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KeyStage 1.x Tutorial 3: AUM Integration and a song walkthrough — Transcript

by Ali Gokturk · 4,294 words · 606 segments · language en · Watch on YouTube

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0:00hello everyone welcome to another
0:02tutorial video for key stage so today
0:05I'm gonna demonstrate everything on my
0:06live setup here I'm gonna go through the
0:10hardware connections and also the
0:11software that I'm using and I'm
0:13specifically going to talk about how I
0:15integrated AUM into my live setup and
0:18how I control the parameters and effects
0:21on a um with key stage and after that
0:24I'm gonna go through a song setup
0:26section by section I'll specifically
0:30talk about custom translators and how I
0:32actually use constant translators to
0:34change sections or manipulate these
0:37pedals here but first let me go through
0:40the hardware's Hardware connections so
0:42my main keyboard is a note electro five
0:44and it is connected to this audio
0:46interface Roland to a capital X by MIDI
0:49cables by Dai MIDI cables and this audio
0:52interface is also connected to my iPads
0:54with a commander connection kit and with
0:56a USB cable so that's how I pet
1:00communicates with with not electrified
1:02through this Roland to a capture ax here
1:07are my pedals the sustain pedal and this
1:10pedal on the left hand side allows me to
1:12move to the next section in key stage
1:14and the expression pedal in the middle I
1:17can just assign any parameter to that
1:19actually on any part this is my
1:23microphone for back vocals which is also
1:25connected to this robot to capture a X
1:28and here is seaboard block which is
1:32going to type at with the Bluetooth
1:34connection and finally I have an iPod
1:38here and all the iPods and which is also
1:42connected to this iPad with a Bluetooth
1:44connection I'm going to show you during
1:46the demonstration how I actually use
1:48this iPods
1:54okay here are my connections on a um the
1:57first column is my back vocals which
1:59goes through a processor called
2:01echo pad and here I have forseen taps
2:04cymbal player jared and two instances of
2:07Samuraizer now all of these goes through
2:09the pair of effect processors of a um a
2:12low-pass filter and a parametric EQ they
2:15are all rooted to boss a which is routed
2:18to the USB roll on to your capture X my
2:22audio interface and goes through another
2:24effect processor called ample tube now
2:27in the background I have some other
2:29additional apps working in I have Jordan
2:32Tron Galileo I Symphony Orchestra and
2:35sample Bank and also there are some
2:39other apps here's an Apollo MIDI this
2:41allows me to connect my iPads the iPod
2:45touch that I attached on the side of my
2:48North Electra here XK plus is actually a
2:52utility app a free app that allows you
2:54to connect X key air to your iPad with
2:57Bluetooth but it apparently allows you
2:59to connect any Bluetooth device to your
3:01iPad and here I use it to connect
3:04support block to the iPads now there is
3:07one other app which is called MIDI flow
3:09now MIDI flow allows me to create
3:11virtual ports mutual virtual midi ports
3:14and connect them to the actual ports of
3:17all my son synthesizers I'm going to
3:20explain why I need to create these
3:21virtual ports but I'm planning to
3:24include creation of virtual midi ports
3:28in the next update of key stage now the
3:32reason that I'm using which reports is
3:33the following I created in which report
3:35for Sunrisers synth master player and
3:37jared these in sizes that i connected to
3:40a um now remember they they are all
3:44going through some filters low-pass
3:47filter and a primitive EQ now if I open
3:51Jewish Reds and take a look at the MIDI
3:53control of these filters now you can see
3:57that the low-pass filter and parametric
4:00EQ they're all assigned some control
4:03change messages so the MIDI connection
4:05is the AMS or
4:07in bility virtual port and for example a
4:11volume signal coming from channel 7 a
4:15parameter control change 97 controls the
4:18volume of a um not yet but am and the
4:22same is true so all the parameters
4:24between 97 up to 102 controls these
4:29filter parameters and the same is true
4:32for all all others in sizes now what I
4:35do here is the following I create a
4:37virtual port Jerrod's with double
4:39question mark i denote these visual
4:41ports with double question marks and i
4:44map all the signals from this virtual
4:47port to georgette itself except these
4:50control change parameters so they are
4:52filters here but instead I create an add
4:55another row tank this time from Jerrod's
4:58to a um our output channel 7 and this
5:03time I wrote those signals to the 7
5:06channel of a.m. and filter all other
5:09signals all nodes and everything so what
5:12I do is I create these virtual ports in
5:16my tracks on a key stage and I may be
5:18able to control both chariots and all
5:20the filters at the same time or on on a
5:23single part so I'm going to demonstrate
5:25in a minute
5:28now let's demonstrate it with sunrise er
5:30I'm gonna create a track for summarizer
5:33here so instead of sunrise er itself I'm
5:37gonna open a track for sunrise ER with
5:40two exclamation marks the virtual port
5:42that I created with a media flow okay
5:45now if I create a part you can see that
5:49I have these parameters here but I have
5:53these special set of parameters that I
5:55denoted with master
5:56so master volume master cutoff what
5:59master Asura's these are the parameters
6:00that control those features so for
6:03example this photo feature is not a
6:08cotton filter inside Sun Visor but the
6:10cutoff filter that I created now on a um
6:14here so it controls this cutoff filter
6:17and resource and the same is true for
6:20all you know master equals auto massive
6:27warning
6:29but master volume why would I eat master
6:31volume here well it's because of the
6:34following reason if I actually add a
6:37reverb here on Sunrise er this volume
6:41the inbuilt volume control of Sunrise er
6:46controls the volume before the effects
6:49so if I play and turn world what turn
6:53the volume down the reverb problem still
6:57keeps sounding so but instead if I turn
7:02the master volume down it cuts the
7:06reverb as well
7:07okay now let's create a track for eco
7:10pads so that's the effect processor
7:12that's connected to my back vocals I'm
7:15controlling a copepod / channel - so
7:19here are some parameters that I control
7:22over eco pads so for example I can
7:24change the volume here up and down I can
7:27add reverb and word decay the same time
7:32I can control the pan I had just gone
7:35can control a bunch of parameters here
7:37and the good thing is if I create
7:39another part here and change the effects
7:43here for example I added this meter here
7:47and the turn birth is major up here so I
7:51can assume advise which sections my back
7:53vocal effect processor automatically
7:55changes so like lots of default presets
8:01so okay let's also create another track
8:06for AmpliTube so I'm just gonna go
8:09through the demonstration on a new song
8:11but after that I'm gonna load the song
8:14that I want to go through at the end of
8:16this tutorial video so Sam ample tip
8:20also is control over channel 2 alright
8:25let's turn master world by sunrise I
8:29created two presets right now I'm gonna
8:32add more so now sunrise you goes through
8:36amplitude and I think
8:38the gain and the presence or I can just
8:46turn it off by selecting the off
8:48perimeter or the off press it's okay
8:51before going on I want to mention a
8:53couple of things about key stage that I
8:54should have mentioned earlier so there's
8:56this out help button here that allows
8:59you to actually show the help menu or
9:01you know help text for any object that
9:04you tapped on or any region so you can
9:07just get information about anything any
9:08slider or any button here another thing
9:12is this external MIDI control remember
9:15the switch pedal that I mentioned in the
9:17beginning this allows me to actually
9:19move to the next section and I choose
9:21the input here pedal control and so I
9:26choose a CC number or I can even use
9:29middle arm button to choose the CC
9:31number and my pedal sends 124 so when I
9:34press the switch button I just move to
9:36the next section like this so one other
9:40thing is that I ipod touch that I talked
9:42about in the beginning so let me create
9:44another part here and choose the lead
9:47sound so that's I pod touch has a small
9:50app that I wrote for personal use which
9:53simulates pitch Bend and modulation
9:55signals so my North keyboard doesn't
9:57have a pitch band or a joystick pitch
9:59joystick so I just this is my substitute
10:01for that so let me demonstrate
10:04[Music]
10:16okay this is the song in memory by Hagen
10:20let me go through the tracks here so I
10:23have a synth master Sunrisers six copies
10:26of SampleTank each different channel and
10:28two so I symphonic orchestra Jordan Tron
10:32nor nor director the keyboard itself and
10:34a cope at an amplitude so these are the
10:37two effect processes that I mentioned
10:39before
10:39so let's actually start with the first
10:43part and on the left hand side I have a
10:53synth for the second parts I switch the
11:02section and I still have that same part
11:05same region but the last region just
11:07changes to a couple of layers now the
11:11first one is a single note here on e one
11:14so it is a layer of north's piano and
11:17sample thanks Pat sounds
11:20so they are late together and here we
11:24have another sound from SampleTank but I
11:26need to go into the detail of that
11:28because now this is the first time that
11:30I'm gonna introduce the advanced
11:31functions of custom translators so now
11:36you can see that we have four layers of
11:39course and translators let's actually
11:41first turn them into basic setup so this
11:49expects this control change signal this
11:52114 is the control change signal of my
11:55expression pedal so this is the
11:58expression pedal controls first volume
12:01of this part and if I go into the
12:04advanced part it says that the range
12:07that the translator applies is from zero
12:11to sixty four which is half way through
12:13through the expression pedal so from
12:15zero to sixty for half way the volume of
12:18this part goes up to 80 from zero to 86
12:22and here it says block incoming signals
12:27so if this was on then this expression
12:30pedal signal 114 will just block here
12:34and then only the volume signal will be
12:37translated but if I switch this off this
12:40expression pedal signal keeps going to
12:43the next translator so these are a chain
12:45of translators now this says the second
12:49one is actually from 64 to 127 the
12:55second half and the second half the
12:57volume just goes down from from 85 down
13:02to zero so the volume first goes up and
13:04down through the process of the
13:07expression pedal but not only that this
13:10expression signal still continues to the
13:12next translator and then this translator
13:16the pan changes from zero to 128 so the
13:21change plan changes from one ear to the
13:23other throughout the stress stage not
13:25all throughout stage but somewhere from
13:2834 31 to 89 and finally
13:33a signal also changes the pitch from
13:36somewhere to the middle
13:39I like 45 here the pitch goes from the
13:42center Center is zero down to 9 minus
13:471929 okay what does that number mean
13:49mine is 29 so the when when the output
13:53signal is pitch bands the scale is not
13:56from 0 to 128 anymore and the scale is
14:00actually from minus 48
14:03up to plus 48 minus 48 stands for whole
14:06pitch down and plus 48 stands for
14:09Peralta job the reason that I chose
14:11those numbers is to be able to actually
14:14divide for example full-auto pitches
14:17into reasonable intervals like you know
14:19half interval for example if my pitch
14:22bands sensitivity is a full octave then
14:25minus 48 will represent a pull up tau
14:28then minus 48 divided by 12 and minus 4
14:34really represents a 1/2 pitch or a half
14:38a semitone so that's why I chose those
14:42numbers to be able to actually precisely
14:45choose the amount of you know pitch
14:48bands modulation in terms of nodes or
14:51seminole semitones so this was 29 at 20
14:55now it doesn't matter whether it's 28 or
14:5629 it's just somewhere so this is this
14:59thing this is the result of all this
15:02change of corner constant translators so
15:11you can see that one expression pedal
15:14can control multiple control change and
15:17pitch band signals on a single part or
15:18even on multiple parts at the same time
15:21okay so I'll go back to these
15:23translators in the later sections so
15:26this is what happens in the second
15:28section let's move to the next one so
15:30this is a single one one patch
15:34of Samuraizer all right the next one now
15:40gives me the lyrics of my back vocals
15:43but they may go into the info parts to
15:46see the lyrics so I have two layers of
15:54SampleTank which actually are the boats
15:57or instruments but now you realize that
16:01there is pitch shifts here it's on the
16:03same region but if I tap here I actually
16:07can solo things here this is the one
16:10that is one octave down and a little bit
16:12less volume and this is the one on the
16:15higher octave with a higher volume so
16:17they are now layered together to deal
16:19with this octave these sounds
16:25now on my left hand side I had Jordan
16:28Tron orchestral sounds
16:31like Cola stands
16:32[Music]
16:36or I need to go into the detail of these
16:38parts to actually talk about one more
16:40thing here now I had this sustain pedal
16:43that controller sustained the Jordans
16:45own sound here but you realize that the
16:49sustain pedal even by procedure doesn't
16:51affect sample
16:55doesn't affect the sample tanks leach
16:57sounds and the reason is that in this
17:00pedal control here I filter the pedal
17:03down and pedal up signals so it basic
17:05don't receive any pedal signal
17:07it's not a pedal signal on these parts
17:10so and that's a part of pedal control
17:14and on on the left-hand side here I'm
17:19sorry on my left hand right hand okay so
17:27what about this one here let's go into
17:31the detail of that now this is a single
17:35note you want another patch but there is
17:39another custom translator attached to it
17:41if this is actually a trigger translator
17:45that triggers a special action so let me
17:47actually take a look at this so these
17:50are all the parameters that I can
17:51control or I can control you know even
17:54other parameters here and there is this
17:56special action part so these special
17:59actions basically allows me to perform
18:03in all these actions like move the
18:05octave up or down or Center or change
18:08the section or even change the page of
18:10an octave PDF view attached to to that
18:13current section or change the half page
18:16or or panic just cut the sound down so
18:20you can even assign a panic function to
18:23anything and these special actions
18:26worked like that either you have a note
18:30inputs or you can have a control change
18:32input it has a trigger condition so let
18:36me give so it's actually Advanced Mode
18:38so this says that it whenever I press
18:41the note e 1 and if whenever this
18:44constant translate receives the note on
18:46single on
18:47II won this action will be performed so
18:50here's what happens
18:58so that as soon as I press you on it
19:01does not matter if I move to the next
19:03section alright so this part is this
19:06simple to lead sounds again the say the
19:12same sounds with different volumes but
19:17here is another interesting custom
19:19translator action
19:20now the first translator is basically
19:23changing the control change 75 again
19:27with the expression pedal from zero to
19:28full 127 actually that's the chorus
19:32effect so it increases the course as I
19:34move my pedal up now as for the second
19:37one I have this relative control
19:41function here so let me try to
19:44demonstrate that in the following the
19:46relative control allows you to change
19:50any parameter from its initial state to
19:54whatever
19:55limit you have to within your limits so
20:00here is the idea so this is this
20:03controls the brighten signal the cutoff
20:05frequency of SampleTank 74 but it says
20:09both upper and lower limit are 94 now if
20:13I go to the parameter section of this
20:16the brightness is actually 64 it's the
20:19middle brightness signal so each track
20:24on in key stage keeps track of all the
20:27values of all call/cc parameters or
20:30pitch bands signals and they keep track
20:32of all these and this way whenever we
20:38have a custom translated with relative
20:39control it starts from that value that
20:44the last sort value of that control
20:47change signal and changes the parameter
20:49accordingly so my pedal so let me
20:52actually straight the following way my
20:54pedal is all the way down so the initial
20:56the the first moment that I make with my
20:59expression pedal will send the value 1
21:01or 2 or you know vehicle number close to
21:040 but it will sense the control change
21:08brighten signal 64 because
21:11the last recorded value is 64 so if I
21:16start moving my pedal up it will start
21:19increasing from 64 as I move my pedal up
21:23and the speed of that increment is
21:25actually it can be controlled here over
21:28here and now the thing is so right now I
21:33suppose the bread is this somewhere
21:36between 64 and 94 let's say 75 if I take
21:40my pedal down it won't get down though
21:43the warning doesn't get down because the
21:45limits restrict my pedal signal to the
21:49practice signal to go down it has to go
21:53up to 94 all the way so if I further
21:55move it up the brightness field goes up
21:58to 94 and the moment it reaches to 94 it
22:01can't move anywhere because it's limited
22:03by the lower limit and upper limits so
22:07now the pedal doesn't do anything at
22:08this stage so even if my pedal is all
22:12the way up whenever I move to this
22:14section
22:14I still have 64 brightness I can move my
22:19pedal all the way down doesn't it
22:21doesn't change the signal at all and
22:22then increase it to 94 and the same is
22:27true it doesn't have to be that way so I
22:29can you know restrict my range to
22:32anything and wear whatever the position
22:38of my pedal is this will always start
22:42from 64 to practice signal 64 and
22:46changes from from there so and this
22:50allows me to change any parameter
22:53control any parameter with my expression
22:56pedal or you know with knobs and sliders
22:58or anything without any jumps without
23:01any sudden changes in those control
23:03changes it always changes the control
23:05controllers smoothly so that's where
23:08this relative control takes place one
23:12other thing that I want to mention is if
23:14the lower limit is greater than the
23:16upper limits and then the pedals
23:19polarization just changes so well if I
23:22increase my pedal so let's reset
23:25again this time it just goes down so it
23:28changes the polarization if I flip the
23:31order of upper limit and lower limits so
23:34that's how the relative control works
23:37and actually works for any type of
23:39controller and allows you to smoothly
23:43change anything
23:44any parameter without any jump is good
23:46and especially really helpful with the
23:48expression pedal so let's move to the
23:51next section so this is again the chorus
23:55part of the same it is also an input
23:59part now we have a bunch of additional
24:04lyrics here
24:06[Music]
24:08I move to the next section I keep
24:11playing the same two patches now I when
24:20I'm going to the next section I'm
24:27actually changing so there's nothing
24:49here
24:51and if I go to the next time on the my
24:54back vocals are just act normal here
24:56alright we're almost through the end of
24:59the song we have two more things that I
25:03want to talk about here the things that
25:07I haven't shown you before now if I open
25:10the a live control surface now you
25:13realize that we have a single track with
25:17two parts attached to it so how does it
25:22work so now you can see that there are
25:23these
25:24let me just sorry let me just zoom in
25:29here you can see that there are multi
25:30parts here now if I double tap on the
25:33small T part it expands and shows the
25:36remaining parts on that single channel
25:38single track so what are multi-part
25:41swirls so that allows me to stack two
25:46parts on now on a single track and this
25:49allows me to even do more than just
25:51interval splittings but I can even have
25:54distinct intervals assigned to a single
25:58track so the reason that I'm using this
26:01on this part is I have I had the same
26:07region so this is actually layering of
26:09two sounds sounding the single on boats
26:11so it's the piano sound
26:14with some velocity alterations and this
26:19other one one is monitored on its 12
26:23semitones down and with the lower
26:25velocity and say they're together sound
26:29like this
26:30so if I need to do a layering on the
26:33same instrument I don't need to create
26:36two tracks of the same instrument with
26:38the same channel I can just stick them
26:40like that and here's how it goes
26:43oops sorry I donít have to close it and
26:45you know basically I knew apart when I
26:51run another part and automatically I can
26:55change my sound back it automatically
26:58moves it into the into the multitrack or
27:01multi parts I can even change the order
27:04of these or I can whoops I can move
27:11multi parts into other parts and then
27:15DoubleTap to close it so let's undo
27:17these operations I don't need that so
27:21that's what all multi parts are for so
27:23you can we can have multiple ranges
27:26assigned to a single track or parts with
27:29different parameters like different
27:31translate whales they translated or
27:33pitch shifters on the same track so this
27:36is a piano
27:41octo piano sound and on the left hand
27:43side I have layering of two isomeric
27:46orchestras and one Jordan Tron
27:48orchestral sounds and that's one last
27:52thing that that I want to simulate here
27:58now I'm not using my sustain pedal
28:01but these are automatic assess things
28:03[Music]
28:06and that's achieved by this Auto so
28:11state function so I have Auto sustain on
28:13all these parts and the moment I change
28:19the section the song automatically cuts
28:22off and that's achieved by another bunch
28:26of constant translators it receives a
28:30note signal and sends the value of
28:36tertiary that's not the one
28:41the idea is we actually change the
28:43parameters to volume zero on each of
28:46these parts so at the moment I change
28:48the next section the volume all goes
28:50down
28:50but as soon as I start playing with my
28:54keyboards basically press the note C to
28:56the volume automatically is sent to this
29:00part Jordan Truong volumes 70 446 to
29:03this part and 49 to to this part so it
29:08is what happens to keep playing
29:11[Music]
29:18so that allows me to cut the sounds
29:21right at the moment and then just take
29:22it continue from where I'm been left off
29:26so that's we still have this auto
29:31sustain functions here
29:33we still have this multi part here and
29:38so I'm also doing some back vocals here
29:44and through the end of the song if I
29:47move to the final part I have this extra
29:50control which allows me to decrease the
29:53volume of everything to simulate a fade
29:59down so I have these live control units
30:03XY control which decrease the volume and
30:06here is another relative control
30:09happening here so you realize that let
30:13me get two volume back here the volume
30:21here which actually is actually carried
30:24from here
30:25the volume is 66 and the position that I
30:31touched my initial touch will always
30:33send the value of 66 if I you know even
30:37if I touch here with 66 even if I touch
30:40here it's always six is exact
30:42relative from this position the volume
30:44changes so I then I don't need to
30:47actually find the exact position of
30:50volume 66 on this XY control I just
30:54thought you can tap anywhere and then
30:55change the value relatively from that
30:58point so this relative control also
31:00applies to these XY control units and
31:03this is actually I'm always using
31:06relative control on XY translators
31:09because it's it's much easier to control
31:11them so this is the song this is a quick
31:17preview of the song in memoriam in
31:22another tutorial video i am gonna focus
31:24on my support block and
31:27try to you know show you how I can
31:30actually control you know MP instruments
31:33or non MP instruments using an MP device
31:36and I also use custom translators to
31:40change the parameters you know the five
31:43dimensions of of a civil blog to control
31:46different parameters of okay all that in
31:50all these instruments of MP or non MP
31:52instruments

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