[. . . ] 10 2. 2 YS624W as a Plug-in . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11 3 YS624W Overview. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12 3. 1 The Idea behind YS624W . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12 3. 1. 1 Semi-Modular Design . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12 3. 1. 2 Modulation. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . [. . . ] The Mini-Patch View
The Mini-Patch view.
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The Mini-Patch view represents the whole patch of your Sound, as it appears in the Patch window. Here you can select which modules of your Sound you want to mutate: · The Module Slots that are not used in your current patch are dimmed:
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The Module Slots currently disabled for mutation have only their borders highlighted:
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The Module Slots currently enabled for mutation are fully highlighted:
You even have buttons for the Envelopes and LFOs of your Sound, so that you can decide to include them or not in the mutation process. Toenable/disableaparticularmoduleformutation, clickonitsiconinthisMiniPatch view.
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Using the Mini-Patch view can be a great help to get results related to some particular Attributes. For example, if you select a "Bass" Sound but then want it to be more
"Percussive"thenmakesuretoactivatetheEnvelopebuttonintheMini-Patchview, andmaybe the Effect module. If you want an "FM" sound, select the Oscillators and nothing else.
The Finetuning Controls At the bottom of the Mutator section, you see a row of eight controls. These are the Finetuning controls:
The Finetuning controls.
TheFinetuningcontrolsformaquickaccesstoeightcharacteristicsofeachparticularSound. ThesecontrolsallowtoquicklytweaktheSoundafteraMutationor after loading. The other ones are dimmed.
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TheseFinetuningcontrolsareintendedtomakeon-the-flyadjustmentstoyourSounds when browsing or mutating them. They are not meant for live performance for example,
therefore they cannot be automated, modulated nor controlled via MIDI!
32 YS624W Getting Started
4. 2. 4 Using the History
While mutating your Sounds, you can use another tool to avoid getting lost in all your experiments: the Mutation History.
The Mutation History section.
Sitting in the right part of the Mutator section, the Mutation History shows you the name (andthusthenumber)oftheMutationcurrentlyloaded, alongwithtwoarrowbuttons: these allow you to switch to the previous/next Sound Mutation, if any. This dialog keepstrackofallyourmutationssothatyoucanquicklyauditionanythingyouhave done by simply selecting it. This allows you to compare various Sound Mutations and alsotosaveyourfavoritesasfully-fledgedSoundforlateruse, viatheSaveAsbutton.
4. 2. 5 Tips
Here are a few more tips that might help you to get familiar with the settings for the Mutator: · If you set the Mutation Amount slider at a higher value, you will actually get more predictable results. This is because as the slider gets higher, the Mutator algorithm ismorelikelytoloadawholeChannelforapatch, whichmeansthattheEnvelope, FilterandOscillatorwillhavebeencraftedforeachother;italsomeansthatthe patch is less "origiRolling the dice and doing a full Mutation on all modules in the Mini-Patch view often gives interesting results. Again, wedonotwanttokeepthedefaultsinewaveinthenewlyactivatedmodule: Replace the current Waveform Sine of the Oscillator B with the Waveform Saw_ filt2 by repeating the steps described above for the Oscillator A.
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We recommend you to listen repeatedly to the sound after each step, in order to get a feelingofitsinfluence. Atanymoment, youcandeactivateanymoduleandreactivate
itbyclickingonitsthickleftborder, inordertocomparethesoundwithandwithoutthismodule don't worry: when you reactivate it, YS624W remembers your last settings.
Adjusting the Transposition We will now transpose the Oscillator B by one octave, in order to better separate its soundfromthefirstone. YoucanseetheFrequencycontrol(showing0. 0000 at the moment)rightundertheWaveformSelectorthatweusedafewsecondsago:
TheFrequencycontrol, rightundertheWaveformSelector(hereintheOscillatorB). ThisparameterdefinestheoffsetoftheOscillator'spitchagainstthepitchofthenote thatyouplayonthekeyboardinshort, itstransposition.
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The behavior of the Frequency control actually depends on the setting in the left-hand Frequency menufor now set to Trans. Clickontheleft-handdiamondsittingtotherightoftheFrequencycontrol, hold the mouse button depressed, drag your mouse up until the display shows 12. 0000 (12semitones, whichmakeoneoctave)andreleasethemousebutton. Nowyour Oscillator B plays one octave higher than the Oscillator A. Adjust further the Frequency control to 12. 1100 using its middle diamond. Thesmalldetuningproducesasubtlebeatinyoursoundthisoftenmakes leads and pads sound livelier and stronger.
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Adding a Filter We will now process the sound with a filterinordertoreduceabitthehighfrequencies. We want it to process both Channels A and B, so we will put it on the Master Channel, at the bottom of the Patch window: ActivatetheFiltermodulebyclickingonthethickleftborderoftheModuleSlot labelled Filter, in the Master Channel. YourecognizethesignalflowinyourSoundbythewiresthatconnectthethreeactive modules. The signals coming from both Oscillators are combined in the Master Channel and run through the Filter. Wewouldliketousealow-passfilterwithagentlefrequencyslopethatcutsfrequenciesstartingfrom5000 Hz. Todothis: 1. IntheFiltermodule, clickontheTypemenu(labelledType). Inthemenuthat opens, select the entry LPF 2 Pole. Beneath the Type menu, set the Frequency controltoapproximately5000 Hzvia the little diamonds. [. . . ] · Youhearthesoundfilteredbyabandpass(henceBP in the menu below the Filter Switch)withaquitelargebandwidth. BothparameterstotherightoftheFilterSwitchcontrolitscutofffrequency(Cutoff control, Hz)anditsresonance(Resonancecontrol, Q). Play with these parameters to hear how they affect the sound, without forgetting to play with their corresponding Random parameters.
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You can get for example some nice whistling sounds by setting the Cutoff control above 3000 Hz, itsrelatedRandomCutoffcontrolsomewherebelow60andtheResonance
control at a very high value.
Youcancontrolwhichfrequenciesarerandomlyappliedtothefilterbyturningon the Filter Quantize.
SelectingascalefromtheFilterQuantizemenuwillmakesurethatonlycertain frequenciesareusedinthefilter'srandomization. Thefirstparameteradjuststhe centerfrequency. ThebehaviorofRandomHzis:0%-50%, frequenciesare progressivelydistributedacrossthetemplate. Above50%frequenciesincreasingly deviate from the template to become totally random.
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We will leave you here, somewhere among the amazing possibilities provided by the AetherizerthinkthatwedidnottrytheFeedbackcontrolandthePredelaycontrol nor any parameter in the Master section yet. Notethat, inthisquicktour, wedeliberatelyusedextremeparametersettingstolet you grasp the range of possibilities. [. . . ]