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The first is to select a Keyswitch via a Note. There are two recommended methods for setting up Articulation Sets. With a correctly configured articulation set you can select a note (or notes) in the Piano Roll editor and simply choose the desired articulation as pictured below: Make sure to reference the video for more examples of this technique.Articulation sets are a feature in Logic which allow you to program articulation changes easily. And 99% of the time - that is a very, very good thing. It's more dynamic, And it just sounds more alive. You’re left with a melody that feels like it spits itself out towards the listener - it's got movement. Now there are tons of things we can do to accomplish that - but one little thing I've noticed? How can we make what we write digitally on a computer sound more human, more real, and less perfect. Sometimes I view composing and writing on a digital computer really, as just an effort to humanize everything as much as possible. This means that, depending on the depth, this rate moves left and right across the stereo spectrum - and by automating the rate - the reverse audio will start off slowly moving across the stereo spectrum, and automate to move faster and faster.Īgain, just a really simple but cool trick to get out of doing things the same old way all the time. Automate the rate to slowly increase over the life of the reverse reverb.
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Place a tremolo plugin on the reverse channel.Increase the decay time to around 8-15 seconds.Put a reverb on the beginning of any audio.This is the reverse reverb trick with a bit of swagger by introducing movement. It's a great way to introduce an important lead or prominent sound in the mix.Ĭommonly, it's done with vocals, but it can also be done with lead synths, piano chords, big bass sounds - really anything that you want to introduce via a long reversed reverb tail. Most producers are familiar with the reverse reverb trick. Try to stay within an octave of the original sound, as the further you go from the original the more degraded the audio gets, and you also start running into timing issues.īeyond that though - if you want to play a sound with both normal forward samples and reverse samples, I would just suggest creating two sampler instruments - but if you have to keep it all in one track, reference the video from this post and you can map the editor differently which gives you this control of each individual note. Select reverse on the right hand side of the editor.Select the note of the sample to stay in key.Right click on sample and select Convert to Sampler Track.We’re going to do that with reverse sounds using a sample downloaded off Splice, from the Bright Lights vocal pack.
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Mapping audio to a sampler allows you to manipulate ANY sample you have on your computer as if it was a synth. Instead of manually printing your reverb tails and reversing them, sometimes the reverse button in Logic's Space Designer is a cool way to spark some creative atmospheres and cool tonal differences in your melody.Īgain, this is a very easy trick, but something it can be both super powerful and subtle at the same time. Sometimes I like to trigger an auto-panner to move with the reverse melody cuts, that way, each reverse transient is playing in a different part of the stereo spectrum - and that is beyond cool. If you select tasteful, fewer instances of the reverse, the reverse melody paired with the original might sound really special. The answer to the previous question of cluttering your melody is to cut up your reverses. This can get super cluttered easily - just be careful as this technique usually only works with simplistic, minimal and subtle melodies.