Hi,

at this point right now producing new tracks is a big effort and I need some time to make a step back to make the workflow easy and funny again. How it should be. Instead of staying with the same track new ideas are tried out and at the same time i like to share some of the experiences from previous production.

Now I have a brief description about one of my favourite plug-ins, Calf multichorus. Many complain about some Plug-Ins being
not working at all or not the way they should. Calf Multichorus works effortlessly and has a lot add to your favourite piece of music.
Here my notes to this effect:

calf multichorus -> min delay: overall shape of effect
mod depth: wetness of the delay
modulation rate: frequency hz complete effect
stereo phase: left mono, right stereo
voices: multiplies your input
inter-voice phase: somehow mixes the voices (noticible the more voices, add little bit stereo, subjectively
amount: wetness of complete effect (left is disable, turns off all modulators)
dry amount: turned completely off mutes the original input without amount
but if amount put higher only wet (effect only) sound is left
center frq 1: first frequency (low shoud be bass, high treble)
center frq 2: look above
Q: normally bandwith and in this case low Q turns center frq 1/2 up and high
Q turns it down resulting in more quiet loudness. If center freq1/2 is too present
you can smooth it turning Q to the right
Overlap: left is disabled and right turns the sound big with a bit stereo.

They were created in this track. Feel free to use and disable the Calf Multichorus so you can listen to with and without effect.
The quality be different and the specific melody get way more unique. The effect is inside melody.

https://lmms.io/lsp/?action=show&file=23555

Of course you are invited to get a closer look to EQing, Sidechaining, instrument and drum synthesizing.

I posted already a Drum Tutorial on LSP but to clone it to the forum is a helping idea for sure.

The Drum Sythesizing Tutorial:

To be honest writing something about my workflow feels good and helps making some new progress.
There is a lot of repetition and one and another step can be explained. First the normal BPM are 280
but since late changes are now 370. This just worked out best from some experiments.
Second is the routine which samples are right at the beginning of the track. Every sound is engineered
new starting with a kick (Kicker) most cases following by the bass (Watsyn). No idea what the right
term is but kick and bass are four step seperated. Simple easy to make kick-bass rythm.

Kicker can be easy adjusted for kick with the ADSR section. You can leave it with default settings and
just try out some different ASDR styles. Short Hold, Decay and a smooth Realese and attack to erase some annoying click.
Make the right frequency a little bit higher or just go 100% Noice with different adjustments of env. slope and/or distortion and you can get a really strong punching snare.
With Watysn for the bass just try out some waves and how they are mixed together. Staying with the same wave is easy to get a feeling for what you like. With really short HOLD you will create a fast bassline. Or you find out how to accompany your track with a fitting bass for a more complex soundpicture.

For now Kick, Bass and Snare are finished. It makes sense to look at the Hihat now. A Hihat is good to be in rythm with track for a beautiful melody. Hihat normally is made out from white noise with a lot of high pass filtering but there are endless options because nearly every short sound high passed can potentially be a HiHat. My route of choice is the tripple oscillator with the upper mixing synced and the lower setting FM-modulated. Vice versa is meant
Maybe it doesn't matter how the waves are mixed but white noise high passed with this setting resulted in a good enough Hihat.

Now the raw mix has enough rythm to look for the melody now.
Just pick the synth of your choice and choose between fast Arpeggiator oriented melodies, maybe some pad or whole compositions.
There are no boundaries to your imgination. What I like is some Arpeggiator with Tempo Sync, just under the "set to controller" setting appearing if you right click "time". With gate you can choose how long your sound is and the mentioned "set to Controller" can be used for sidechaining with a peak controller.

If you use no Pad but some short guitar like melody you can leave some space betweennotes and try out echo and feedback effects. There are really
identical to a delay and can result in fantastic trance melodies. The alternative is using a Delay instead for example Calf Vintage Delay LADSPA.

The whole text can help to create a Kick,Snare,Hihat and Bass. If you can create this eather like a beginner or professional this desription fullfills it purpose.

This is it for now. Have fun.

https://lmms.io/lsp/?action=show&file=23485

This is the end. You made it, congratulatios. To give something like reward to you some words about the hardware because here and there people are curious about using a Raspberry Pi for soundengineering. You can use LMMS on a Raspberry Pi natively. Download and starting the software is as easy as turning a computer on. 4GB Ram let you have about 40 audio tracks. More is possible but your program will crash a lot. Make sure to backup. 8GB is enough to stay with LMMS and learn for years without any additions but an Audio Interface and even hat is provided by Raspberry Pi. Having the Audio interface you just need headphones or speakers and you are ready to go. Easy as that. As simple as it gets.
This last part here is just an answer to all people wondering about the performance of LMMS on Rspberry Pi.

I had to decide between Music production and Tutorials sub-forum and ended up here because all topics get checked by Moderators. If this is missing in tutorials you can find it in Music Production.

Enjoy your favourite hobby.