- (Instructor) In the previous video,
we started taking a look
at the resonator section of collision.
Let's finish this area by taking a look
at two additional resonator types and the tuning section.
So, I've just got a default set open,
and I'm going to go to my instruments category
and grab a collision and add it to the first track there.
So, if we go over to our resonator one
and to the resonator types selection,
down at the bottom, there are two other types
that we haven't seen yet, and those are pipe and tube.
Now, the difference here is that by definition,
pipe is open on both ends, whereas tube is closed,
so let's check out pipe.
(note chiming)
Now, when I selected pipe,
I hope you noticed that some things changed over here.
First of all, brightness is not available with pipe or tube,
and up here with decay and what was materials,
now we have decay and radius,
and then with pipe only, we get this option for opening.
So, let's start with radius.
So radius defines the radius of the pipe or tube,
and as it gets larger, it's going to get more resonant.
Let's check that out.
(note chiming)
You'll notice that there's also a change in pitch
as we move that around.
Now with opening, we can actually close one end of the tube
as we lower that value at a 100%,
both ends are completely open.
(note chiming)
So, we can hear that it changed several things there.
The tone definitely changed,
we got a clearer pitch out of that,
and the pitch was even more affected by that parameter.
If we go over to tube, we lose opening
and we just have decay and radius.
(note chiming)
Now, because we don't have brightness,
we're going to end up relying a little bit more
on the stiffness option
to kind of control the higher harmonics.
Check it out what happens when I,
(note chiming)
yeah, when I increase that, we get a much clearer pitch
and a clear attack.
(note chiming)
So, as we're working on these sounds,
and we're getting close to something we want to use,
we need to work with the pitch with both pipe and tube,
because you're going to find that this is not going to match
the pitch of your other tracks.
So let's drop over to the audio effects area
and grab a tuner plug in and drop that on the track
after collision.
So when I play middle C, let's see what happens.
(note chiming)
Yeah, that's a lot closer to a B natural.
Now, I've got about 50 cents that I can make up here,
let's see if that'll do it.
(note chiming)
Well, I'm only up to B,
I actually need to move that all the way up to C,
so, that got me to B natural,
but let's take the course tuning option
and let's move that up one semitone or one half step.
(note chiming)
And we're just a tiny little bit flat at that point.
So, we have to decide whether or not
we want to move it up two steps.
(note chiming)
Yeah, either way we do this
it's going to be difficult to get it right on
without using both of them
and then the maximum and the fine tune.
But it looks like at this point,
I've got that close to a C natural.
Now, if I go up an octave, let's see what happens.
(note chiming)
So again, I'm flat.
Now, this option here for key, what looks like key tracking
is actually for stretching the tuning.
At 100% you've got exactly equal temperament.
And so if I stretch this a little bit
I can get this to center on the octave a little bit better.
(note chiming)
And you'll find that a lot of times
you actually have to type the values here
because as you try and scroll and you get close
it's really hard to move like one number or two numbers.
So with that selected, I'm going to type 114, and hit return.
(note chiming)
Yeah, so 114 is just a tiny little bit sharp,
whereas 113, is going to be just a tiny little bit flat,
but at least now they're really close.
(note chiming)
Now, the other only other problem here
is if I go down an octave and play a C down an octave,
well, then I'm not even close
because I'm stretching this the wrong way.
So, I'll just comment that you can get about an octave,
or an octave and a half kind of centered
around the part that you want to play.
And you can get that in tune and you'll be able to use this,
but having a wider range is pretty difficult.
(note chiming)
We can play chords and they're in tune.
(note chiming)
By the way, this tube option is really great for bass parts.
(note chiming)
But we'd have to work on getting that octave in tune.
Now, let's check some other settings,
now what I'm going to do to do that,
is I'm going to copy one over to two,
and I'm going to put this in the one plus two mode.
So we'll copy two over then I'll turn on resonator two
and turn off resonator one.
And I'm going to make some slight changes here,
let's extend the radius.
(note chiming)
Something like that.
So now when I check my middle C against this,
(note chiming)
I'm about 50 cents flat.
I'm doing that and I'm not paying attention.
One of the reasons I did this,
is because I wanted to show you that the tuning options
between resonator one and resonator two are independent.
And that's good because now I can take this
and let's go up about 40, 50 cents.
(note chiming)
And I'm just about right on with that.
(note chiming)
And again, I'm still a little bit off
when I go up an octave.
So, I'll stretch that again,
(note chiming)
yeah, this time it doesn't take much,
just about 104,
(note chiming)
maybe 105.
(note chiming)
That's going to get me about as close as I can get with this.
Now, before we move on,
I'll show you one other thing on the pitch option here,
and that is, we have a pitch envelope down here as well.
So for example, if I pull this down a ways,
(note chiming)
you can hear a little bit of envelope that's starting lower
and then pitching up to the target note.
And if I go above,
(note chiming)
it goes the opposite direction.
Now you can control the amount of time
it takes to do that using your time option,
if you want to drag it out,
(note chiming)
we can do that.
Okay, let's double click and reset those.
And now let's go back and turn back on resonator one.
And the last thing I want to make sure
that you're aware of here is that the volume
on resonator one and resonator two are independent.
So, if you want to mix these against each other
you can do that.
So, if I'm going to get the body
of the sound from resonator two,
(note chiming)
I might take the attack over here from resonator one.
(note chiming)
I might raise that a little bit
and then I can pull back the overall level
here in the global section if I need to,
(note chiming)
to get the kind of combined sound of the two resonators.
So, you can hear that the tuning
for the tube type resonators needs adjustment
if they're going to be in tune with your other tracks.
I particularly find the tube resonator useful
for creating wooden bass sounds and electric pianos.
So check it out.