My name is Anthony Chisnall. I'm a musician/songwriter, and I produce tutorial content on the use of Cubase, VST Plugins, and miscellaneous music-related subjects.
Thanks for sharing. I'd never considered making the metronome actually conform to my music, I usually just ignore it if I'm not in 4/4. Now I have no excuse not to dive into asymmetric meters!
This made a big difference in holding chords ,now I practice not using my thumb to press strings and use my right to leverage the guitar to press strings. Thanks for the help!
Love this. I'm bed ridden with the flu in a slightly hallucinatory state at the moment ... and this just hit the spot. Thanks also for all the super Cubase content you create.
You have 32 fully configurable outputs. The kit pieces are split into individual mics (so for example snare top & snare bottom have separate strips), which by default go to group busses, but you can map them any way you like.
@@OneManAndHisSongs Thank you. Edit: The outputs can be activated via Cubase racks. Usually, multi tracks can be activated via the inspector but that's not working with Groove Agent.
Nice! Thanks for the info! I personally love the gator grips myself, never realized they were smaller. Been using tortex jazz picks as well. Idk if that makes a difference.
The tuner in that series is Steinberg's tuner (it comes packaged with Cubase). These days, however I use GTune (by GVST). I find it to be a little more responsive The spectrum analyser is iZotope's Insight 2, and the oscilloscope is Steinberg's SuperVision.
Thanks for the tutorials on this pretty complicated synth. Unfortunately you haven't yet touched the function, that I have most difficulties understanding, and which is also not touched in other presentations of the synth and not explained in the manual! What is the knob "vector position" exactly doing? It seems a lot of variations, but I don't understand the systematics in it, and for a while, I couldn't get back to the original sound. You helped me by describing, that you have to edit another performance, and then the the first one "defaults" itself. Not very logical! But I would really appreciate, if you made a video about the "vector position" knob and what it precisely does. Thanks for many good videos from you. 🙂
It's nothing special in itself - it's simply a mixer for controlling the relative volumes of the 4 Oscillator Output volumes. In one of the earlier videos in this series I create a preset with 4 different sounds, and you can hear each of them getting louder and quieter as you move the joystick around. Think of it like a 4-way mixer where the total volume of all 4 outputs always equals the same value. You can have 25/25/25/25 (i.e. joystick in the middle), or 100/0/0/0 (joystick touching 'A'), or any other combination that adds up to 100.
Thank you for this very complete video. There is one thing that I cannot do with the automations and I cannot find a solution despite my research. For example, on Flux or on Trip, when I assign a button and use my master keyboard, the automations are written in the midi editor instead of the main Halion window. So there is much less precision in the data. How do I get the aumotation to be written in the main window? THANKS.
It might be worth watching the episode on V7 (ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-8fjvI5zH_qE.html), even if you don't own it. The automation is largely identical between versions. At the end of the day, an easy way to ensure you always write automation instead of MIDI CC data (which is what's appearing in your MIDI editor) is to use Write Automation rather than pressing Record, but the difference between Automation and MIDI is complex so there's no quick answer.
Hi Anthony, just listened to the complete piece and very much liked it! I've transcribed "Atuel" that I mentioned in the previous post, and found that it flatly refuses traditional harmonic analysis altogether. Your 8-bar fragment does, either. Do you think it might not simply be using functional harmony at all? You already noted that the only mode that it fits into is just not it. But I don't really hear a change in the tonal centre, you perhaps know what I'm talking about - it evades establishing one firmly in the first place. I believe that it simply doesn't have one, and it's precisely what makes it's so uneasy and unnerving. The first two bars set the tension, the next two don't relieve it entirely, rinse and repeat. I was looking for similar tricks, and had come to think that they're fairly common in the modern music. I don't know, maybe I'm out of sorts, but I'm starting to pay attention to and rethink the stuff that I listened to, and by far not all of it makes harmonic sense - perhaps we're just focussing on the 200-y.o. harmony rules too much? In the end, I'm confused. You indeed prompted me to try something in this fashion! I think I'll take a children's song and turn it into something mysterious, cold and uncanny using the same technique. TIL a seriously new way to _not_ think about harmony… :)
Thanks for the feedback, I really appreciate it. I suppose the tl;dr is that this stuff is useful to exactly the extent that it usefully produces music (a circular argument, I know, but that's really the point.) In the case of that particular piece, I felt as if I was modulating tonal centres, and that made me play in a different way to if I wasn't. That, in turn, produced music I liked, so it worked. If I'd have stuck in a single key, the piece would have gone in a different direction, and that might have ended up in a good place too, but it would have been a different good place!
Hi, I just bought Cubase 13 update from cubase 9. And I can't activate the product, I followed the instructions on Stenberg's website and still can't activate it. The activation period is 3 days, I don't know what will happen after 3 days. Can anyone help me, guide me to activate it? Can you help me via ultraViewer?
Hi Anthony. Really liked this. Another nice sinister one for the score of a horror film where a group of teenagers are somehow inexplicably trapped in a dark abandoned mansion where the lights don't work which is occupied by an evil mad scientist / highly aggressive alien / sociopath with an axe / ghost of a victorian child / hillbilly with a chainsaw / double glazing salesperson and for some completely bonkers in the head reason they decide to split up into small groups or even wander up and down corridors as lone isolated and extremely vulnerable individuals rather than staying together in one big group. This just seems to make more sense to me because when they are inevitably confronted by said malevolent presence, instead of being picked off one by one, all 12 of them could just jump on it, beat the living daylights out of it and then throw it out of a fourth floor window thus getting rid of the problem once and for all (unless of course there's going to be a sequel, in which case it doesn't). Anyway ....... Were you modulating the filter cutoff on that MS20 VST with the sequencer or was it the LFO? Keep up the good work.😀
Yup! In our house we call it the Scooby Doo scene - let's split up & get killed :) The MS-20 modulation was LPF Cutoff Automation manually generated by me from a fader. I always find filter mod sounds better when done manually rather than using an LFO if it's of the slow & evolving kind. It makes me feel more connected to it too.
Greetings- Big ups frum Beautiful Brazil This was thoroughly, calmly and at the right speaking pace explained! Big ups because though mi usually figure all kinds physical and virtual samplers, MI WAS COMPLETELY DUMBFOUNDED ON DI CONTROLS, DIFFERENT MODES AND FUNCTIONALITY IN HALION! Blessings ahn nuff RISPEK
Hello Anthony, Greetings from Iraq! I admire your effort that you put into this channel and ive watched most of your playlists that are as good or even better than reading the actual manual of whatever software you're teaching. i just finished the Groove Agent playlist and i have a question i hope you can help me with. So when assigning pads to different outs, is there any way of assigning multiple pads to outs sequentially rather than assigning each of them one by one to out 1 then out 2 and such? My DAW is cubase btw. thank you for your work again!
Hi, thanks very much for your feedback - I'm glad you're enjoying my videos :) As for your question - unfortunately it's not possible to assign auto-incrementing outputs to your pads. The best I can suggest is that you create yourself a default preset with the output mapping of your choice and use that as your template, but I appreciate that's not much use for loading presets :(
@@OneManAndHisSongs Oh dang man, it would be a very handy feature to have. anyway thanks a lot for your help i appreciate it and the preset trick is also a very helpful way to go about doing it.
Although I definitely see that this video is meant well, I think it's a bit overly pessimistic. I got pretty much the exact fingers dimensions as you do but have over time developed flexibility and strength to play with my thumb over just fine. Being careful about hurting your hands is important, but identifying with challenges can stunt progress on the instrument. Cheers
Excuse me, my joystick is broken and I would like to disable the joystick. I don't have the M1 V2 software. I entered edit program and typed the 7 key. To select the joystick, I should enter 7-2 but I can't with page+ or page -. Could you help me? Thank you
Thank you for posting this video. I have really small hands, smaller than yours so its been even more challenging. Some songs are just not playable and so many guitars cant be considered. Do you have any recommendations for acoustic guitars with slim necks? I also saw you use a Fender Strat, how is that neck vs your Ibanez? And does shorter scale length help?
My acoustic guitar is a Faith Blood Moon, and I love it. I wouldn't say it's particularly slim, but it's certainly not a problem and feels really nice under the hand. Yes, I use a Fender Strat. It's an American Deluxe, which have very smooth necks, Some strats have much thicker necks, so you should try before you buy. The Ibanez neck is nicer to play (in fact the JS-1000 is the nicest PLAYING guitar I've ever held), but at the moment I only play my strat (no reason, that's just the way it is). Shorter scale will help physically, but scale affects tone and string tension too, and I personally prefer the feel of the standard scale.
Interesting! A dissonance and creepiness aficionado here. This semitone shift is often used to create a sense of spookiness. I was immediately reminded of _Atuel_ by Pabellón Sintético - he's on bandcamp. Though I never analysed it to a note, the beginning with the tines and the repeating F#/F root and bass is not written in a mode, rather all notes simply transpose down and up a semitone. Secondly, I'm reminded how you can play "fake Flamenco" in the E Phrygian Dominant scale over the pair of chords on the guitar with a similar semitone shift into a dissonant chord: the standard open E, and a dominant quality chord E-B-A-F-C-E (0-0-2-3-3-0) which fits the harmony surprisingly nicely, and which I hazard to analyse as F7add11/E (everybody learning guitar discovers this simple progression, so it must sound familiar; it's just its Phrygian Dominant quality that's not patently immediate, so a dominant chord II, not V, looks weird). Something like that may be going on in your piece as well. A nice exercise in harmony, really: I don't perceive a modulation every two bars, it seems to sit stubbornly in a mode, but I can't say which. It would be interesting to look at this 8-bar movement again, perhaps later: meanwhile, I'm trying to finish reanalysing a filterbank from someone else's NumPy construction into C++… 😫
Bit late to the party here but I just want to say thanks for this series. The pacing is fantastic and makes this monster of a program easier to digest!
Great info..... you are unique, I never found such detailed and dry info anywhere else. It's like a manual with spoken text and moving graphics FCKNHLL !!!!
Thank U.. I had the hardware in another life. These tutorials are very interesting as they will help me to decide if I'll get this plugin. It was a fantastic synth if you did the effort to program your own wave sequences, patches and performances. This takes time but you'll have sounds nobody else has. I guess many owners got suck in the presents but the real gold is in creating sounds from scratch and start with making wave sequences and use four variations(oscillators) of those to create a patch and eventually grow from there in combining parts(patches) into a performance. The FX where good and all this combined with Vector and Modulation and you're in an infinite universe of evolving sound. Using the joystick ads enormous joy and direct manipulation. This synth is a dream for Poly-rhythmic and/or Poly-melodic evolutions and all this fully polyphonic!!! And don't forget you don't have to play all notes at the same time to play chords .. the possible variations are beyond imagination !
