![how can i use arturia minimoog v the ableton live 9 how can i use arturia minimoog v the ableton live 9](https://img.audiofanzine.com/images/u/product/normal/arturia-moog-modular-v-6380.jpeg)
![how can i use arturia minimoog v the ableton live 9 how can i use arturia minimoog v the ableton live 9](https://i.ytimg.com/vi/jGT8BzfWdFU/maxresdefault.jpg)
In the ARP/SEQ section, we flip the Mode switch to (REC) to arm the sequencer and then enter an 1/8-note pattern, using the Hold button to enter rests. Next, let’s program a basic open hat sequence.
How can i use arturia minimoog v the ableton live 9 mod#
Remember that the mod wheel needs to be up to hear the effect. Finally, on the LFO, we bring up the amount sent to the cutoff to modulate the filter. Similar envelope settings from the bass above will work but let’s increase the decay a little and also reduce the release. Finally, let’s add a touch of envelope amount so the envelope affects the filter as well as the volume. We can raise the resonance as well to give it a little bite. Next, we bring up the cutoff to around 2kHz to let more highs through. We start by turning down Oscillator 1 on the Mixer and turn up the white noise. We’re thinking that open hats might be good as a way to keep the rhythm. Next, let’s use white noise and the onboard step sequencer to create a percussion line. We also open the pulse width amount to modulate the oscillator’s square wave.Īrturia’s Comp Tube-STA compressor plugin is the final touch to help keep things solid. We have to make sure to engage the mod wheel as well or the filter won’t modulate. We choose a relatively slow rate, open the cutoff amount to around 9 o’clock, and choose a sine waveform. We likewise dial in a lengthy release setting.įinally, let’s use the LFO to give the famous Moog Ladder filter some movement.
![how can i use arturia minimoog v the ableton live 9 how can i use arturia minimoog v the ableton live 9](https://i.ytimg.com/vi/RGsYFSpl3kg/maxresdefault.jpg)
We set the sustain slider pretty high as we want our sound to continue rolling. We keep the attack at zero for a percussive start, and then a decay of around 50%. Let’s shape that in the Envelope section. We’re going for a long and slow bass sound. As we don’t want to lose any bass weight we keep resonance at zero. We can keep keyboard tracking off as we aren’t playing any high notes. We could go lower for a more subby feel but we’re going to modulate the cutoff with the LFO so we need something for it to work with. We turn down the (quite large!) cutoff knob, stopping at 11 o’clock. We also make sure to turn up the volume on the mixer. We don’t need to get a second oscillator involved as we want a pure tone without so many harmonics. We start with the oscillators and choose a square wave on Oscillator 1 for a nice, round sound. Let’s start our track with some of that famous Moog bass. Moog’s synths are well-known for their bass and the Grandmother is no exception.