In this tutorial I will show you how to make a monstrous vocal sample based bass using Harmor. Also, turn off the Denoising (Denoising removes noise from sample material, but we don’t need that in this example).
In here, you can import images and audio files to let Harmor create good quality reproduction of sounds or take advantage of it’s image-based synthesis.
Now, drag a sample to the image window – preferably vocal sample if you want to create something similar you heard in the audio example. Turn the Mix (formant mix) to 100% if you want to avoid those chipmunk -type of voices when you play higher notes.
Set the Filter (it’s a low pass filter) to fairly high to let those high frequencies pass through (or use your taste). Set the Distortion asymmetry to few percents to stereo to add a nice little stereo effect to the audio.
Use the Pitch to control the unison pitch thickness (this will be automated later so it doesn’t matter where you leave it at this point). The Image time offset is used to relocate the play start point in the image (meaning, where in the sample the playing starts when you hit a key in your keyboard or trigger a note in the Piano Roll). In the audio example, I automated the Harmor’s Unison pitch thickness slider using automation clip. About the beat: I created a simple (dubstep style?) beat using Vengeance Essential Dubstep vol 1 drum samples. TIP1: You probably got the idea already, but to quickly and easily change the articulation and movement of the bass, tweak the Image offset time knob (and experiment with the Speed as well).
TIP2: If you want to make the sound scream, tweak the Resonance, Resonance width and Frequency knobs.
Following the segment editing commands are two types of segment split.  The first will split a segment vertically, cutting it into two halves, one half before the split, and the second half after the split.
Unless you’re ready to deal with the consequences, you might just want to pass on quantize for now. The third, the notation editor, is great for those who are more familiar with sheet music than piano rolls, as it will allow you to edit music using classic sheet notation, complete with many different forms of marking.  In a way, this can increase the flexibility of the music, since there are features that can be added to the music in this view that would require additional settings in the piano roll view, such as note slurring and volume control. Finally, segment placement on the track display is important, in order to synchronize the playback, so you want to be able to zoom in on the exact time the segment should begin.  The slider is pretty self-explanatory. The tracks are displayed in a linear format, like most DAWs should.  At the top of the display, you will see the ruler bars. From the left, you can see the track number, the mute control (lit=not mute), record arming (lit = this track is recorded to), specific name of the whole track, and then the segments that are in the track. Inside the segment, you will see the name of the segment (usually a MIDI instrument name or audio filename by default, but it can be relabeled), and a visual representation of the audio data, either showing a miniscule copy of the piano roll (for MIDI) or the waveform (for audio). The segment parameters are adjustments to both the total sound of the segment, and the view of the segment in the track view. Tracks’ parameters usually apply defaults to the segments created in the track, but there are some elements that apply to all segments, regardless of what changes are made in the meantime. Many such devices tend to support the General MIDI standard, in which the device actually contains one or more banks of programmed instruments that can be played at will.  Additionally, one or more of the instruments, or sometimes even whole banks, will consist of a collection of percussion instruments that can be used to produce the backing beat to the music. The first option determines whether or not the current instrument is a percussion collection or an actual tonal instrument.  Checking the box will tell Rosegarden that the instrument is a percussion collection, and the Percussion Matrix editor will be the default editor for the track. The fourth entry allows external control devices to control the settings in this section.  Not very useful for selecting an instrument, but essential if you want to have a control surface adjusting the other settings. What settings?  Well, the next four items determine the track’s volume, panning of the sound in a stereo field, the chorus settings (allowing for a wider-sounding instrument), and the reverb (for a deeper sounding environment). Now that we have covered the track display, the next thing we need to focus on is the connections for synths (mathematical sound generators) and samplers (plays recordings of actual instrument tones)… after all, without these, all we have are little dots in colored strips. On the right side of the instrument parameters box, you find the synth’s audio controls, including a drop-down for the output track, a slider for gain, and, of course, a volume meter. Plugins are all well and good, but what if you have a soundfont, or a Gigasampler file, or wish to use a non-plugin synth?  What if you have a hardware synth or sampler that makes the absolute perfect sound for your needs?  Well, Rosegarden’s there for you! To begin using external MIDI samplers or synths, be they hardware or software (preferably jack-enabled), they first need to be recognized by ALSA.
Next, before we can make any changes to the settings, the first segment must be highlighted. No windows will appear, but where two tracks were, one single track will be present, such as this re-merge of the two pltch-splitted segments performed above. Pictured above, grid quantization simply tries to adjust notes to a more precise location on the grid, determined by the note size (indicated by the base grid unit, described below).  This allows alignment of the rhythm to make the backing tracks more precise, although it helps to look them over after quantization to ensure that notes were not aligned with the wrong note.
The next four options determine the final touches applied after the quantization; these are for the actual musical score printout generated by the program, but the latter two can in affect the sound of the music generated.
The only notation parameter that this quantizer shares with the other two quantizers is the grid base unit size.
There are several tools for putting music together, and we will go over the primary ones, starting with the most popular means for putting music in a sequencer since the computer started performing musical tasks. On the matrix, a default note is orange in color, indicating a default strength.  However, you can increase the strength of the note to indicate force, or decrease it to indicate a light, gentle sound.
Step recording will simply record each press, one at a time, as a single beat; you can extend the notes later once you have the fundamental melody (or chords) recorded. Because of this, Rosegarden can, when all the notes are selected, reduce the selection to those notes fitting a certain description.  The selection filter is the tool for this use. From top to bottom, you can select notes based on their pitch, velocity, and duration.  From left to right, you can select whether to include or exclude, the lowest value, and the highest value. The second toolbar shows the grid size (in the above, the grid is eighth-note sized), Velocity (beats per minute), and quantize (disabled) options. Three more buttons allow you to select special rulers to appear underneath the matrix editor.  These will show and allow you to adjust certain parameters of the instrument, such as velocity (volume), pitch bend, reverb, panning, and so on. Note, however, that the values have to be present for the editing to take place; the presence of a note is sufficient for the velocity, but pitch bend, panning, etc.
Below, you can see the matrix window with the velocity ruler selected underneath.  Note the way the color applies to the strength of the note in question. Editors Keys is the leading developer and producer of dedicated editing keyboards (shortcut keyboards) for various well known video and audio editing programs such as Adobe Premier, Photoshop, Final Cut, Cubase, Logic, Pro Tools and many more. Editors Keys shortcut keyboards are used by over 30,000 music (and video) producers around the world so they are one of the largest shortcut keyboard manufacturers out there. Their latest addition to this product line is a shortcut keyboard dedicated for Ableton Live. It features over 70 shortcuts and it’s actually made in co-operation with over 100 Ableton Live users and producers around the world so you can say the design of this keyboard is truly optimized for a Live user.
The keyboard is ultra thin and compact in size so it doesn’t take much space on your studio desk. Basically, it has all the functionality of a regular typing keyboard, but the catch lies on the keys which contain both icon and text displays: different editing functions supported by Live are written on the keys. Or if you wan’t to open, close, save, export, create a new live set or hide the live, the keys for such operations are in yellow. On a side note, you still need to hold down CTRL for most of the functions (all the functions that are underlined requires holding CTRL) just like with a regular keyboard, but even so, you’ll find the keys so much faster that this keyboard saves you loads of time compared to trying to remember them or going through the menus with your mouse. There’s also four rubber pads on each corner at the bottom of the keyboard for a great grip so it really stays still on the table giving it a surprisingly sturdy feel.
Feel of the keys are good and the spacing is just about right (at least to my fingers) so you won’t hit double keys easily.
I would really like to see one of these keyboards made for FL Studio as well (hint to the Editors Keys design team!).
If you want to use Lash to manage your Jack connections you should enable it here so Hydrogen allows interaction with Lash. The Max number of bars in a song can be set here (currently limited to 800) and if you want to use rubberband for sample time-streching (see the section called “Sample Editor rubberband”) you need to enter the path where rubberband is installed on you system here. From the "Audio System" tab (Figure 1.2, “The Audio System Tab”) it is possible to modify the audio driver being used (OSS, Jack, ALSA, PortAudio) with its buffer and sampling rate (unless you are using JACK, in this case the audio driver configuration should happen before starting the JACK server).
We can set some features of Hydrogen like "Create per-instrument outputs" this will create 1 output per instrument that you can connect to any other Jack enabled application.
Also keep an eye on the value of "Polyphony": depending on your CPU you may want to change the max simultaneous notes in order to prevent hydrogen from overrunning the audio driver. The "Midi System" tab (Figure 1.3, “The MIDI System Tab”) contains all MIDI settings. The "Appearance" tab (Figure 1.4, “The Appearance Tab”) let's you modify Hydrogen look and feel (font settings and interface style). The "Audio Engine" tab (Figure 1.5, “The Audio Engine tab”) is a window that shows various stats about Hydrogen and the audio driver.
Note that the Audio Engine tab is only available if Hydrogen was complied with debug support.

Import library - Imports another drumkit from the local filesystem or download it from a remote location through an XML feed. Tools: opens the mixer, the director, the playlist editor, the instrument rack and the general preferences window. Debug: tools mainly for debugging and monitoring Hydrogen (only available when compiled with debug support !).
Choose between "pattern" or "song" mode: in "pattern" mode only the currently selected pattern will play, while in "song" mode all patterns inserted will be played.
An advanced tap tempo function: choose note length and how many notes to wait before recalculating BPM, then hit the comma key repeatedly until the 'R' letter appears and then the BPM will be updated.
Main controls to start [Hotkey = Spacebar], stop, record, fast forward, rewind, loop a song or a pattern.
It is possible to change the tempo at any time using the tap-tempo and BeatCounter features of Hydrogen. The Tap Tempo is a part of the BeatCounter, which is essentially a Tap Tempo on steroids. The button in the bottom right-hand controls the auto-start feature, and it toggles between S and P.
Another example: Same situation, but the song doesn't require Hydrogen or synths until some point later. Some of the settings to adjust the BeatCounter's latency compensation, are located on the General tab of the Preferences Dialog (see the section called “The General tab” ). Beat counter start offset in ms — adjust the time between the BeatCounter's last input stroke and when the song starts playing (if auto-start is activated). Once you have selected a part of your song you can delete it by pressing the Delete button.
Clicking a square on the song canvas will add a pattern (the square will turn blue), clicking it again will remove that pattern from the song.
This section describes how you can define tempo changes and how you can add tags to your song.
To add a Tempo change marker to your song you first need to enable the 'BPM' option (the BPM button is located just above the Song editors main controls).
Once you have entered the new tempo and clicked OK, the tempo change will show up on the tempo ruler. In addidtion to changing the tempo when the song switches from intro > verse, it is also very handy to have a clear indication of this tempo switch (or any other event in the song). To add a Tag to your song simply middle-click on the song ruler (just below the tempo ruler) and a window will pop up where that allows you to add text for any bar.
Once you are done you will see a small blue 'T' in the song ruler for every tag you have entered. The Director is your best friend when you need a quick overview of what Hydrogen is currently doing. The Director shows you the song name, a visual metronome and of course the song Tags. Properties : will open a window where you can change the name of the pattern and also assign it to a certain category.
With virtual patterns we can assign a pattern to be a sort of meta-pattern that implicitly invokes these three patterns together when the new virtual pattern is enabled in the pattern matrix. Virtual patterns provide a function that's similar to the regular pattern editor, and one could argue that since a virtual pattern is also a regular pattern, we could have just merged the three patterns into this new one. The "Pattern Editor" lets us create or modify the pattern (bar) which is currently selected. Remember this constraint concerning the grid: if you are working with a resolution of 16 you can't go back to 8 and remove a 16th note. HEAR : when enabled Hydrogen will play the sample as it's being added to the pattern. The section on the left shows you what drumkit is currently selected (GMkit by default) and below that you can see the instruments that are part of this kit.
Each instrument has its own set of features that are accessible by right-clicking the instrument.
Fill notes : this allows you to fill up the pattern with notes for the selected instrument. Randomize velocity : automatically apply a pseudo-random velocity to each note of that instrument in the pattern. The small red and green buttons right of the instrument names are the “mute” (red) and “solo” (green) buttons. If you are using Hydrogen as a pure 'drum' you just want Hydrogen to 'hit' the instrument wherever there's a 'dot' in the pattern.
So far we have only used the mouse to create a pattern, but you can also record your beats by clicking the Record button (see the section called “Main menu”) and simply playing your pattern on your MIDI drum or your pc keyboard (see instrument mapping above). Note that the color of the note-dot and the vertical bar will change according to the velocity value you have defined. The striped black and white area represents a piano keyboard and in the gray area you can choose the octave. Drum mode (see Figure 2.4, “Pattern Editor in Drum mode”) focuses on using Hydrogen as a drum machine. You can compare the Piano mode to the Note properties Notekey (described above), only here you have a complete piano keyboard, so you dont have to select the octave first.
The Mixer window can be opened by pressing Alt+M, by clicking Mixer in the Tools menu, or by clicking the Mixer button on the main toolbar. Just below you can find the Mute and Solo buttons and the Pan(orama) knob. Next are 4 pre-fader FX send knobs that determine how much of this instrument will be sent to the effect plugins in the FX rack. Just below that you can find an LCD peak-value display, and finally the volume fader and VU meter for that instrument. IMPORTANT NOTE : keep in mind that the volume and pan settings that you find on the Mixer are global settings.
The FX rack has 4 bays where you can load a LADSPA effect plugin, but before you can load any plugins these must be installed (surprised ? Once you have installed some plugins you can select one by clicking the button. The Master section contains the Master volume fader with VU meters, and 3 global Humanize 'effects' (Velocity, Timing and Swing). Note that Hydrogen can also be switched to 'per instrument output' mode (see the section called “The Audio System tab”), and in this mode all channel strip outputs will be available in Jack (not just the Master output).
First of all a little history on the Sound library and Drumkits : 'In the beginning' Hydrogen was a 90% drum machine. As you can see the Soundlibrary contains all Drumkits (System- and User drumkits), your saved Patterns and your saved Songs. The Sound Library saves you time in managing your drum kits, favorite patterns, and favorite songs. If you select one of the drumkits you will see info about this kit in the right pane of the Import window : name, description, author and also the license type. If you are using Hydrogen for commercial purposes, (creating songs and selling these on-line or in any other way) you need to pay special attention to the license type of the drumkit(s) you are using. If the exact license is not available for a drumkit, do _NOT_ assume that it is a CC (or other open and free license type). Even if the kit is CC licensed you should always check with the author before using the kit in your songs. Once the kit has been downloaded it will be available in the Sound Library under User drumkits. Before you save your favorite patterns to the sound library, be sure to edit it's properties by right-clicking and selecting Properties. You can save your favorite patterns in the sound library by right clicking the title of the pattern in the song editor, and selecting Save Pattern. Typical samples that are used in Hydrogen are: the sound of a single drum hit, the sound of a single cymbal hit, the sound of a single cowbell hit.
We reviewed the Yamaha MOXF8, which has an 88-key, weighted, piano-action keyboard that is easily one of the best we have played. Although you can’t sample directly on the MOXF8, you can install flash memory to load audio samples. A sixteen-track sequencer allows for recording up to 226,000 notes, which can be further sub-organized into patterns, songs, and phrases. Speaking of DAWs, the MOXF can route its sounds directly into your computer via USB audio, and the synth has audio-in jacks to allow audio recording (though oddly, not sampling for sound design). The workstation sports a dedicated fader and LED meter for adjusting the sound level going through the USB port.

One other nice feature: the input jacks allow the connection of a microphone for use with the workstation as a vocoder. The MOXF user interface is similar to other previous Yamaha synths, so players familiar with previous Yamaha workstations should have no problem. The LCD screen was smaller than we’d ideally like, and color or touch-sensitivity would have been welcome, but it was clear and well organized. There’s a nice selection of Wurlitzers and Rhodes, some smooth, some with the requisite bite. Interestingly, the MOXF’s arpeggios and intricate sounds are actually not using KARMA technology (which is actually technology licensed for use from Karma Lab).
The MOXF8 (MSRP $1,999) sells for $1,699 street, and the MOXF6 (MSRP $1,499) sells for $1,199.
There is a little bit of a learning curve for players coming from the Roland or Korg workstation camps, but nothing insurmountable. I got inspired to make this tutorial after watching SeamlessR’s How To Bass -videos so lots of credits goes to him from the techniques I’m using here! By editing that purple line (middle of the editor grid), you can define different play start points for each key. He has been producing music with computers over a decade on such styles as trance, downtempo, ambient & experimental electronic using FL Studio. This is useful if you want to detatch a bar from a larger segment, and then, perhaps assigning it to repeat, making a loop.
They also produce adhesive shortcut keyboard sticker sets, silicone covers, USB microphones, pop filters and portable vocal booths and sound booths. It would be nice to have a keyboard assigned a shortcut to individual keys, that I would pay money for!
Here you can choose the MIDI driver, input, and channel(s) that Hydrogen should respond to.
In case JACK is used, buffer and sampling rate should be set before starting Hydrogen (JACK automatically starts when an application tries to connect).
The XML file that should be provided is NOT RSS compliant (see Hydrogen website for an example).
However, the advantage that virtual patterns provide is that if one of the original three patterns changes, the virtual pattern automatically inherits the change. On the other hand if you are working with a resolution of 8 and you try to insert a note in the middle of two bars (looking for a 16 bars precision), notes will be placed in the previous or in the following 8th bar. The more velocity you set on the instrument, the more hydrogen will hit “hard” on that instrument when played.
If you are using Hydrogen as an 'instrument', the length of the note becomes very important. For over a decade the Motif series has been a major player in pro studios and on the stage, going through various incremental updates over the years. This workstation offers familiar workstation capabilities: synthesis, sample playback, sequencing, and so on. Despite the weighted keyboard, the MOXF8 comes in at just under 33 pounds, making it extremely portable for a full-sized workstation. You get up to 480 ppq resolution, and you can save your work as several different types of MIDI files. The MOXF knobs and buttons can act as a DAW control surface for several DAWs, including Cubase, Digital Performer, Logic, and Sonar. You can assign, for example, a vocal mic to one set of outputs, and your playing to the other, allowing discreet recording of each. If, however, you are new to Yamaha synths, players coming from the Korg and Roland camps may find the interface takes a little bit of getting used to. You can place your most commonly used sounds in the favorites section, which is obviously much easier than scrolling through 1,000+ sounds during a gig. Once again, this was pretty straightforward once we learned what to do, and the manual proved helpful in that regard.
The software could use a definite interface update, adding more graphical controls like on-screen faders, for example, rather than just text-entry boxes. This is a very nice sounding piano, and coupled with the nice keyboard feel, we think most players looking for an alternative to a real grand piano would be very happy with this. Violins, cellos, small ensembles… they were all very realistic, right down to hearing the bow scratching away on the instrument. In particular, when used with the arpeggiator, you’d be hard pressed to know there wasn’t a real person strumming! Surprisingly, there was only one present labeled as CP-70, which, while sounding good, was not as good as one would expect given the lineage. There are nearly eight thousand (!) preset arpeggio types, and four arpeggio parts can be played at a time.
Despite the time we spent with the MOXF, there’s still a depth we haven’t even gotten to yet, and that has us very excited! If you leave it as is, each key will trigger the same play position (but of course, different pitches). Functions such as narrow grid, widen grid, snap to grid and draw mode toggle shortcut keys are all in orange. This is the sequence of patterns you have created in the Song Editor (see the section called “Song Editor”).
There are 2 ways to define the length of a note : in 'Note Length' mode you can add a note by left-cliking, and you can 'stretch' that note by right-click-dragging it.
You can install flash memory to load more samples, and the keyboard can integrate directly with your DAW via included software, even serving as a USB audio interface. Though the case forgoes metal for lighter-weight plastic, it should travel just fine if you have a high quality synth bag or case.
We didn’t have the flash board to test, but reportedly you can load your own samples as well. Currently, DAW templates are available for Cubase, Logic Pro, Sonar, and Digital Performer.
Also included are two plugins: Steinberg Prologue and Yamaha Organ Emulator, which are a virtual synth and organ (VST) instruments, respectively. While the voices individually sound great, the MOXF really shines when combining sounds for some very interesting results. While it was fun to use, those into maximizing vocoder use may need to spend a little time editing the sounds to their liking, which is certainly easier using the computer-based editor vs. Our only small dig is that most of the sounds have vibrato, and while it sounds great, it would be nice if there were a few more straight string sounds without vibrato.
We found this particularly useful for songwriting and capturing creative ideas, all without pulling out our guitars. Those of you impressed by Korg’s Triton and Karma keyboards will marvel at where the technology of complex arpeggiation has gone. At the 2014 Winter NAMM Show in January, we got a personal demonstration of KARMA from the inventor himself, Stephen Kay. However, there were many examples containing step-by-step instructions detailing which buttons to press and which menus to scroll through to get to the item being described. We think Yamaha has hit a great balance of cost and features, and if you are looking for a professional workstation for your live rig or studio that won’t break your budget or your back, the Yamaha MOXF belongs on your short list.
When Pattern mode is selected Hydrogen will play the pattern that is currently selected, and thus displayed in the Pattern Editor (see the section called “Pattern Editor”).
Similar conceptually to Korg’s Combinations (or Combis), these are grouped sounds and patterns that are really, really good!
For those players new to Yamaha’s synth architecture, though, the long-windedness will prove useful. Perhaps a VST3 to AAX wrapper might work, but we didn’t have time to investigate that workaround. There are many buttons on the MOXF, and while everything is labeled, it took us a few minutes to get up to speed with figuring out where everything was. We found them very inspiring for songwriting, and clearly Yamaha had some fun with this, too. We have not had a chance to try out KARMA software loaded into a Yamaha keyboard yet, but nevertheless, even without KARMA the MOXF sounds great and is a very interactive keyboard that truly inspires you to write. 6 languages !Streaming Audio StudioStreaming Audio Studio: All-In-One Sound Recorder, Editor and Converter.

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