Waves’ new sampler CR8 helps a number of pattern layers. Let’s use it to construct up a beautiful pad with loads of motion and character.
Waves’ new sampler, CR8, has a multi-layer construction that means that you can stack samples on prime of one another. By tweaking the parameters of every layer individually, you may construct up distinctive, sonically attention-grabbing sounds with tons of motion. Let’s use this function to craft a dense, lush pad. CR8 works hand in hand with Waves’ free pattern finder, Cosmos, so in case you haven’t downloaded that but, go forward and do this first right here.
Right here’s our completed pad, taking the lead in a rave observe:
N.B: We suggest following together with headphones or studio displays. As ever, click on any picture to see a bigger model.
A Fast Overview Of CR8
Waves’ CR8 is a sampler able to taking part in as much as eight layers of samples concurrently. Every layer presents quite a lot of sound-shaping parameters, together with a groupable multimode filter with lowpass, highpass, bandpass, and notch filters, plus two slopes, 12 and 24dB/octave. There are 4 ADSR envelopes, 4 modulators together with LFOs and step sequencers, and keyboard-based management comparable to Modwheel.
Being a sampler, there are a selection of how to deal with playback of the audio file. You’ll be able to deal with it as a one-shot (by choosing Launch mode) or, by selecting Play to run it by way of the envelope. When in Play mode you may as well entry the totally different time-stretching modes. These have an effect on the grain and harmonic content material of the playback. You’ll be able to loop and set loop factors. You too can freeze the playhead (by urgent the hand icon) to constrict playback to single grains.
As there are numerous layers, Waves have included a mixer part to regulate quantity, panning, stereo width and tuning of every sound. These controls are additionally accessible on the layer’s important panel.
Lastly, the pattern finder app Cosmos is constructed into CR8 and may be accessed by hitting the big Cosmos icon or by clicking on the search icon in a clean layer.
Step 1: Discovering Samples With Cosmos
First, let’s discover some appropriate uncooked samples to make use of in our pad with Cosmos. If you happen to don’t already know how you can use this system, stand up to hurry with our how-to.
We click on the Cosmos icon on the prime left of CR8 to disclose the finder. Utilizing the totally different search capabilities, we pull up 4 totally different promising samples. We would like one thing with an old-school chord pad really feel, so we largely prohibit our search to this sort. We’re utilizing samples from the included Waves pack, nevertheless it’s simply as simple to make use of your personal.
As soon as we’ve those we like, getting them into CR8 is as simple as clicking the plus image on the prime of the GUI and dragging the samples over from Cosmos.
Listed below are the 4 layers taking part in a melody line that we’ve programmed into Ableton Reside:
Step 2: Layer 1
Layer 1 is a synth chord with a protracted fade-in. We just like the tone and really feel of it, however it is going to want some modifications to suit our total imaginative and prescient.
The very first thing we do is flip off loop mode by clicking the loop icon. We additionally wish to add a brief fade at first by grabbing the Fade In device on the backside of the beginning level slider and shifting it to the suitable. This may create room within the transient for the pluck in layer 4.
It’s presently set to Harmonic mode, which is doing unusual issues to the grains of the pattern. Whereas it’s an attention-grabbing impact, it’s not what we’re after, so we modify the mode to Basic. Now it performs like an old-school sampler, with the velocity of the pattern altering with each notice.
Lastly, let’s use the filter so as to add a bit of motion to the pattern. We have interaction the filter by clicking the button subsequent to the phrase filter. We decrease the cutoff a bit of. For motion, we go to LFO M1. We go along with a sine wave LFO with a Price setting of 1 bar (1B). We drag the tag M1 to the filter cutoff, click on on the letters that seem on the backside left of the dial, and pull as much as set the modulation vary. Lastly, we tweak the Warp dial so the velocity of the LFO adjustments barely with each keypress. This creates a quick/gradual sensation.
The unique settings:
And after our changes:
Step 3: Layer 2
For layer 2, we’ve chosen an electrical piano pattern with a phaser baked in. It’s beautiful however doesn’t precisely scream rave, does it? Let’s mangle it and use the outcomes as texture for our pad.
Once more, we use the Fade In device to create a really quick assault on the waveform in anticipation of the pluck in layer 4. With 4 ADSR envelopes, we might simply as simply assign this layer a separate envelope however as we solely want the assault portion to be totally different, this fashion is a bit of quicker.
Subsequent, let’s use the filter and modulation to create some noisy texture. We set the filter to a 24dB/octave bandpass for a skinny sound, decrease the Cutoff to about midway, and produce up the Resonance to make it squelchy. A contact of Drive provides grit. Subsequent, we use modulation supply M3 so as to add stepped modulation working at one-sixteenth notes. We drag it to the Cutoff knob. Now the filter cutoff jerks up and all the way down to the beat.
The impact is a bit of delicate. To make it extra pronounced, we hit the Unison button to duplicate the pattern and thicken up the sound.
The unique electrical piano pattern:
And after including the bandpass filter, modulation and unison:
Step 4: Layer 3
Subsequent, let’s beef up our rising pad with a thick chord.
First, we modify play mode to Basic for that Akai S900 vibe. We convey the playhead ahead just a bit to catch it mid-sample. This time, we additionally use Looping mode. We click on the loop button to show it on, after which the notice button beneath it to sync the loop velocity to the DAW’s tempo at 1/2D (or dotted) notes. Why hassle with the Looping mode when the notice isn’t held lengthy sufficient to really loop? The sound really adjustments with loop mode engaged. We’re unsure why nevertheless it provides a hole, highpass-style filter to it that works very well. There’s nothing flawed with completely happy accidents.
For the ending touches, we take just a bit off the highest with the Cutoff knob and click on the Unison button for a fats sound.
Layer 3 because it began:
And because it ended:
Step 5: Layer 4
For the ultimate layer, we’ve a easy pluck to boost the transient portion of our pad.
We don’t must do a lot with it. We set it to Launch mode so it acts like a one-shot and once more, select Basic. We decrease the Cutoff a bit of to take a few of the highs off and produce up the Drive to offer it some oomph. We additionally set the foundation notice one octave increased to assist it stand out.
Layer 4 initially:
And after changes:
Step 6: Envelope and Glide
For the following step, let’s set the amplitude envelopes. CR8 can have as much as 4 envelopes, so you may create quite advanced patches. Ours isn’t so wild although. The important thing level is a variety of maintain so the sound holds robust all through.
For layers 1 and three, we’ve an ordinary setting of medium-fast assault, medium decay, full maintain and medium launch. These are grouped underneath A1. Layer 2 makes use of A2, which has a slower assault and longer decay.
Lastly, we wish to add a bit of portamento so the notes slur collectively. To do that, we click on the Glide button up prime and go along with a setting of round 80 – simply sufficient so as to add curiosity.
Now with envelopes and glide:
Step 7: Mixer
For the ultimate step, let’s use CR8’s onboard mixer to assist all 4 layers sit collectively.
We begin by clicking the mixer tab on the prime. This brings up the Mixer display (as you would possibly count on). Shifting from the highest down, we tackle the Width row first. The synth chord in layer 3 is the largest and boldest of the bunch, so we push the width out a bit of to make it even larger.
Persevering with down, our subsequent cease is Pan. We wish to hold layer 3 within the centre, in addition to layer 4, which is the pluck. That leaves layers 1 and a couple of, which we pan out barely to every aspect. Lastly, we come to Quantity. Layer 3 will get a slight enhance whereas layers 1 and a couple of enhance by being lowered.
The blended pad:
Right here’s the completed pad within the context of a track with loops from the Splice packs, Rave Revival and Breakbeat Techno Rave, plus a bassline from CR8 and extra manufacturing:
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