Tips - Fruity Loops Studio Tutorials

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Fl Studio & Autotune Tutorial(How To Get The T-Pain Effect)

this is my beat/tutorial accout im using!!
people say that the origional video didint give enough info, so i made another one with more!

Vsti plugins fl studio tutorials

Song Info:
one of my mixes from my upcoming mixtape called “The Main Ingredient”
Song Name: Freeze(Damaged)Remix Vsti plugins

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Tips and Tricks Tips and Tricks on how to use FL Studio

Tips and Tricks on how to use FL Studio

tips and Tricks VSTI plugins fl studio tutorials

How To Detect The Tempo Of A Song In FL Studio como detectar el tiempo bpm usando fruity loops tutorials gratis

A video that demonstrates how to detect the tempo of a song within FL Studio 8. This is very useful for people who wish to match the tempo of a song, or to remix the song.

fl studio fl7 fl8 music vsti plugins fl studio tutorials

Fruity LSD tutorials manuales tips fl studio secretos ocultos

Fruity LSD

Fruity LSD allows you to access the synthesizer built into your soundcard from within FL Studio and provides sixteen MIDI instruments with an option to import DLS level 1 banks. Since Fruity LSD is a software synthesizer, you can process its output with effects, just as you would with a normal generator. A combination of sixteen instruments (fifteen instrument channels and a drum channel /10/, as in a standard MIDI interface), Fruity LSD is a virtual software MIDI device that can also be attached as an effect in a mixer track.

With Fruity LSD, you can control the sixteen channels with MIDI Out generators added into the Step Sequencer, just as with a normal MIDI device. Set the same MIDI port in the LSD plugin and the MIDI Out channels you will use. You can set the patch name and bank number from the MIDI Out channels as well, but since this may be confusing when using custom DLS banks (the MIDI Out channels will display only standard MIDI instruments names), it is recommended that you set the patch from the Fruity LSD editor directly.


The Fruity LSD (effect) is loaded into an effect slot on the mixer channel/s of your choice. It feeds the audio from your soundcard directly to that location. To control the LSD plugin from within FL Studio (Piano roll & Stepsequencer) you will need to use it in conjunction with the MIDI Out (instrument) plugin. Load the MIDI Out into a channel and set it to the same Port number as the Fruity LSD, the default is Port 1.

Note: You can control each of the 16 instruments available on the Fruity LSD plugin from a single MIDI Out Piano roll by utilizing the note colour groups feature that transmits each color on a different MIDI channel, see below:


Main Parameters

  • Bank - Lets you set the DLS bank to be used for synthesis. Click the browse button to select a DLS file. By default, Fruity LSD uses the Roland GM/GS Sound Set (which is default for the DirectMusic synthesizer as well and is usually located in ‘windows directory/System32/GM.DLS’). The DLS file used is not included in the FLP file, but is stored as a path instead.
  • Port – Sets the MIDI port number from where Fruity LSD will receive MIDI events (notes, volume changes etc.). You should set the same port in the MIDI Out channels that will be used to control the Fruity LSD. It is recommended that you avoid using port 0 with Fruity LSD, since this port is reserved for the main MIDI playing output in FL Studio (that one you set as ‘Playing output’ in the MIDI Settings page).
  • Channels List – This is a list of the 16 channels of the LSD with the patch names. Click on a name to select a different instrument for the channel. Channel 10 holds the drum section.
  • Main Volume – This wheel sets the main volume of the LSD output. This parameter is automatable.

Additional Parameters

  • Device – Sets the DirectMusic compatible MIDI device to be used for synthesis. Hardware MIDI devices are filtered in Fruity LSD, since their output can’t be routed to FL Studio.
  • Reverb - Turns on/off the global reverb effect.
  • Chorus – Turns on/off the global chorus effect. Note that this effect is not supported in the built-in Microsoft Synthesizer. However, it is included for compatibility with third party DirectMusic engines that may be used with Fruity LSD.

Notes & Tips

  • You will need DirectX 8 or later installed on your system for the Fruity LSD to function properly.
  • Pan, filter cutoff & resonance per note (in the graph edit or the Piano roll) are not supported – the MIDI standard only supports velocity per note.
  • At low volume, you may notice some noise in the Fruity LSD sound (you can hear it clearly on decaying notes if you put a compressor after it in the FX track). This is not caused by the Fruity LSD plugin itself, but by the DirectMusic synthesizer. You can partly fix this problem by using Fruity Filter or an equalizer to remove the very high frequencies of the output.
  • There are several tools available for creating custom DLS banks. LSD supports samples per region, envelopes, LFOs etc. With tools such as Awave, you can also take advantage of hundreds of freeware SF2 (SoundFont) banks you can find on the Internet by converting them to DLS format.
  • See DirectX for copyright notices about the Roland GM/GS Sound Set.

Plugin Credits: Didier Dambrin

Thanks To: Chris Moulios for the source code

tips para mejorar tecnica de produccion en fl studio

que debemos de hacer para mejorar nuestra tecnica de produccion en fl studio?
que hay que hacer para hacer mejores temas, mejor calidad en sonido..?

primero antes de todo, hay que usar el programa, ponerse a hacer temas improvisado, planteandose metas y objetivos como por ejemplo:

hacer un tema trance, tecno, house, hardcore o lo que sea, la tecnica se mejorar unicamente practicando, y practicando y creando mas temas para que el nivel de conocimiento se incremente en todos los aspectos.

es importante compartir nuestros temas propios creados, para que los demas hagan criticas, y siempre tomar el lado bueno de nuestras producciones por muy criticas destructivas que sean…

cuanto tiempo dedicar en fl studio?

el tiempo es factor clave en nuestra progresion, si le dedicamos poco tiempo al dia las estadisticas indican que nos tomara mas tiempo en dominar el software y nuestra mejoras en produccion…

lo mas recomendable es dedicar minimo unas 4 horas continuas por dia minimo para estar reconcentrados en lo que queremos hacer… y asi avanzar a un buen paso…

sino tienes tiempo para producir musica, no esperes mucho pero si tienes todo el dia para hacerlo, pues aprovecha ese tiempo para mejorar tu tecnica y sacrifica algunas actividades de tu vida diaria, valdra la pena a largo plazo :D

a la hora de hacer una produccion dependiendo de la complejidad que esta tenga, nos llevara horas , dias, semanas incusive meses…

si solo dedicas 1 hora por dia y al dia siguiene continuas con la misma cancion y tu estado de animo cambia muy dificilmente retomaras el tiempo pq el estado de animo es otro factor clave a la hora de producir

es el estado de animo factor clave en nuestras melodias o musica ?

por supuesto si vivimos felices en nuestras vida, generalmente las canciones seran alegres… si tenemos problemas preocupaciones o tristezas eso se reflejara en nuestras producciones…
y cuando se andan en momentos desesperantes y de caos… los temas seran muy agresivos…

es por ello recomendado trabajar lo maximo el tema al dia para que no cueste retomarlo el dia siguiente, y si esto continua asi de mal se acumularan muchos temas incompletos que lo unico que hara es llenarnos mas de proyectos inconclusos…

espero que estos tips basicos e indispensables les ayuden a todos los fruity loopers y a todos en general…


How to use fruity loops tutorials texts & images explained english version

  • Using Fruity Loops

    The Step Sequencer

    In order to understand this tutorial, you will need to know the basics of operating FL. When you start up FL studio you should be greeted with a screen with a bunch’a blocks on it.

    This is the step sequencer. The step sequencer is where you make the patterns that make up the song. The different drum parts, the different “riffs“, and so on. Then you assemble this riffs in the playlist, which I will explain next. I will explain the parts

  • Drums

    I know, reading this is boring, so I’ll give you a little something to do.
    Make sure you are editing the first pattern. (make sure the little led display with “PAT” underneath it says 1)

    See the kick instrument? Left click on the box at the beginning of each beat. Like so..

    Hit the play button. You have just made an extremely basic drum beat.

    Mess around with the drum instruments you see here, left click to add, right click to remove. Dont go overboard with the drums!

    When you are ready to move on.. move on!

  • The top bar thing.. I dunno what to call it.

    01. These little buttons switch between the pattern in the step sequencer, and the entire song in the playlist.
    02. Little slider to slide through the song.. :P
    03. Play, Stop, and Record.
    04. Adjusts tempo, just click and move the mouse up or down.
    05. Selects a step sequencer pattern. Adjusted like tempo.

    06. Playlist editor. (F5)
    07. Step Sequencer. (F6)
    08. Piano Roll (F7)
    09. Browser. (F8)
    10. Mixer. (F9)

  • Basslines

    Now you will learn how to add a bassline using the piano roll.

    But, first, remove all the fiddling you did with the drums, or open a new project with File > Open.

    Now, put a kick on each beat, and a hihat on each offbeat, and a clap on the 2nd and 4th beat. like so.

    Click play to see how it sounds. Nice and simple. Now, for the bass. Right click on the snare, and go to Insert > BooBass. A screen will appear with the boobass settings, this synth is very basic, and only has 3 knobs, Treble, Bass, and Mid. Mess around with them if you like, and see what it sounds like with the little keyboard on the bottom.

    Once you are done with that, right click on the BooBass and select Piano Roll, a window will appear, it will have a keyboard on the right, and a buncha empty slots. It appears a little daunting at first, but it isnt hard at all. Basically, on the big bunch of squares next to the keyboard, you place notes. The time goes from left to right when you click play. You place notes just like you did with the drums. But now, you can drag them around, and change the notes. Make something like this.

    This makes an eighth note play on every offbeat at C5. Press play. Starting to sound like a song isnt it? I put the bass on the offbeat, so the mix doesnt get muddy, if I had the bass and the kick going at the same time they both take up a very similar frequency range, and things would get kind of muddy. The Kick-Bass pattern is a staple in most electronic music styles.

    Now go to the next measure in the piano roll, place the same pattern at F5, then the next measure should be G5, and then F5 again, A simple I,IV,V progression. Click play. Didnt sound right did it? The drums only played during the first measure didnt they? Easy fix. Toggle the little box next to the arrow at the top right of the step sequencer. (Labeled with a 2 on the diagram). Press play, and the drums should repeat every measure.


  • Playlist Editor

    Press F5 to open the playlist editor. It looks kinda similar to the piano roll, but you organize patterns instead of notes. Place the pattern with the bass and drums you just made, which should have been pattern 1, so just click next to pattern one, and position it to take up the first 4 bars. Place another to take up the next 4 bars. Mouse over to the play button, but before you click play, toggle the little square with the word “SONG” next to it, to play the stuff in the playlist, instead of the one pattern in the step sequencer. Then click play. (You can click anywhere on the blackish horizontal bar with the numbers on it to skip around the song.)

  • Making A Good Synth Sound

    Time to program a nice lead synth!

    01. Right click one of the instruments in the step sequencer and go to Insert > 3xOSC.

    This synth has some pretty complex controls compared to BooBass. This synth has 3 synths that play at once. (Hence the 3xosc). Press some buttons on the little piano keyboard. By default, this synth is pretty plain sounding. Lets spice it up a bit.

    02. Under Osc 1 click the shape that looks like a backwards N, this changes the wave of the sound to a rough saw shape, instead of a smooth sine. Still sounds pretty plain though doesnt it? Go ahead and change all the OSCs to this shape.

    Osc stands for oscillator, it basically generates a very simple sound waveform in the shape you specify (The white buttons), This intrument, layers 3 oscillators over each other. The settings we just plugged are refered to as a Super Saw most of the time, these settings are very overused, and appear in hundreds of trance songs. Producers have grown sick of this preset, and most hate it to death. But, it will work for now.

    The Knobs next to the osc are Volume, Pan, Course Tuning (1 note at a time), and Fine Tuning (around a cent at a time, up to 50 cents in either direction). By default, the Course tunning is set to have a 3 octave harmony, and the fine tunnings are all at 0 detune.

    03. On Osc 2, very slightly adjust the Fine knob to the left, and on Osc 3, move it slightly to the Right.

    This will create a chorus/flanger effect. The slight dissonance between the 3 oscillators makes the intument sound wider, fuller, and bit fatter.

    04. At the top of the 3xOSC window, click on Misc, and toggle the box that says Porta.

    This will make thesynth slide from note to note, mosts lead synths sound better with a subtle slide. The knob labled slide, changes the speed of the slide, leave it at default for now.

    05. At the top right of the 3xOSC click on the box label FX, and drag your mouse slightly upward, so it says 1.

    This routes the instrument through the first Effects channel. Press F9 to open the mixer. There should be a master, and a bunch of inserts, and 4 sends. The inserts are the places where you insert intruments to add effects, adjust volume, EQ, ect. The master add effects to the entire track. The sends are a little weird. Sounds can be sent here via plugin, or sometimes synths have options to send parts of the synth to one of the sends. I will explain the uses of the sends in a later lesson.

    06. Click on Insert 1.

    This is the insert you just routed your new synth too. All the way to the left. There is 8 things labeled from 1 to 8, these are the 8 slots for effects.

    07. Click on the arrow next to one of the eight slots, and go to Select > Fruity Reverb.

    Adds a reverb effect to everything in insert 1, which is only the lead synth we made.

    08. On the new window click on the button in the very top right corner and go to Presets > Subtle.

    This will change the settings of the reverb to something more subtle.

    09.Now add an effect to slot 2, Insert > Delay 2. Set the preset to Stereo Effect, and adjust the Cut knob to a little less than half way.

    The cut knob adjusts the effects low pass filter. This will make the higher frequencies the repeat be cut out, so the repeat isnt as pronounced as the note itself. Play around with the keyboard some more, see how it sounds.


    The settings for the synth, and the effects. (Dont just copy this, there is another step, and valuable information in the above paragraph)

    Now, to write the lead. Got to pattern 2. I felt like doing a corny major happy riff thing. So I did. (See the pattern below)Basically, its the root of the chord in that measure, the major 3rd, and the 5th, its basically and arpeggio of the Cmajor chord. And then, you select the lasso tool from the tools at the top of the piano roll, and select all of the notes. Hit Ctrl+c to copy, scroll over to the next measure and paster, drag the notes up to F6, so it transposes to an Fmajor arpeggio. Do that for the paste and transpose to G for the next measure, and then F measure for the last measure, a simple, happy sounding major lead. Now, place that pattern in the play list matched up with the second 4bars for pattern 1.


    Hit play. The bass and drums should play, and then the lead should kick in the second time around.

  • These are some of the basics of Fruity Loops, the next chapters will cover more techniques I use, how to program a Sytrus synth, how to make a complete song, and how to mix and master it!

    Download the Fruity Loops project file here.

  • Fruity Loops Tips 1 – video tutorials

    tips for fruity loops video tutorials

    What’s the best way to get an answer to a problem I have with some software I just bought?

    Helpful Tips For Software Users…

    like to think that the readers of this site are generally above average intelligence, so this won’t be useful at all to you. However, I provide this helpful tutorial, in the hopes that when someone Googles something like “why does everyone hate me?” this will show up as a possible answer, and all will become clear.

    Q: What’s the best way to get an answer to a problem I have with some software I just bought?

    A: Don’t write the company an email and make the sum total of your communication “This software does not work!” Chances are quite good that yes, in actual fact, it does, but you fucked up somehow, or your computer is hopelessly tooled. It might be worth letting the company know, e.g., what sort of computer you own. Stuff like that always helps.

    Concise is nice, but the simple fact is that the more information I have, the more likely I am to know exactly what it is that is wrong and how to fix it. The vast majority of problems are quite common, and easily fixed. On the Mac, permissions are always screwed, or someone unzipped with Stuffit Expander; on PC we get a lot of people that can’t quite get it together with respect to buffer sizes. (Thanks a lot, Image Line. You’re my hero.) We will occasionally get system-specific problems, always on Macintosh, that are simply baffling, but they never fall in to the “This software doesn’t work!” category.

    So, when you write a company with a problem, include your operating system and its specific version, the host(s) you’re experiencing the problem with, your audio interface, basically anything you can think of that might be related. If you don’t do that, the company (in this case read: “I”) will just have to ask you, and that’s one more unnecessary go-round.

    And if you were wondering, that quoted email above is one I received today, not two hours ago. In the unlikely event that person is a reader here, this may come as a shock to you, but I’m not omniscient, despite what I may have led you to believe.



    1. Get the right monitoring.

    For dance, bigger monitors = better monitors. Bigger recording room = better room. Remember that dj in club will play your track on a big loudspeakers. If you mix your track on a small monitors or headphones, it may happen that your track won’t be suitable for club and dj will not play it.

    2. Make adaptation of your recording room.

    Your producing/listening room has to be well damped, otherwise you will hear a lot of reverberation and sound coloration during mixing. It is very important. If you don’t have a lot of funds (expecially for a large room), don’t worry. It doesn’t have to look great, more important is to do the job.

    3. Do not use noisy sound cards.

    Try to avoid using cheap soundcards below $100. They have very poor quality and are good for gamers rather than music producers. If you have enough funds, consider buying card staring from $300 with low latency and all proper drivers (ASIO etc…). Some cards offer also internal crossing which also might be useful.

    4. Use good sound synth sources.

    There are already some plugins that sound great, however if you only can afford it, invest in a best synth hardware. Hardware in 90% of cases sounds better than software. There are also many different samples on the internet. A lot of samples like sf2, wav, reason refills, midi, vocal samples and acapellas, you may find on this site – also a lot of free samples.

    5. Use good reverbs.

    For your instruments and vocals try to use good reverb hardware units or plugins. Good sounding reverb placed on some instruments in the mix can bring your track to life. If you can’t afford top outboard units, you may use one of impulse-based plugins available on the market. They should work well for your DAW.

    6. Use rhythmic delays on your instruments in the mix.

    Remember that dance, trance, and techno music is based on rhythm. Don’t forget to use rhythmic delays on leads, vocals, arpeggios or trance basslines and other synths. This will help a lot. Don’t forget also to quantize your midi tracks (if you use midi).

    7. Sometimes less bass = more bass.

    Don’t make low frequencies too loud on bass, bass drum or bass line. Kick drum should contain a short click at the start as well as enough power near 200 Hz to be enough “pumpy” for dance. You can easy find a lot of free good sounding kicks on the internet. Remember, bass should also contains some mid-frequencies audible near the 1-3 kHz – not only the lowest-octave bass. Compare your bass to the bass used in a good sounding tracks, you will hear “something else” except of a low bass.

    8. Less instruments = cleaner mix.

    Instead of making many sound layers, try to use not much instruments. Make sure to choose punchy and selective sounding instruments placed in a specific frequency spectrum (not too wide). Try to work on each instrument with equalizers, effects – like delays, reverbs, phasers etc. depending on the sound type. Use eq, to make each instrument staying in its frequency, not overlaying with other instruments frequencies.

    9. Set kick and drum section louder than other instruments.

    It will significantly helps during the mastering. If you will set drum section louder, you (or mastering engineer) will be easy able to make good, pumping master using good compressor. With drums sounding quiet in a dance track, proper mastering can’t be achieved.

    10. Send your track to the mastering engineer.

    Try to not master your track by yourself and use good mastering engineer instead. He has fresh ear since you worked on your track probably a lot of time already. Mastering engineer will tells you the truth about your track, and what you should fix in the mix. You may find a lot of online mastering studios / houses.

    Teclados recomendados los mejores teclados para producir reggaeton

    El Teclado Motif ES de la Yamaha es hoy en día el teclado por excelencia para la producción de Hiphop, Dancehall y Reggaeton. Esta como herramienta indispensable en los estudios de todos los afamados productores de la actualidad como Scott Storch, Lil Jon, Dre, Luny Tunes, Tiny Tunes, Noriega y muchos otros.

    El Motif Yamaha ES viene en tres Modelos cuyo numero de Teclas Varia:

    El Modelo Motif ES 6 , es el mas ligero y portable con un numero de 61 Teclas. El Modelo Motif ES 7 es ligeramente mas largo extendiéndose a 77 Teclas. El modelo mas Pesado y preferiblemente de Estudio es el Motif ES 8 que tiene teclas contrapesadas como un piano real y extiende su teclado a 88 Teclas. Fuera de esto todos los modelos tienen el mismo numero de instrumentos, sonidos y tecnología.

    A continuación te ponemos la avalancha de prestaciones y ventajas del Motif un Teclado Insuperable:

    • 88 teclas, initial touch/after touch (teclado con efecto martillo balanceado).

    • 128 notas de polifonía, 175MB de Wave ROM con formato lineal de 16 bits

    • 1.024 voces normales, 65 kits de batería, nuevos instrumentos étnicos y preajustables de afinación arábigos.

    • Arpegiador con 1.787 preajustes y capacidad máxima de RAM (DIMM) para muestras de 512MB.

    • Superficie de control en tiempo real de expresividad, host USB para almacenamiento en dispositivos USB y nueva opción de interfaz mLAN 24 bits/96kHz

    • Discos CD-ROM incluidos: Más de 150MB de sonidos nuevos, como piano MOTIF, piano S90, sonidos sweet y muchos más sonidos

    • Modular Synthesis Plug-in-System. 3 slots de espansión. Integrated Sampling Sequencer.

    Un completo conjunto de sonidos mejorados gracias al evolucionado motor de síntesis

    Las 1.859 formas de onda con las que cuenta el set Enhanced Sound de la nueva serie ES (la mayoría de ellas nuevas muestras creadas exclusivamente para la serie MOTIF ES) proporcionan la base para crear los 1.024 excelentes sonidos normales y 65 kits de batería. Dispones también de combinaciones de sonidos que puedes editar y almacenar junto con los datos de canción. El MOTIF ES proporciona una extraordinaria profundidad de sonido y una gran respuesta musical, desde la emulación de pianos acústicos y orquesta a la síntesis extrema con cortantes sonidos hiphop y electrónicos. Solo tienes que escuchar los ES para reconocer que estas ante el mejor sonido y el sintetizador más avanzado que Yamaha ha realizado jamás.

    Mejoras en el corazón del sistema

    El chip de nuevo diseño utilizado en la generación de sonido ofrece una verdadera polifonía de 128 notas que te permite la libertad que necesitas para la creación de complejas composiciones. Los MOTIF ES han sido creados con la producción musical en mente, ofreciendo un nuevo motor de síntesis que proporciona a estos sintetizadores un completo y preciso control de todos los parámetros.

    Expresivos Sonidos Muestreados con las nuevas “Keyboard Mega Voices”

    La tecnología “Keyboard Mega Voices” significa un enorme paso adelante en comparación con las simples muestras de una capa. Ahora es posible incluir todos los matices que produce un instrumento tocado a tiempo real. Imagina, por ejemplo, un sonido de guitarra con todos los elementos (armónicos, slides, ruidos de trastes,etc.) que dan vida a este instrumento, completamente a tu alcance desde el teclado. La tecnología Keyboard Mega Voice incluida en los MOTIF ES lleva los sonidos de guitarras, bajos y otros instrumentos a un nivel de expresión sin igual.

    Procesador de efectos mejorado

    Effects System Si alguna vez te has sentido limitado con los sistemas de efecto incluidos en otros teclados, prepárate para una liberación total: el procesador de efectos incluye 20 tipos de reverberación y 49 de chorus/delay, contando además cada sonido con dos bloques de 116 efectos de inserción. En los modos canción o patrón, hasta ocho partes separadas pueden tener sus efectos de inserción simultáneamente. Dispones también de tres bandas de ecualización independientes para cada una de las 16 partes en Mix, ocho tipos de efecto “mastering”, incluyendo compresión multibanda y ecualizador general de cinco bandas, que te permitirán controlar el proceso de producción hasta el final. Nuevas reverberaciones, phasers tipo vintage, flangers y wah-wahs son solo algunos de los efectos de alta calidad disponibles en el amplio arsenal de algoritmos DSP de Yamaha.

    Sencilla creación de canciones con el nuevo ES “Phrase Factory”

    Mucho más que un sencillo arpegiador, el MOTIF ES Phrase Factory ofrece una versatilidad sin precedentes en la creación de frases secuenciadas. Utilízalo con los kits de batería para producir unos innovadores patrones rítmicos, o aprovecha las capacidades de reconocimiento de acordes, generando frases “a tono” usando los sonidos normales. Dispones para empezar de 1.787 patrones predefinidos, desde los arpegios de sintetizador estándar y loops de batería a sonidos naturales de instrumentos acústicos. El sistema Phrase Factory, trabajando conjuntamente con la tecnología Keyboard Mega Voice, te permitirá aprovechar todos los expresivos matices de las Keyboard Mega Voice. Puedes incluso asignar cinco frases diferentes de arpegio a los botones situados bajo la pantalla, e ir cambiándolos directamente a tiempo real. Con el nuevo reconocimiento de acordes y los parámetros de interpretación podrás crear fácilmente tus propios arpegios o modificar los predefinidos a tus necesidades. Finalmente, para dar vida a tus creaciones, dispones de un Loop Remix a tiempo real con el que podrás generar literalmente miles de variaciones instantáneas sobre cualquier frase ya sea MIDI o audio.

    Excepcional muestreo y amplia capacidad de secuenciación con ISS

    Integrated Sampling Sequencer ISS El secuenciador de muestreo integrado en los ES proporciona una completa integración de frases MIDI y muestras de audio, colocando a los sintetizadores MOTIF ES en la cresta de la producción musical. Por supuesto, puedes sincronizar (BPM-sync) la reproducción de loops MIDI o muestras, y la función Time Slice te permitirá manejar las muestras con la misma libertad que en caso de los datos de secuencias MIDI, sin alterar el tono y sin pérdidas de calidad de sonido. Una capacidad máxima de RAM (DIMM) para muestras de 512 MB, sitúa a la sección de muestreo de los MOTIF ES al mismo nivel que muchos de los samplers más avanzados disponibles en la actualidad. Los ES incluyen un CD-ROM con más de 170 MB de muestras de sonidos, incluyendo las tres capas de piano de los S90, delicados sonidos de saxo e instrumentos de viento-madera y loops de batería. La sección de secuenciador puede manejar hasta 226.000 notas en 16 pistas, y cuenta con muchas características nuevas como el modo de grabación Rehearsal (ensayo). La única limitación será tu imaginación.

    Expresiva superficie para control a tiempo real

    Para una expresión realmente musical no hay ningún sustituto mejor que tener a mano un buen número de controles a tiempo real. Los MOTIF ES te ofrecen cuatro controladores rotativos y cuatro faders que pueden ser asignados para controlar filtros, volumen, efectos, envolventes… cualquiera de un extenso rango de parámetros de sonido. Estos mismos controles proporcionan una sensación de mezcla digital a la hora de realizar mezclas sobre múltiples partes secuenciadas. También pueden ser utilizados como controladores MIDI para unidades externas. Dispones a la vez de un controlador de cinta para un “íntimo” control del sonido mediante las yemas de los dedos. Como sabemos que necesitarás encontrar y recuperar los sonidos tan rápidamente como sea posible, los sintetizadores MOTIF ES cuentan con la función de Búsqueda por Categoría. Esta función incluye una sección de Favoritos donde podrás almacenar hasta 128 sonidos que utilices normalmente para ser recuperados instantáneamente en cualquier momento.

    Elegante integración de sistema con DAWs

    USB interfaceSi usas un secuenciador basado en ordenador o DAW como parte de tu sistema de producción musical, con solo presionar un botón conviertes al MOTIF ES en una completa superficie de control que soporta los mismos protocolos que la mesa de mezclas digital de estudio 01X. Simplemente conecta un cable USB entre los puertos “TO HOST” USB del instrumento y el puerto USB de tu ordenador, y tendrás un acceso directo desde el software de secuenciación/DAW al fader, panorama, envío de efecto EQ, mute de pista, transporte y otros parámetros de controladores del MOTIF ES. Puedes incluso abrir o cerrar ventanas del ordenador directamente desde el ES.

    Eficiente almacenamiento vía USB y SmartMedia™

    SmartMedia Card Slot Además del puerto USB “TO HOST” mencionado anteriormente, los sintetizadores MOTIF ES cuentan con un puerto USB “TO DEVICE” donde se pueden conectar unidades de almacenamiento USB como discos duros, discos flash o lectores de tarjetas de memoria para seguro un almacenamiento externo de muestras, secuencias y otros datos de producción. Una ranura incorporada para tarjetas SmartMedia™ acepta tarjetas de memoria con capacidades de hasta 128 MB.

    Ranura de expansión para redes mLAN o Audio I/O

    Cuando quieras moverte entre redes mLAN (un protocolo de red Yamaha de alto rendimiento) simplemente instala la tarjeta de expansión opcional mLAN16E (pronto disponible) en tu sintetizador MOTIF ES y ya estarás listo para la conexión en red con la posibilidad de compartir múltiples puertos de datos MIDI y múltiples canales de datos de audio 24-bit/96 kHz con otras unidades compatibles mLAN u ordenadores con conectores 1394 Firewire. Si tu sistema requiere más entradas y salidas de audio que las estándar del MOTIF ES, agrega una tarjeta de expansión opcional AIEB2 I/O para disponer de seis entradas y salidas analógicas independientes, así como entradas y salidas digitales estéreo coaxiales y ópticas.

    Sistema Modular Synthesis Plugin

    Modular Synthesis Plugin System
    Los sintetizadores MOTIF ES en sí mismos ya incluyen una extensa paleta de sonidos y las funciones necesarias para la producción musical. Sin embargo, si quieres disponer de capacidades adicionales, el sistema Modular Synthesis Plug-in System te permitirá realizar ampliaciones mediante la simple inserción de tarjetas opcionales de expansión. Para una síntesis de modelado analógico cuentas con la PLG150-AN, o si prefieres un avanzado sistema FM dispones de la PLG150-DX con 6 operadores. El sonido increíblemente real de la síntesis analógica virtual está disponible a través de la tarjeta PLG150-VL. La PLG150-DR ofrece unos excelentes sonidos AWM de baterías y percusión, mientras si instalas la PLG150-PF, tendrás a tu alcance un sobresaliente sonido de piano. Los sintetizadores MOTIF ES cuentan con tres ranuras de expansión que pueden acomodar todas las necesidades extra que necesites.

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