![]() ![]() The output of the oscillators is then passed on to two multimode filters, which can work in either parallel or serial configuration, before being passed to the amplifier. In VA mode, the four sources can each be assigned a variety of starting waveshapes, including the classic Sawtooth, Pulse and Square as well as a variety of more esoteric, harmonically-complex waveshapes. We start with four Sources (in Alchemy-speak) that form our four oscillators – A, B, C and D. VA Basics Thanks to a clear and intuitive interface, the basic principles of VA synthesis on Alchemy are easy to understand. While it might not be as immediate an instrument as Retro Synth, the sheer dexterity and sonic power of Alchemy’s VA engine is well worth closer inspection. At its heart, however, Alchemy has a surprisingly easy-to-use virtual analogue (VA) synthesis engine, capable of producing many of the distinctive synthesizer sounds we’re used to hearing on a Moog, ARP or classic Roland synthesizer. Map velocity to your chosen parameter, and the arpeggiator can control anything from filter cutoff to panning.With Granular, Additive and Formant-based synthesis modes, Alchemy is a complex and vast synthesizer that can take years to truly master. In the case of the arpeggiator’s sequencer, the steps relate to a unique velocity setting for each note of the arpeggio. Focus On – Arp AttackĪlchemy’s arpeggiator is also another way you can inject movement into a patch, especially as Alchemy’s version includes a version of a step sequencer. Despite the sonic complexity of Alchemy’s architecture, it’s a surprisingly intuitive synth that rewards those who are willing to step beyond its presets. The fact thatĪlchemy also supports a semi-modular architecture, including parallel and serial filters, means that you can create stunningly complicated patches, limited only by your imagination.Ĭheck out the walkthroughs to see how these techniques can be applied – whether you’re creating EDM-type pads, or complete musical phrases with the step sequencer. 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 reverb time is modulated using the step sequencer. Rather than a one-size-fits-all solution, it’s great that Alchemy includes a variety of different modulation sources that can all be used inside the same patch. This is evident in the sequencer’s display, which is focused on the relative depth of each step using a series of graph-like bars. The final modulator source to explore is the step sequencer, which bears many of the same sonic traits as the MSEG, although it’s worth making a distinction between the operation and output of each modulation source.Īs the title suggests, the sequencer works best when you’re mainly interested in 16 or more discrete ‘stepped’ parameter values, and not so interested in the curvature between each step. If you’re creating a patch from scratch though, it’s well worth noting the MSEG’s own File menu, which contains various starting points (like Pulse 8th) that speed up the creation process. Used creatively, these complex envelope-generator sequences power many of the ‘one finger’ patches found on instruments like Native Instruments’ Absynth, or Spectrasonics’ Omnisphere. Going further still, it’s possible to create a complete bar-long sequencer using 16 MSEG steps, with radically different step heights, reverse curves, sustaining steps, and so on. What you’ll achieve is a result similar to the LFO solution, but with an added amount of interest – whether it’s contrasting the amount of modulation between steps, or the relative curve of each step. Applied in a simple way, you could use just three or so tempo-synced steps, each step having its own amount of depth and an adjustable curve (which isn’t available on the LFOs, of course). The LFOs are definitely a great solution for adding movement quickly, but they aren’t quite as flexible as Alchemy’s MSEG (or Multi-Staged Envelope Generator).Īs the name suggest, the MSEG works with a number of discrete stages, each stage much the same as an AD (Attack/Decay) envelope generator. With Bipolar not activated, the LFO adds to the existing parameter level, rather working both positively and negatively on the current filter cutoff point. It’s also worth noting the Bipolar option. 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. ![]()
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