Sytrus is the OG of FM, RM, Subtractive and Additive Synthesis in FL Studio. It's included free with all Editions. Time to dive in deep...
This is a source preview. Continue at the original source to read more.
Open original source ↗Related by topics and source metadata.
I’m far from early to the party, but I wanted to drop a note on using AI to develop code, and in particular managing the dirty work of audio plugins. Hint: Game changer. A couple of nights ago, I paid … Continue reading →
Here’s Amplitude Modulation Deep and Fast, a not too lengthy video that gets to the roots of what amplitude modulation does mathematically. I’ve referred to AM’s role in sampling theory in past articles, and its relatively simple math makes understanding … Continue reading →
This video demonstrates important uses of AM—and serves as a demonstration of using the AM widget.
I’ve been involved in several discussions on timing resolution in digital audio, recently—honestly, I never knew it was a concern before. For example, in a video on MQA, the host explained that standard audio sample rates (44.1 and 48 kHz) … Continue reading →
The latest version of the biquad calculator. It also takes on the functionality of the frequency response grapher:
Let’s say we want to test the output of a DAC while it passes a pure sine wave. The “pure sine wave” requirement is a bit more difficult than it might seem. In the general case, it’s not possible to … Continue reading →
We’ve seen that samples can represent a signal with greater peak amplitude than the peak sample values. If those sample values were higher, the output would exceed “1.0”, or 0 dB full-scale—I’ll refer to these as “overs”. This brings two … Continue reading →
Digital and analog. We often think of them, mistakenly, as equivalent things in different domains. But that’s a misunderstanding, and we often use the terms incorrectly. For instance, run a mic through a preamp and get a signal, we know … Continue reading →
Here’s how to get started with MANTRA’s MNDALA 2 sound engine and how to get the most out of it. There aren’t many instruments that look like MNDALA 2. The sound engine from MNTRA Instruments is a sample player like Kontakt, but it very much follows its own rules. The Perform View, emphasis on sound-morphing axes, and unique visual language offer a new way to work with sampled instruments. You may feel a little intimidated the first time you load it up but don’t worry. Once you know the lay of the land, you’ll soon be taking advantage of all of the flexible parameters that MNDALA 2 offers. MND
Explore how to bridge the gap between sound and sight using the powerful connection of Ableton Live and TouchDesigner. From visual processing to MIDI mapping, we break down a custom performance setup where harmonised vocals drive immersive, responsive visuals . Immersive and responsive visuals can add a real sense of intrigue and depth to a live performance. There are a couple of solutions you could explore, but few integrate with Ableton as well as TouchDesigner. TouchDesigner is a visual, node-based development platform. Think of it a little like Max, where each node has a specific function,
Inspired by the swung grooves that have travelled from home studios and pirate radio to global festivals, let’s see how to make tight, timeless 2-step beats. UK garage has seen a big resurgence, with names like Sammy Virji playing Coachella. But UKG is a broad umbrella, spanning US imports like Todd Edwards’ Sample Choir E.P , homegrown 4-4 bassline bombs like Ripgroove , soulful 2-step like Movin’ Too Fast , and even wobbly Teutonic bangers like Timo Maas’ Dooms Night remix . Let’s look at UKG’s most undeniably homegrown style… 2-step. Partly because one of my first-ever vinyl releases was a