Відео

It looks like I’m using the ring mod slider and adjusting the tuning of the second oscillator. Playing low on the keyboard.

I have a feeling that’s your DAW, trying posting this on the UHE forum. They’re very helpful there

@@marcuskruse1 thank you i'll go there. i use ableton live 9 lite. have a blessed day 👍

I think the audio out will be located in the setting of your DAW

@@marcuskruse1 Hi! yeah it took a reboot to fix it, just my DAW playing up. cheers

Patches are in the description of the video

@@marcuskruse1 Only writing intro, I couldn't see pad name

@@modernmabuse use link to download custom patches in description.

@@marcuskruse1 Oh thanks 😊

Drag and drop from finder to the presets section.

@@marcuskruse1 I tried that but it doesn’t show up in logic for some reason

@@TehZured Did you drag and drop into Logic or the Synth?

@@marcuskruse1 I tried dragging it into finder in the audio patches folder as well as everywhere in logic. I think the patches are usually a different file type. Other videos I see they’re .patches instead of .h2p

@@TehZured I got it. So these are not logic patches. They are UHE patches. Drag directly into the synth

All virtual instruments should follow the host bpm. What exactly are you trying to do?

Yeah I agree, it wasn’t mixed properly and it’s very clicky. Old video.

Double click every knob and slider. Save as preset.

Try drag and drop.

Vibrato in Tyrell is controlled by LFO1. Select an Init Patch, raise the Vibrato slider and you will hear no vibrato. Jump down to LFO 1 and turn depth mod to the left. You will introduce vibrato. This relationship cannot be changed. If you are using Vibrato via the slider, and you select LFO1 as a mod source elsewhere, both vibrato and anything else connected to LFO1 will be modulated in the same exact way. There is a delay knob in the LFO’s; Usually it would do exactly what you want, except it doesn't. "Ok, so regarding your matrix routing". You have your sync setting on LFO set to 2/1. You probably already know this, a 1/4 sync rate sets the LFO to start and end it’s full cycle over the course of one 1/4 note beat (if you are in 4/4). So you will hear the source modulated 4 times in a bar of 4/4 music. If the LFO is set to a sync value of 1/1, it will complete its full cycle over the course of one bar (whole note). 2/1 will double the length of time it takes for the LFO to complete it’s cycle, from 1 bar, too 2 bars. Your target is set to the Vibrato slider. What you are automating is not the onset of the LFO but the movement of the Vibrato slider. Imagine automation as if you had a hardware synth that you are recording into your DAW. Any knob that you physically move will be recorded in as audio. Therefore your matrix selection is the equivalent of you moving the Vibrato slider up and down when you want it too. Therefore, you could also think of this as similar to using a mod wheel. OK, here’s where things get tricky. LFO one and two are most likely set to Gate Restart. Restart is when the LFO begins it’s cycle. Gate is the on/off midi command. It sends a signal to start or stop something, usually to play a note. So when you press down a music key, the note plays because the key triggered a gate command (to open) play the note. When you release the key, a gate command is sent to close, or stop playing the note. If your LFO’s are set to Gate, then they will reset their cycle on every new midi note. They are however polyphonic which means that you can have up to 8 individual notes receiving gates at different times. Why is this important… Well as you said, the Vibrato is starting on beat 3. Yet, you have the LFO set to modulate the Vibrato slider at a rate of 2 bars. If this was actually delaying the onset of the modulation, then you wouldn’t hear any vibrato until BAR 3. Remember that I’m assuming that both your LFO’s are set to Gate? You are hearing the effect of the Vibrato on BEAT 3, but the LFO’s did not begin their cycle at beat 3, they both began as soon as the note played, beat 1. The reason you hear Vibrato at beat 3, bar 1 is that over the course of 2 bars (2/1) the slider moves into a position where the modulation can be heard at beat three. As it’s a triangle shape, the modulation also ends at beat 3 in bar 2. This is a really cool idea you have stumbled onto. By experimenting with the waveform, sync values and phase, you get completely different results. It’s a great way to create rhythmic modulation. So to answer your question, no you can’t delay vibrato. Except, maybe you can. Try this method - Make sure LFO 1 & 2 are both set to Restart Gate. Set LFO 1 Shape to Triangle and set it’s sync rate to 1/4. Make sure the rate knob is at 0 so that it has no effect. With this setting, the pitch will be modulated up and back down to it’s original pitch in the space of one beat. In the matrix, select the Vibrato slider with the crosshair. Set the first mod slot to LFO 2 and it’s depth to positive 100. Nothing in the second slot, it is for modulating the depth of the first slot (ie velocity). In LFO 2 select a Square Low - High, sync at 1/1. The modulation will start at it’s minimum, 0 and jump to it’s maximum, which we set in LFO 1, set the depth to 90. Make sure the Vibrato slider is at 0. You should hear the modulation begin at beat three and end at beat at the beginning of a new bar. Why a Square Wave? It’s a gate signal. When the square is at it’s lowest point, the slider is at the lowest point we set it at (off). At the Square waves highest point, the slider is set at the value of LFO1 depth. A Square wave will jump between two values, there will be no ramp in between. Since we have set it to modulate over 1 bar, half the square wave will turn the modulation off for 2 beats, and the other half will turn it on for 2 beats. You can bias this by setting Pulse Width Mod source to None, decoupling it from LFO 2. The PW slider will now adjust the width of the square wave, making one side longer or shorter than the other (interesting!). There would be many ways to do this, but as you can see, it’s not such a simple task and requires experimentation, (unless the LFO delay knob worked)… You could of course just draw the automation in your DAW, or record the mod wheel.

@@marcuskruse1 ​ Cheers, mate! I really appreciate you taking the time to answer in depth. I had to read through a few times to get the idea and will read through a few more to really understand everything, but you've clarified a lot of the vague ideas that I had about what I was doing. I set up everything as you suggested and it works great! If I may make a statement just to ensure I understand - with the settings exactly as you described, any note longer than 2 beats will receive vibrato from the third beat onwards, but this will stop at the end of the fourth beat. Any this is happening due to the gate restart making the modulation start at the beginning of each key press. Thus a 5 beat note would have the vibrato only on beats 3 and 4, whereas and 8 beat note would have the cycle complete twice and have vibrato on beats 3, 4, 7 and 8. Your explanation of why to use a square wave also helped me understand why my triangle wave with the 2/1 sync setting worked - I was getting the upwards ramp of the triangle, so the vibrato became noticeable after the second beat. It seems that a saw up with a setting of 1/1 would produce the same effect. I did try out what you mentioned with setting the Pulse Width Mod source to None and playing around with the PW slider, but it only seemed to affect the timbre and not how the square wave affected the vibrato. Did I misunderstand what you meant, or perhaps missed a step? In some cases it definitely seems drawing the automation or using the mod wheel would be the better option, but it's cool to have the possibility to have the vibrato controlled by an oscillator, especially if the composition won't use notes beyond 4 beats long (in this case), or knowing that the modulation will drop out. Thanks again for the explanation and the tutorial. I'm going to play around with it some more and see what I can come up with.

@@nicholasowen-petch7279 You've got the timing right! A saw and square wave have a similar effect. They both have a low point and a high point. A square will jump between those two values, whereas a saw will move smoothly from one point to the other. The best way to understand this is to listen to the affect of the LFO wave shape on oscillator pitch. You are correct about the pulse width slider too, it doesn't affect the Square Wave in the LFO's, only the Oscillators. I thought it would affect both Oscillators and LFO's but it makes sense that it doesn't. The best way to do this would be to have a separate pulse wave available in the LFO.

@@marcuskruse1 Thanks for confirming that! I've spent most of the day playing around with the synth. I thought it would be a good learning project to try to recreate a piece of music, so I settled on 'Those Who Fight Further' from the original Final Fantasy 7. I managed to get the synth lead, bass and organ working pretty well (using your trick of pushing up the resonance on the filter to get just about enough oscillators for the organ). Synth string came out ok as well, though the timbre is not exactly the same, though it's close enough for me at the moment. I'm going to have a crack at making the drum sounds as well. The one thing I could figure out is a distorted guitar. I'm not sure if it's possible in Tyrell, as none of the presets come really close to what I'm aiming for. The type of guitar isn't realistic, it actually sounds exactly like a patch on a Yamaha PSR-350 that I used to have. But I can't seem to get Tyrell to distort enough. Even with the things that haven't worked, it's been really informative pushing the synth in different directions and hearing the results. Thanks again for the help.

@@nicholasowen-petch7279 No problem, you will find that the majority of distortion in the sounds you hear, is created in post production. There are few ways to get more grind in a synth using some sort of cross modulation. This could be ring mod, osc sync, frequency mod or filter mod etc. Try this, Osc 1 Sine, Osc 2 Square. Mixer turn up Osc 2 all the way, everything else off except maybe 5% pink noise for some 'jitter'. In the matrix, set xs-mod osc 1 depth to 5, destination Osc2 FM. This is the basis of the patch. From here you can tailor the filter to remove harsh frequencies. I didn't use a filter envelope, instead I dropped the filter to around 120 and further tailored the brightness using the mixer feedback. Then I would set up a matrix slot to move the filter down on high notes so they don't hurt your ears. Set the target to the filter, mod slot 1 to Keyfollow, and set the value to something similar to -20. From here you can experiment with different oscillators settings, etc. The way I have usually seen electric guitars done is with 2 saws an octave apart, regular old filter modulation and lot's of distortion, delay and reverb in post.

Yes for both

Doesn't it open with the initial preset? If so, just save it as a user preset after you open it.

What DAW are you using?

@@marcuskruse1 oh I was using garage band. I ended up using the keyboard to create some stuff. I looked up about midi keyboards. So could purchase one of them. Unless you have any other ideas?

@@jonnygray8176 Use the piano roll. ua-cam.com/video/s429jy7K0Ac/v-deo.html

Tyrell, Dexed, Zebralette and Spitfire Lab. Plus whatever comes in your DAW. Including your sampler.

@@marcuskruse1 Can you share your favorite tyrell presets? thanks

The release of the amp, filter or both.