The mastering in Igorrr's last album Spirituality and Distortion is absolutely phenomenal. Maybe there's an answer in there for ya. They made about an hour long documentary on the making of the album if that says anything. Cheers
Here are subtle tricks that I frequently apply - I hope at least one of them are new to you: 1. A little bit of negative keyboard tracking to oscillator pitch will make detuned oscillators sound less dissonant together in the higher octaves. Very effective when doing oscillator to oscillator frequency modulation, as you do in this video. 2. Keyboard tracking on a polyphonic free-running triangle LFO that modulates oscillator pitch by a few percent can (when done right) inject a classic chorus-like quality in to pads/chords that uses oscillators rich in overtones (e.g. the sawtooth waveform). 3. Modulate oscillator pitch slightly with brown/red noise (or a smooth random LFO) to simulate analogue drift/instabillity in digital oscillators that stay in perfect tune otherwise. This is very effective at making sounds less stale that have an digital delay applied to them in the mix. 4. Apply a subtle slow modulation to the delay time in digital delays whenever possible to make them less stale-sounding. 5. Disable the internal feedback of your digital delay and set it up in a feedback loop on a mixer channel instead of the aux return. Apply a gentle negative low shelving and high shelving filter to make the echoes thinner and/or duller for each round trip in the loop. Spice it up to taste with saturation and/or compression in the same feedback loop to emulate analogue tape degragation. 6. Send some (ca -12dB) of the echo feedback loop channel to a reverb (as in post-echo reverb) to make it sound less "empty". 7. Modulate a lowpass filter's cutoff frequency with the output of itself - this gives the filter a pinched / Rhodes piano like quality in the middle octaves with simple input waveforms. Modulate the cutoff amount with a velocity sensitive envelope to make it more dynamic. 8. Tuning pitches in the harmonic/overtone series (integer multiples of the fundamental frequency) or using just intonation instead of equal temperment will give polyphonic harmonies a congruent and strong quality that can arrest the attention of the listener. This works with oscillators as well as highly resonant filters (e.g. karplus-strong/comb). 9. Always mix frequencies below 125hz down to mono with a Linkwitz-Riley crossover filter if you can, you are unable to locate sounds below these frequencies because the wavelength is longer than the distance between the ears and subwoofers are mono anyways.
Sounds great! Thanks for the reminder to do more of this. Easy to do in Bitwig and with most VSTs, a little more work in VCV but still quite doable. Vital is really fun to do this with. I also like to combine this with layering patches and having different envelopes for different patches. Makes for awesome pads.
As a 60 year old Vangelis fan I just love this preset, glad I got a Summit and will create this with your help :) , compliments for your great work you share with us!
I love everything your doing and it looks easy, yeah right. I'm 60yrs old, I don't have that much time to spend on a synth. That's the reason I come here, to learn. But watching you play around on this, I can't help but think "Well, that went over my head.". Keep up the good work and I'll see you at the next one.
awesome content as always, I'm also so deep in love with the novation peak! erm at 2:58 "set velocity..." you selected Keyboard -> "Key position on keyboard" ;)
Many people are neglecting the "key pressure" or "aftertouch" parameter, even in instruments that are indeed capable of detecting it. Obviously the velocity parameter is absolutely necessary for making the whole thing sound like proper music and not just like chiptune. But if I use the full potential of things like the velocity, the aftertouch, the pitch wheel and the mod wheel, then it can indeed convince you that I have full control over the tiniest details of the timbre and that I can work with them in a very intuitive and obvious way.
I use velocity all the time! Combined with Bitwig's random spread, it's a gem. Aftertouch is also a nice expression modifier, if you have a keyboard that allows it. Lot of synts like Diva and Massive X use it in its presets. But its also much trickier..
The Peak's envelope section allows velocity scaling. IMO, that's a better place to manage the mod env1's filter control over cutoff. This leaves a little room in the mod matrix. Not that there's anything wrong with using a mod matrix slot for velo to cutoff expression.
Correct! In this video though I wanted to try and keep things in the mod matrix or else I'll inevitably get a million 'how did you do X' questions. Novation did a really great job adding common modulations to sensible destinations without eating up the mod matrix. I really wish more synth manufactures did the same!
this is why the Nord Leads are excellent the way they respond to velocity makes them feel almost like acoustic instruments, so yes, more patches should utilize this!
awesome video, love the Peak, i noticed you keep lowerint the master volume, you are actually clipping the filter section, try lowering the VCA gain in stead, my master knob is almost at 12 and stays there all the time! gg man!
Velocity to filter env. amount, attack (negatively), and decay adds a lot of life to a patch. Some synths make this easier and more obvious, some less.
Definitely have a feeling this will be one of the 'modern classics' in another decade or so. Still haven't found a recently released synthesizer that I enjoy as much as the Peak. Perfect blend of features and function with really great effects and pretty deep editing. Only thing I can think of that excites me as much is the new Waldorf M - hopefully I'll have a chance to play one of those soon!
@@Conforce What is it that you like so much about it? I have a Summit and I'm not all that in love with it. Obviously, it's a great synth, but it hasn't clicked with me.
Haha only way I could fit the KSP and Peak on my desk and get things in frame. But hey it didn't sit like that for too long! Peak is glorious for sure - it's just a very 'musical' synth to use and really nails the combination of depth and features vs. ease of use.
i like using velocity to subtly target lots of different parameters at the same time. the sum of the parts makes the end product feel organic and responsive
Hi mate, Love all your content. I ended up buying the Novation Peak along with the ASM Hydrasynth, and the Waldorf Iridium and I totally blame you for my indecisiveness which in return left me without any choice other than to buy them all. With that thought in mind, it makes me feel batter for the outlay and I did explain this to my girlfriend. I hope you don't mind??? The next time I buy anything else I will be blaming you for that also. Cheers for taking one for the team!!!! Dan UK
Not only velocity, but on Synths like the ASM Hydrasynth, or Waldorf Iridium that have polyphonic aftertouch you can create highly expressive patches. Always find something useful in your videos though Cameron, especially those on the psychology of being an artist.
wow, this model looks awesome. is this novation's new product? wonder how it would be using it the novation bassstation sound module would really create some mind boggling bass sounds.
And am I right that you can't use velocity like this on the Korg Prologue? I really want to like the Prologue. It's oscillators are gorgeous, but I love using velocity to modulate parameters on my Blofeld, and when I step up to a synth with more knobs, I don't want to lose this capability.
I´m working on building my synth setup. I´m very interrested in the Novation. Is it worth buying? Has there been any update on it os is there any planned?
That reminds me - should get another Cobalt video going on the channel at some point. Only downside is whenever I get it set up I just sit there playing it instead of actually doing anything productive haha
Absolutely haha. Poly Aftertouch is such a killer modulation whenever a synth can accept it. MPE as well just makes things infinitely more fun to play. Shame that the two are somewhat rare still, but I'm glad to see MPE taking a bit more of a hold in the land of plugins!
Check out Vital, it's free. It's not laid out like the Peak, but it's got much more control. Check VT's videos on using it, like ua-cam.com/video/49B7VsxDVVI/v-deo.html. Lots of fun to be had 😁.
wait... theres an amp envelope... there's no filter envelope? Is that normal for a synth? Do they just have a knob for filter EG that follows amp envelope shape and call it filter envelope depth or something?
There is aan amp envelope and 2 mod envelopes. Mod envelop 1 has knobs to control filter cutoff and waveform shape. Mod envelope 2 has a knob for oscillator pitch. Of course you can use all 3 of them for every destination in the mod matrix
Any other underrated sound design tips you know? 🤔
Want a Novation Peak? ► bit.ly/3bzaLoh
The mastering in Igorrr's last album Spirituality and Distortion is absolutely phenomenal. Maybe there's an answer in there for ya. They made about an hour long documentary on the making of the album if that says anything. Cheers
Here are subtle tricks that I frequently apply - I hope at least one of them are new to you:
1. A little bit of negative keyboard tracking to oscillator pitch will make detuned oscillators sound less dissonant together in the higher octaves. Very effective when doing oscillator to oscillator frequency modulation, as you do in this video.
2. Keyboard tracking on a polyphonic free-running triangle LFO that modulates oscillator pitch by a few percent can (when done right) inject a classic chorus-like quality in to pads/chords that uses oscillators rich in overtones (e.g. the sawtooth waveform).
3. Modulate oscillator pitch slightly with brown/red noise (or a smooth random LFO) to simulate analogue drift/instabillity in digital oscillators that stay in perfect tune otherwise. This is very effective at making sounds less stale that have an digital delay applied to them in the mix.
4. Apply a subtle slow modulation to the delay time in digital delays whenever possible to make them less stale-sounding.
5. Disable the internal feedback of your digital delay and set it up in a feedback loop on a mixer channel instead of the aux return. Apply a gentle negative low shelving and high shelving filter to make the echoes thinner and/or duller for each round trip in the loop. Spice it up to taste with saturation and/or compression in the same feedback loop to emulate analogue tape degragation.
6. Send some (ca -12dB) of the echo feedback loop channel to a reverb (as in post-echo reverb) to make it sound less "empty".
7. Modulate a lowpass filter's cutoff frequency with the output of itself - this gives the filter a pinched / Rhodes piano like quality in the middle octaves with simple input waveforms. Modulate the cutoff amount with a velocity sensitive envelope to make it more dynamic.
8. Tuning pitches in the harmonic/overtone series (integer multiples of the fundamental frequency) or using just intonation instead of equal temperment will give polyphonic harmonies a congruent and strong quality that can arrest the attention of the listener. This works with oscillators as well as highly resonant filters (e.g. karplus-strong/comb).
9. Always mix frequencies below 125hz down to mono with a Linkwitz-Riley crossover filter if you can, you are unable to locate sounds below these frequencies because the wavelength is longer than the distance between the ears and subwoofers are mono anyways.
Anyone know how to sell their sound designs?
I love videos not only about plugins and devices, but about your vision on music like this. Thank you. Great video!
Took these principles right over to my Access Virus TI2. Now I feel like I can really make this synth SING! Thank you so much for the video!
Lucky haha. One of these days if a Virus shows up at the right price I'm going to have to grab one. Glad the video was helpful!
@@VenusTheory The Peak has it beat in some ways, not gonna lie.
@@SilentPity I own a peak but not a virus. Can you elaborate in what aspects the peak beats the virus? just curious :)
@@Sirius-qr4vu I would say in scope of sound and flexibility.
Sounds great! Thanks for the reminder to do more of this. Easy to do in Bitwig and with most VSTs, a little more work in VCV but still quite doable. Vital is really fun to do this with. I also like to combine this with layering patches and having different envelopes for different patches. Makes for awesome pads.
As a 60 year old Vangelis fan I just love this preset, glad I got a Summit and will create this with your help :) , compliments for your great work you share with us!
Mask: Movement 4's little plucky sound will forever be one of my favorite ostinatos
That's a beautiful sound. It really draws you in and makes you pay attention to what is going on. It almost sounds like multiple synths.
I love everything your doing and it looks easy, yeah right. I'm 60yrs old, I don't have that much time to spend on a synth. That's the reason I come here, to learn. But watching you play around on this, I can't help but think "Well, that went over my head.". Keep up the good work and I'll see you at the next one.
awesome content as always, I'm also so deep in love with the novation peak!
erm at 2:58 "set velocity..." you selected Keyboard -> "Key position on keyboard" ;)
So I'm not the only who noticed that. 🙃
I gotta tell ya, your channel more than any other causes me to hit pause, open a synth, and start fkn around; thanks
Many people are neglecting the "key pressure" or "aftertouch" parameter, even in instruments that are indeed capable of detecting it. Obviously the velocity parameter is absolutely necessary for making the whole thing sound like proper music and not just like chiptune. But if I use the full potential of things like the velocity, the aftertouch, the pitch wheel and the mod wheel, then it can indeed convince you that I have full control over the tiniest details of the timbre and that I can work with them in a very intuitive and obvious way.
venusgelis. i'm reaching with this one. great patch great vid.
Glad you enjoyed it!
I use velocity all the time! Combined with Bitwig's random spread, it's a gem. Aftertouch is also a nice expression modifier, if you have a keyboard that allows it. Lot of synts like Diva and Massive X use it in its presets. But its also much trickier..
Inspiring! Not new but never shown so clear! Thank you!
I stopped at 5:09 and made a Massive patch with the vel linked to about EVERYTHING. Love you man.
The Peak's envelope section allows velocity scaling. IMO, that's a better place to manage the mod env1's filter control over cutoff. This leaves a little room in the mod matrix. Not that there's anything wrong with using a mod matrix slot for velo to cutoff expression.
Correct! In this video though I wanted to try and keep things in the mod matrix or else I'll inevitably get a million 'how did you do X' questions.
Novation did a really great job adding common modulations to sensible destinations without eating up the mod matrix. I really wish more synth manufactures did the same!
this is why the Nord Leads are excellent the way they respond to velocity makes them feel almost like acoustic instruments, so yes, more patches should utilize this!
awesome video, love the Peak, i noticed you keep lowerint the master volume, you are actually clipping the filter section, try lowering the VCA gain in stead, my master knob is almost at 12 and stays there all the time! gg man!
Velocity to filter env. amount, attack (negatively), and decay adds a lot of life to a patch. Some synths make this easier and more obvious, some less.
peak. such a great synth. modern classic really. it stands in the mix much better than any other modern synth i've used. it eats blofeld for breakfast
Definitely have a feeling this will be one of the 'modern classics' in another decade or so. Still haven't found a recently released synthesizer that I enjoy as much as the Peak. Perfect blend of features and function with really great effects and pretty deep editing.
Only thing I can think of that excites me as much is the new Waldorf M - hopefully I'll have a chance to play one of those soon!
@@VenusTheory programming was so much fun. Smile on the face really
@@Conforce What is it that you like so much about it? I have a Summit and I'm not all that in love with it.
Obviously, it's a great synth, but it hasn't clicked with me.
$1000 synth eats $300 synth for breakfast. What other great insights have you got?
Thank you. I needed a push past presets :)
Glad the video gave you a few ideas! Happy noisemaking!
The right angle bend on that MIDI cable! It hurts to look at! ;-P Also the Peak is amazing. It's so easy to get incredible sounding patches.
Haha only way I could fit the KSP and Peak on my desk and get things in frame. But hey it didn't sit like that for too long!
Peak is glorious for sure - it's just a very 'musical' synth to use and really nails the combination of depth and features vs. ease of use.
i like using velocity to subtly target lots of different parameters at the same time. the sum of the parts makes the end product feel organic and responsive
Brilliant and very useful ideas, thank you.
Hi mate, Love all your content. I ended up buying the Novation Peak along with the ASM Hydrasynth, and the Waldorf Iridium and I totally blame you for my indecisiveness which in return left me without any choice other than to buy them all. With that thought in mind, it makes me feel batter for the outlay and I did explain this to my girlfriend. I hope you don't mind??? The next time I buy anything else I will be blaming you for that also. Cheers for taking one for the team!!!! Dan UK
So in short this video was all sblut velocity mapping?
Great tutorial! Somme new ideas to try out on my Peak🙂
that is one nice sound
Not only velocity, but on Synths like the ASM Hydrasynth, or Waldorf Iridium that have polyphonic aftertouch you can create highly expressive patches. Always find something useful in your videos though Cameron, especially those on the psychology of being an artist.
The Peak is poly AFT as well with the right keyboard
Awesome 👏 Cameron thanks 🙏🏻
Thanks Cam, always inspiring the grey matter
Sounds great as usual...
wow, this model looks awesome. is this novation's new product? wonder how it would be using it the novation bassstation sound module would really create some mind boggling bass sounds.
Damn, Im getting one of them.
Awesome patch, it has loads of motion, but is nonetheless very coherent. Great vibe. What style of guitar do you/did you play?
Could you show how to do that in Retrologue in Cubase
Yesss. We (that is, some of us) want more Retrologue! Seriously, that synth is so underrarted.
Andddd now I want a peak again
And am I right that you can't use velocity like this on the Korg Prologue? I really want to like the Prologue. It's oscillators are gorgeous, but I love using velocity to modulate parameters on my Blofeld, and when I step up to a synth with more knobs, I don't want to lose this capability.
Hi, can you try the soft synth hy poly? I want to buy it, but would be nice to watch you testing the synth
I´m working on building my synth setup. I´m very interrested in the Novation. Is it worth buying? Has there been any update on it os is there any planned?
can you apply these technique to the cobalt 8 in one video. because you can!! Thank you!
That reminds me - should get another Cobalt video going on the channel at some point. Only downside is whenever I get it set up I just sit there playing it instead of actually doing anything productive haha
Cam, do you find yourself running out of mod slots on the Cobalt before you've sent velo everywhere you want to?
Your content is amazing, learning a ton. Thanks for sharing 🙏🏽
When you bring polyphonic aftertouch into this the results can make me drool
Absolutely haha. Poly Aftertouch is such a killer modulation whenever a synth can accept it. MPE as well just makes things infinitely more fun to play. Shame that the two are somewhat rare still, but I'm glad to see MPE taking a bit more of a hold in the land of plugins!
I love using velocity to cut-off, but hate that many synths don't have a dedicated button or knob for it.
synths would definitely benefit in having an easy way to assign velocity modulation!
nice demo. have you ever had hands on with Nord Rack2? if so...which is preferred.
Unfortunately no, but I would like to try some of the Nord stuff at some point!
@@VenusTheory thanks for reply
What’s a good price for a used one?
I would say maybe around $1,000-$1,100 or so. They tend to hold their value quite well, so they don't go super cheap used.
You should be a voice actor
A bit too advanced for me but quite interesting. Thx
*Cambient*
Is there a software version of the Peak? Like a vst that emulates it and has the same parameters?
Check out Vital, it's free. It's not laid out like the Peak, but it's got much more control. Check VT's videos on using it, like ua-cam.com/video/49B7VsxDVVI/v-deo.html. Lots of fun to be had 😁.
And remove the vel amount to the amp. Hh
Now I wanna go spend more money and buy a Novation Peak, aaaagh!
let me guess.. velocity response
BINGO!
wait... theres an amp envelope... there's no filter envelope? Is that normal for a synth? Do they just have a knob for filter EG that follows amp envelope shape and call it filter envelope depth or something?
There is aan amp envelope and 2 mod envelopes. Mod envelop 1 has knobs to control filter cutoff and waveform shape. Mod envelope 2 has a knob for oscillator pitch. Of course you can use all 3 of them for every destination in the mod matrix