![]() ![]() Tellingly, this walkthrough only just scrapes the surface of what can be achieved with samples in Alchemy, but it’s a good springboard for further exploration and, most importantly, a good grounding in its principal sonic architecture. Purely on the filtering alone, for example, the EXS24’s paltry six filter types look almost insignificant compared to the dozens of filters included in Alchemy. While I would always favour the EXS24 for more complicated mapping tasks, Alchemy clearly comes out on top when it comes to sonic mangling. Like many people, I had initially overlooked Alchemy’s ability to work with samples in favour of the more tried-and-tested working environment of the EXS24. The plugin is compatible with Cubase, Logic Pro, and Ableton Live. As the walkthrough illustrates, this can sound great on drums, particularly for glitch-like treatments in harder forms of electronic music. This is available for both Windows and macOS users in 32 and 64-bit. By repeating these grains, a sound can effectively become frozen in time, or you could slowly move through the grains to produce a wavetable-like sound. Rather than simply playing back the sample data sequentially, the Granular mode sees the sample data as a series of sound grains, each lasting no more than a few samples. Imported in as a Granular sample, Alchemy can perform a number of unique tricks in relation to ‘freezing’ the sound. One of my favourite creative applications of Alchemy is the Granular Engine, which is one of the alternative ways you can import and manipulate sample data. The walkthrough illustrates some examples using drum samples, but there are any number of interesting options to explore outside of this, especially when you start to also add in the possibility of including modulators (like LFOs and step sequencers) to control these signal processors. The immediate creative task is to think about how each of your four Sources could use these features, maybe routing groups of Sources through different filters, for example, or using a different effects block for each Source. The key signal-processing features to note are that the playback engine has two separate multi-mode filters as well as four independent effects busses (A, B, C and D) and a Main effects bus. Once the sample data has been loaded into a Source, we can start to get creative. ![]() One key concept to grasp as this point, though, is that the samples can be imported using a series of different modes – Additive, Spectral, Granular and Sampler. In this video, Im going to show you my workflow and some tips for when you sample 808s in Logic Pro X. Instead, Alchemy’s Import Audio feature is a quick-and-easy way of importing audio files into the synthesis engine, which is perfect for a few drum samples, like those illustrated in the walkthrough, or some basic multi-samples. Alchemy’s Import Audio feature doesn’t quite match the EXS24’s ability to import and map samples, so if you’re after some complicated mapping options, I’d stick to the EXS24. ![]()
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