SAE Magazine

tions and functions that ap and encourage spend- st housekeeping. reating every element of ment unto itself. Choices ild the instrument need to y them in a show. Compli- ormally left to automation ake powerful sounds easy Simple but useful functions like fader level should be mapped as you work to make control during a performance that much easier. I try to produce using the identical setup to control my production as to play a show. This means that I have to im- mediately address how to control things with a minimal of controls that are laid out intuitively so that I can turn a plugin into an expressive instrument. To begin, I map every MIDI control as I’m build- ing the instrument, including controls like faders so that I have complete control of my sounds and all of the necessary elements. As you can see in Fig.1 all major controls are mapped to keep the session under control with no guessing as to what anything does. You can also see from the MIDI map that I’ve pretty much grabbed every control that I’d need to record new or play or alter old clips on the fly. The Scene select is mapped to a knob but the play and stop scene buttons are off to the right where I can quickly play or stop a whole scene. Scrolling to them and hitting their dedicated play or stop buttons can access individual clips. This now opens up the possibility of retriggering or stopping clips on the fly to make new patterns. Note how the Overdub button at the top of the screen is also mapped so I can alter existing clips just drop- ping into overdub. This then would be a great time to talk quantization. For the purposes of encour- aging myself to jam live, I leave Record quantiza- tion turned on set to 16th notes, (cleans up sloppy playing and works equally well for drum parts or melodic stuff). As for Global launch quantization (two buttons to the right of our Overdub button) ➤ INDEX

SAE Magazine

Pages