the Source. Note the series of Zones one for each drum sample positioned consecutively from C1 on the keyboard. Each Zone has its own set of associated parameters, including a Volume, Tune and Pan control.

Try panning the three toms across the soundstage, and experimenting with different tuning on the kick drum. Try some creative applications with layered Sources. From the Source menu, select Copy Source which will place all the samples with their mapping onto the clipboard. In Source B, select Paste Source. Our aim here is to differentiate different samples between the two Sources. Pressing it will reverse the playback of all the samples in the Zone.

Copy an existing Source, but then reverse the duplicate layer. Repeat the same process on Source B, but this time delete all the other Zones, leaving just the snare Zone on D1. Play back the included drum sequence and notice how the two Sources are triggered at different points. Route the second filter to FX A using the drop-down Routing option. I made the attached screenshot. I would think that, the way I have it, I would only hear sound at the downbeat, and then at steps 4 and 9, but the entire 1-bar loop plays at full volume.

I’m used to working with audio samplers, so I ended up bouncing the sequence and then cutting it up with flex time and manipulating it, but I imagine there’s a more direct way to do it. I appreciate your patience. You have zero modulation depth, so in effect you are modulating the volume by nothing, so there will be no change from the modulator. Increase you can also decrease, it’s bipolar the mod depth – the “Depth” knob to the right of the Sequencer modulation source.

I got the volume to work by playing with the depth, as you pointed out. I promise this will be my last question for today: I threw caution to the wind and tried to do the same with the swing function. So far, I have had no success. I put all the bars in the sequence up as far as they would go, as i want maximum swing on each beat There is no audible difference.

The sequencer isn’t playing the beats. The term “sequencer” is, I think, misleading you. It’s simply a series of rhythmic modulation stages which you can route to various synth parameters. If you have a single raw synth waveform playing, and you route the step sequencer to the filter, and change the step heights which is the depth of modulation for each step in time , the filter will “burble” in sync. In this patches’ case, we are simply playing a drum loop sample.

The step sequencer is simply a modulation source ticking along in time with the sample playback. Now, we’ve routed the step sequencer to modulate the source volume, so we can raise or lower the volume of that source any given 16th beat in the bar – the height of the step dictates the amount of volume modulation for each step. Now, when we “swing” the steps, what’s happening is the step modulator’s timing gets swung, so now some of those steps will be shifted later in time.

This means now that the steps in the sequencer won’t line up exactly with the beats in the sample – because those are straight 16ths. When you’ll hear is that as you turn up the swing, the swung beats will start “missing” some of the straight 16th transients in the sample. If the drum loop is confusing you, try it on a straight simple, non beat sample, like a straight waveform.

The timing of the sequencer steps will be more obvious as it’s not super-imposed on a straight 16th rhythmic sample. That definitely explains it. This is a more sophisticated form of modulation automation than I’m used to and you’re right, I was trying to make it do something it’s not designed to do. As I wrote earlier, I ended up converting it to audio to get what I want and now I won’t waste any more time trying to make it do something it can’t. Thanks again.

You can post now and register later. If you have an account, sign in now to post with your account. All modulation in this section applies per voice. There are two main filters that can operate in parallel or in series. The main filters are used to shape or otherwise alter the combined sound from the four sources. See Alchemy main filter controls in Logic Pro. After the individual voices are mixed together and filtered, they pass through the effects stage.

Any modulation of the Effects section is applied to the entire audio signal sent from the main filter section. You can also directly route sources post source filters, if used to the Effects section, bypassing the main filters altogether. See Alchemy effects overview in Logic Pro. In the channel strip for the selected track, place the pointer over the instrument slot containing Camel Audio Alchemy, then choose Alchemy from the pop-up menu. Note: Because of updates to Logic Pro Alchemy controls and features, patches might not sound exactly the same as they did in Camel Audio Alchemy.

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