Ldizzy wrote:there is an absolute lack of visuals in albino... which really makes it hard to know what happens exactly when u twist a knob..
You've got to know that you open yourself to abuse for this. Music isn't for your eyes, it's for your ears. Listen to what you are doing. It even helps to close your eyes as you tweak a knob.
With that said, yes Massive's routing and range indicators are the best in the business. You can still use your ears, but you can also match that to visual cues so you can work ever more efficiently.
But still. Use your ears.
Ldizzy wrote: whenever i use albino's lfo... it always seem to go offbeat
I've heard this before, I think. I don't know, I use flstudio and have never had this problem.
I don't know if this problem is independent from just clicking the ret button, which stands for retrigger, which retriggers the lfo with the press of each note. It is often suggestible to turn both the mono and ret buttons on.
Ldizzy wrote:
-Env (on the filter)... i know the more i turn it up (on the first position), the more it opens the sound.. but i cant understand how.. what type of parameters does it manipulate on the envelope...
The filters have dedicated envelopes. The envelope is automatically tied to the cutoff of the filter. The cutoff is the point where frequencies begin to be 'filtered'.
Albino essentially has six panels (the two osc is essnetially one panel, and the two filters are essentially one panel). In the left column, second row, is the envelope section. F1 and F2 are the filter envelopes. You can adjust how fast and how much the envelope works. What's tricky about this is the env knob in the filter section affects how much the envelope affects the filter. You have to work the env amount knob at the same time you're working your attack decay and sustain settings. It is a little tricky, but through practice you'll get the kind of filter envelope sound you want right off the bat.
Ldizzy wrote:-Symetry or sumthin like that.. in the lfo panel.. its usually at 50 and when u turn it down it kinda shifts the sound so its more quickly closed.. and kinda pushes the shift-swing on the other side when i push it past 50... but i cant seem to make it go on beat
-the sync is of course always on...
The sync hardly needs to be always on. On other less capable synths, the sync shouldn't be on. But with Albino's symmetry and phase knobs, you can leave the sync on and get really groovy lfo patterns.
Think of a triangle lfo wave, you got that in your head, google it if you don't. The triangle wave starts and zero, goes up in a straight line, to a quarter of it's cycle to the top of it's range, then heads back down to zero at half way through it's cycle, it repeats the same pattern, but in the inverse for the second half of the cycle.
Symmetry affects how quickly the wave reaches the top of it's range. If you turn the knob to the left, the wave goes up to max before a quarter of the wavelength. To the right, after the quarter mark. This can create wild sounds and rhythms.
Phase determines where the waveform starts. Again with the triangle wave. With phase set to 0, the wave starts at 0,0. As you turn the knob up you're sliding the wave to the right. At 50, the wave is now upside down from it's initial position. The wave still starts at 0,0, but drops first, rather than rising. What all this means is that you can make wild groovy wobbles by modulating the lfo rate, phase and symmetry knobs. I advise hooking some midi knobs up to these knobs in albino, and going absolutely ape shit with your eyes closed, and the bass turned UP.
Ldizzy wrote:-the first hit of the lfo kinda comes from an open position... ive heard people talking about this somewhere on the forum.. or seen.. whatever.. from what i recall, the first bar of an lfo automation sequence shall be cut because of that effect... but i cant figure out why it does that and why i cant.. manipulate it... i dont want to sound like im frontin.. i really just want to understand haha
What I just wrote answers this pretty much. So if you want to figure out the answer to this, understand what I wrote above.
Ldizzy wrote:there is very mostly an absolute lack of meters in albino...*or i didnt find it*.. which makes it hard to monitor the sound and know when ur pushing too far...
I know it's a bitch right? Well if you're curious, just send albino to a mixer channel, set the channel fader to unity gain (fancy word for 0db in this context
) and use your daw's meters to tell you if you're going to far. Don't forget that you've read the Money Shot thread, so you're mixing your bass anywhere from -15 to -8db.
Ldizzy wrote:i love the fact that the lfos are automatable at even rates.. i find it a lot easier in logic to write sequences (altho i still have problems with the lfo.. as explained above).. so i figured out id route massive (which i tweaky fairly well in terms of waveforms) to albino audio in and use the albino filter .. which is more easy to tweak.. but the sound quality gets bad sometimes with me not even noticing why.. is there a way to make sure its done clean.. is it safe to do that (cuz it really makes my life easier when i try to automate)...
Honestly, I don't know what you're talking about here. Really this sounds like an entirely unnecessary hassle. BUT, whatever, your fellow producers are pretty familiar with the sound of albino and massive, but not with Massive's oscs run into albino's filters. Maybe you'll get a unique sound? This type of experimentation is what it's all about in the 'lab'.
Thank you
