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Despite being regarded by some as a ‘cold’ machine, the mono is capable of some nice pads.

For string pads you have the Superwave ensemble, which enables triggering 4 notes simultaneously (or playing the chord from a midi keyboard by playing one note). The MK2 wave machines are also suitable for a variety of pad or drone sounds.

3192725283_706f736860_m.jpgA short “lesson” in how to get there: 1. Use a minor chord (both ensemble machines are good for this, but the superwave ensemble machine have more modulation possibilities)
2. Add some distortion
3. Tweak the sound itself, narrow pulse width usually sounds better when distorted
4. Cut some frequency using the build in eq for the sound
5. Low pass filtering, just a little resonance
Now you should have something that sound quite nice. The next step is to use the LFO to modulate parameters in the sound; eq frequency, pulsewidth, et.c.

Some nice slow LFO’s routed to the EQ and Filter section parameters can really at some nice atmospheric pads. Also, with the slow attack and long release tip, add some delay to make a mono sound a bit ‘bigger’.

Ensemble Wave is your friend for classic Roland-ish pads: Check the sysex file of Emnine’s Eva W Was track in the sandbox section of the forum: Nothing but Ensemble Wave and two reverb tracks (apart from the drums of course).

Don’t forget -the chorus paramter or add a chorus track. -parameter locking the suboscillators for adding 9tths-7ths-sus4’s etc.

Try using the EQ as a notch filter for phasing effects: set gain negative and sweep frequency slowly with an LFO.

You can get shimmering tones with the high pass filter:

Start with the cut off high and sweep slowly into the mids, with some LFO for extra movement. Slow values of the interlace parameter on the LFO can also add sparkling effects. Sweeping SRR can also give sparkling tones, especially into a delay.

You can also build up washes of delay by setting the feedback close to 64

You can accomplish some nice pads using 5 detuned Swave sawtooths (with the unison width different on each one) through a chorus machine: Comes out pretty nice, though the only problem is that you use up all voices/tracks this way.

However, you don’t need to go into poly mode to get full sounding pads; layering two tracks with related tones can already get pretty lush sounding

The monomachine has a very bright sound, to combat this:

Turn the Width parameter down to around 40 makes the sounds a lot less harsh and put the delay time to 47 and Delay send to -40, and as much feddback you can take gives a little bit of warmth. Also using pan on a LFO aswell as a little bit of pitch modulation on antoher LFO.

Take out frm there and mess with the filter envelope aswell to shae the sound over time, add little bit of LPQ for this and use the EQ reverse (subtract some frequencies).
tIB 2009/01/12 01:54

pads.txt (778 views) · Last modified: 2009/01/13 07:23 by tIB

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