These audio files accompany my Power Up Your MIDI Arpeggiators article in SOS December 2023 edition. Read the full article here:
www.soundonsound.com/techniques/power-your-midi-arpeggiators
MIDI Plugin Workshop Audio Example 01
This example was created using Logic Pro. A four-bar chord sequence is used as the basis for this example and contains just the solo’ed arp-friendly synth sound mentioned within the main text. This chord pattern is repeated a number of times with a short silence between each cycle with each instance using different arpeggio settings within the Arpeggiator MIDI plugin.
As described in the text, the Arpeggiator is configured to respond to the MIDI velocity of the incoming trigger notes. The chords themselves were generated from single note triggers using Logic’s Chord Trigger MIDI plugin. The first instance, a simple four-note ‘up’ arpeggio is heard, with each chord (major or minor) formed from a simple triad (with the root note repeated an octave higher). Subsequent instances simply use different arpeggio styles from within the Arpeggiator plugin. For the final instance, the same chords are voiced wider (within Chord Trigger, a preset was created where the notes span a wider pitch range) to change the nature of the arpeggio. This combination of the Chord Trigger and Arpeggiator MIDI plugins make it very easy to experiment with chord sequences.
MIDI Plugin Workshop Audio Example 02
This example was created using Cubase Pro. A same four-bar chord sequence is used as the basis for this example and contains just the solo’ed arp-friendly synth sound mentioned within the main text. This chord pattern is repeated a number of times with a short silence between each cycle with each instance using different arpeggio settings within the Arpache SX MIDI plugin.
As described in the text, the Arpache SX is configured to respond to the MIDI velocity of the incoming trigger notes. The chords themselves were generated from single note triggers using Cubase’s Chorder MIDI plugin. The first instance, a simple four-note ‘up’ arpeggio is heard, with each chord (major or minor) formed from a simple triad (with the root note repeated an octave higher). Subsequent instances simply use different arpeggio styles from within the Arpache SX plugin. For the final instance, the same chords are voiced wider (within Chorder, a preset was created where the notes span a wider pitch range) to change the nature of the arpeggio. As within Logic Pro, this combination of the Chorder and ArpacheSX MIDI plugins make it very easy to experiment with chord sequences.
MIDI Plugin Workshop Audio Example 03
This example was created using Logic Pro and illustrates the use of randomisation and probability options to add variety to the created arpeggio patterns. The same four-bar chord sequence is used as the basis for this example and contains just the solo’ed arp-friendly synth sound mentioned within the main text. This chord pattern is repeated a number of times with a short silence between each cycle with each instance using gradually more by way of randomisation and probability adjustments applied via multiple instances of the Randomiser MIDI plugin.
The original simple pattern can be heard within the first instance for reference. In subsequent instances, the velocity of the notes is gradually randomised, some notes are given a zero velocity based upon probability and, finally, probability-based pitch randomisation is added. Once pitch randomisation is applied, the Transposer MIDI plugin is also used to ensure that all the notes remain within the chosen key/scale of the project. This combination of MIDI plugins can easily transform the original arpeggio performance into new forms. These can be captured as MIDI data for further editing and development.
MIDI Plugin Workshop Audio Example 04
This example was created using Cubase Pro and illustrates the use of randomisation and probability options to add variety to the created arpeggio patterns. The same four-bar chord sequence is used as the basis for this example and contains just the solo’ed arp-friendly synth sound mentioned within the main text. This chord pattern is repeated a number of times with a short silence between each cycle with each instance using gradually more by way of randomisation and probability adjustments applied via a combination of the Transformer and Density MIDI plugins.
The original simple pattern can be heard within the first instance for reference. In subsequent instances, the velocity of the notes is gradually randomised and then pitch randomisation is added but with Transformer also ensuring all notes stay within the chosen key/scale. Finally, the Density plugin is added to the processing chain and the probability value is automated to change the proportion of notes removed from the arpeggio pattern. Again, this combination of MIDI plugins can easily transform the original arpeggio performance into new forms. These can be captured as MIDI data for further editing and development.
MIDI Plugin Workshop Audio Example 05
This example was created in Logic Pro and illustrates the same techniques used previously but places the arpeggiated and processed notes patterns into a simple (not a full mix) musical context. Drum and bass parts are therefore added to support the same four-bar chord sequence. This repeats a number of times, starting with the simple arpeggio pattern but then gradually applying more of the pitch, velocity and note removal randomisation with each pass. By the fourth cycle, the arpeggio becomes more of a melodic line that an obvious arpeggio and, with more extreme settings, takes on an almost abstract format. This behaviour could easily be cycled multiple times to generate multiple melodic phrase ideas and that might then form the basis for further development.
MIDI Plugin Workshop Audio Example 06
This example was created in Cubase Pro and illustrates the same techniques used previously but places the arpeggiated and processed notes patterns into the same simple (not a full mix) musical context as per the Logic pro example. Drum and bass parts are therefore added to support the same four-bar chord sequence. This repeats a number of times, starting with the simple arpeggio pattern but then gradually applying more of the pitch, velocity and note removal randomisation with each pass. By the fourth cycle, the arpeggio becomes more of a melodic line that an obvious arpeggio and, with more extreme settings, takes on an almost abstract format. This behaviour could easily be cycled multiple times to generate multiple melodic phrase ideas and that might then form the basis for further development.