Adding the Velocity MIDI device with increased Random creates a pattern where every 16th note sounds slightly different and the pattern never repeats. When velocity is used as a modulator, randomizing it adds some random variation to any parameter you choose.įor example, lets take another look at the 16th note clip from earlier where velocity modulates a few Corpus parameters. Second (and conversely), velocity processing can add fluctuation and randomness to the velocities. First, using a MIDI velocity compressor reigns in an undesirably large range of velocities. Processing velocities in this way can accomplish two goals. But there are many ways you can process MIDI velocities after they exit your keyboard or MIDI clip but before they’ve hit any of the instrument racks or effect racks. The difference of sends compared to the previous examples in this article is that audio volume is controlled via velocity pre-effect rather than post-effect. This way, if a time-based effect is added to the wet chain, all of those delicious verb or delay tails are able to ring out unimpeded, even when the signal is cut off from those effects as velocity is lowered.įor all of the previous examples, we were talking about controlling velocity (and thus modulation) directly in a straightforward, deterministic sense. You intentionally play each key harder or softer on the keyboard or you use your mouse to alter each note’s velocity on the piano roll. Like most effects on return tracks, it often makes sense to set effects on the wet chain to 100% wet and control how much effect is applied by using send amounts. Rather, we’ll use velocity to modulate a Utility's Gain at the beginning of one of the chains, causing audio to flow into the wet chain when velocity is high. The solution involves first setting up two chains in a rack like we've previously done, but this time we won’t fade between chain zones or even use the chain selector at all. To do this, we’ll need to use velocity to control how much audio is sent into the effect, rather than controlling volume of the post-effect signal. The effect racks we've explored so far lower the volume of the velocity-dependent effect chain either immediately or gradually based on the Fall value, essentially cutting off any lingering effect tails. This configuration worked in our favor for gating the snare reverb, but what if we wanted a velocity-dependent reverb or delay tail to decay more naturally? To prevent such jerkiness, I'll adjust Expression Control's Fall value to around 100ms, smoothing the shape of the velocity signal and essentially creating a release contour for the distortion amount. I’ll tame the amount of distortion by pulling back the Max modulation amount on Expression Control (here representing the maximum Pedal Dry/Wet percentage) to 30%.Īs it's set up so far, there will be unnatural, immediate changes to the distortion amount whenever velocity changes. I can simulate this effect with a distortion effect that responds to velocity.įirst, I’ll add a Pedal device set to OD for subtle grit and use Expression Control to map MIDI velocity to Pedal’s Dry/Wet amount. Suppose I’m starting with a clean sounding instrument with few harmonics but I want it to sound dirtier the harder I play a note, similar to how a guitar or Rhodes might dynamically overdrive a tube amplifier when played more aggressively.
Let’s begin with a few basic mappings and get a sense of the possibilities. The basics of velocity in the Expression Control device are simple - just press the Map button in the velocity row and then click any parameter you want to modulate with it.
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If you're using an earlier version of Live or simply can’t find it elsewhere, it’s also included in the free Max for Live Essentials pack. It’s called Expression Control, and it’ll be our Rosetta Stone. It comes in Live 10’s Core Library, so you can find it already installed in the Max MIDI Effect folder if you have Live 10 Suite. To do so, we can use a free Max for Live device you probably already have but never use. So if we want to break out of the mold and let any parameter in on the velocity-sensitive goodness, we have to find a general solution - a way to translate the language of velocity into all other languages. In most cases, there’s no dedicated "velocity to." knob to be found. These means of translating velocity into instrument controls are straightforward, but limited to just a select few instruments and parameters.
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