![]() Velocity will typically control the volume of a note played by a synth. Otherwise, even with a small number of steps, things quickly get very dense (which is an interesting sound, but not suited to a wide variety of applications). My experience is that the more sophisticated and active the musical line going in, the simpler the pitch offsets need to be. Pitch offsets at the top of the grid can be set over a 13-octave range, from +4 to -9 octaves, and they, too, are simply dragged. This takes more time to tweak, but it’s where the real fun starts. Dragging any step moves them all unless you engage the Individual Velocity and/or Pitch buttons above the grid, whereupon you can set each step’s gate time and/or velocity individually. Gate times and velocity levels are changed simply by dragging left/right for gate time, up/down for velocity. The ability to adjust gate times is very powerful because, in contrast with an audio delay line, changing the duration of a note can result in an entirely different timbre, depending on the synth patch being used. Pitch offset is the number of semitones added to or subtracted from an input note when that pattern step plays, so a pitch of -3 on a pattern step means the note repeat at that step will play a minor third below the input note. The row at the top of the grid shows the pitch offset for each delay tap. In the lower row with the larger bars, the height of a bar represents the velocity of the note repeat at that step in the pattern, while the width of the bar is the note duration (labelled ‘gate’). With delay time, pattern length and sync set, the action moves to the grid on the right, where you’ll see two rows of vertical bars. When Sync is off, delay values are in milliseconds. ![]() When the Sync button is engaged, delays are musically based, that is, they are expressed as note values based on the current tempo. Here, the big knob sets a Grid value that determines the delay time of each step in the grid, and the Steps knob controls the length of the entire note-repeat pattern. The place to start is the pattern control section in the upper-left corner of Screen 1 (above). (Technically, note data in Studio One is not MIDI unless it is coming from or going to an external MIDI device, but, for the purposes of this column, it is conceptually easier to think of note data as being MIDI Notes.) The Repeater can do very interesting processing, but its documentation is pretty thin, which is why I’m going to take you on a little walk through it. Repeater is a note delay line with up to 32 note repeats, each of which can have its own duration, pitch offset and velocity control. Each of these is a sophisticated processor, and this month, I’m going to take a look at Repeater I will delve into other Note FX in future columns. There are four Note FX available in the current Studio One version: Arpeggiator, Chorder, Input Filter and Repeater. Depending on how your virtual instrument is set up, note data processed by Note FX might play entirely different sounds from the original part, with different transpositions, timing, pitches and note durations. A layer of sonic flexibility is added when note data is processed before it gets turned into audio, because it is entirely separate from the sounds that are played, making the score independent of the orchestra. Note FX process note data rather than audio, as do MIDI plug-ins in other DAWs. Note FX are some of the recent useful and enjoyable additions to Studio One. For a start, it works on note data rather than audio! Studio One’s Repeater is no ordinary delay. ![]() Controls on the left can be automated or controlled by a MIDI controller.
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