Frustrated by the sonic limitations of the EXS24 sampler? You might well have already! Its strength is undoubtedly the speed at which you can map a variety of samples in seconds.

When it comes to sound design, though, it starts to show its age. Something where the samples only formed the starting point of your creative process? Alchemy patches use a total of four Sources — A, B, C and D — that can be thought of as four oscillators.

As well as holding a sawtooth or square wave, Alchemy can import a series of mapped samples into a Source. The mapped samples could be a series of one-shot, velocity-switched drum samples, for example, or a collection of multi-sampled pad sounds spread across the full range of the keyboard. As each Source has its own sample map, Alchemy instantly trumps the EXS24 in its ability to have four discrete layers in a single patch. One key concept to grasp as this point, though, is that the samples can be imported using a series of different modes — Additive, Spectral, Granular and Sampler.

Once the sample data has been loaded into a Source, we can start to get creative. The key signal-processing features to note are that the playback engine has two separate multi-mode filters as well as four independent effects busses A, B, C and D and a Main effects bus.

The immediate creative task is to think about how each of your four Sources could use these features, maybe routing groups of Sources through different filters, for example, or using a different effects block for each Source. The walkthrough illustrates some examples using drum samples, but there are any number of interesting options to explore outside of this, especially when you start to also add in the possibility of including modulators like LFOs and step sequencers to control these signal processors.

One of my favourite creative applications of Alchemy is the Granular Engine, which is one of the alternative ways you can import and manipulate sample data. Rather than simply playing back the sample data sequentially, the Granular mode sees the sample data as a series of sound grains, each lasting no more than a few samples. By repeating these grains, a sound can effectively become frozen in time, or you could slowly move through the grains to produce a wavetable-like sound.

As the walkthrough illustrates, this can sound great on drums, particularly for glitch-like treatments in harder forms of electronic music. While I would always favour the EXS24 for more complicated mapping tasks, Alchemy clearly comes out on top when it comes to sonic mangling.

Click on the Saw label to open the drop-down Source menu, where you can select the Import Audio option. You should now be presented with a file browser.

Drag the included samples over to the Dropzone and order them as you want them to be arranged on the keyboard, starting from C1. Once this is sorted, press the Import button to have Alchemy map the samples. By default, Alchemy has a sluggish attack time 0. 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. Open the Effects tab at the bottom of Alchemy.

Because of the routing, these effects are solely applied to the snare. The main effects are applied to the kit as a whole, including the processed snare. Use Import to load samples as before, although this time select Granular for the Analysis mode and Drum for the Mapping option.

Either Solo Source C or deactivate the other Sources. Set Source C to Stereo mode and playback the sequence. Try increasing RPan so that the grains are distributed across the soundstage, creating a granular shimmer. Reduce the sustain accordingly. Return to the Global view and balance the effect.

Sample magic Alchemy patches use a total of four Sources — A, B, C and D — that can be thought of as four oscillators. Tone Empire Firechild compressor review: The vari-mu king gets convolved.

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Alchemy has a flexible architecture and its wealth of modulation options can create sounds with a surprising sense of movement. Mark Cousins gets animated… Having a synthesiser as powerful and as flexible as Alchemy residing in Logic is a joy for any sound designer or musician working in the field of electronic music. From gritty […]. Mark Cousins gets animated…. Having a synthesiser as powerful and as flexible as Alchemy residing in Logic is a joy for any sound designer or musician working in the field of electronic music.

Put simply, movement is created using a variety of modulation sources — like an LFO, for example, or step sequencer — routed through to one or more destinations within the patch. The first choice for movement in a patch has to be a lachemy LFO, of which Alchemy can use multiple instances of in any single logiv.

Often the most effective sounds, though, come from a small or moderate amount of depth, rather than the filter being modulated over its entire range. With Bipolar not activated, the LFO adds to the existing parameter level, rather working both positively and negatively on the current filter cutoff point. Using a short attack and gate, for example, and moderate release, you can create a result not dissimilar tutoriall the default shape of the MSEG modulator.

It might be, for example, that you use an LFO on the amplifier, modulate the filter using a complex MSEG and another LFO, while a parameter like tutorkal time tutorlal modulated using the step sequencer. The fact that. Alchemy also supports a semi-modular architecture, including parallel and serial filters, means that you can create stunningly complicated alchhemy, limited only by your imagination. Map velocity to your chosen parameter, and the arpeggiator can control anything from filter cutoff to panning.

The arpeggiator itself contains the all-important Mode, Rate, Octave and Length controls, letting you alchemy logic pro x tutorial free between alchemy logic pro x tutorial free chugging eighth-note sequence, to swathes of 32nd notes spiralling through a chord. Our basic starting point involves tutoral single oscillator set to the sawtooth wave. Create some additional unison voices with a alchemy logic pro x tutorial free detune and ensure the filter is set to LP4 MG.

Click on the drop-down menu and assign LFO1 to thtorial the filter. Lower the cutoff and tweak the depth to get the desired amount of movement. Logoc the drop-down menu in the Modulation section you can find an option to create a new LFO. The trick is to use a small amount of depth for alchemy logic pro x tutorial free modulation, creating a subtle undulation effect.

This tutorial is endorsed by Point Blank. You can study sound to picture on their Music Production Diploma courses, with pro industry tutors. Apple Logic Pro. Tone Empire Firechild compressor review: The vari-mu king gets convolved.

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