Creating with the Seaboard RISE - 2.1: Synth Bass using Logic and Retro Synth Video Lecture | Introduction to Seaboard Rise: Advance Music Production

using logic restaurant with the Roli
seaboard rise is incredibly easy because
it's been designed as an MP II or
expressive MIDI synthesizer so we just
want to make sure the Roli dashboard is
configured in that mode will set it to
multi mode with MP e on and a channel
range from 2 to 16 we also want to make
sure we're using the MP e standard of a
pitch Bend range of 48 semitones then
into logic will add retro synth to track
and I'm starting with this really cool
preset called PWM bass when using
retro-synthetic synthesizers with the
Roli seaboard rise you want to place the
synthesizer itself in MIDI mono mode and
so you'll find at the bottom of many of
the synthesizers in logic a triangle you
can twirl open and there'll be options
for MIDI mono mode will choose the
common base channel of one and you'll
see that the MIDI mono mode pitch range
is 48 semitones which matches what we
had set in the Roli dashboard after that
you'll find it does work quite well we
can play our sound and let's hear what
this sounds like right now
now the next thing we want to do when
sound designing I you know I always like
to pick a preset that's almost perfect
and then add the expression so it really
works well with the Seaboard and we'll
find that in the settings window in
retro Cynthia there's some options to
assign modulation and one of the really
nice ones is aftertouch - and we can
choose a destination we want to remember
that the pressed dimension of touch is
going to translate to MIDI after touch
so whatever options we have as a
destination here we can control with the
pressure on the key waves on the
Seaboard rise so I'll set it to filter
cutoff which means that after touch or
press is going to control filter cutoff
anytime you're assigning modulation you
need a source which is going to be after
touching this in this instance you need
a destination which is going to be
filter cutoff and you need an amount and
a direction and so we've assigned our
source as aftertouch our destination is
filter cutoff and we have a left-right
fader here to decide what the amount and
direction is and we're going to set that
positive about halfway up the fader here
anytime you're assigning modulation you
also need to know what the origin of
that modulation is right where is it
modulating from and that's going to be
right here in the filter cutoff diagram
and I'm going to set that a little bit
lower so that when I touch the key wave
the filter cutoff starts quite low and
then it will go up with press let's try
it out
that's working pretty well but I might
even want that bias point or that set
point even lower let's try this get a
nice response to that now remember that
response will be adjusted by this touch
fader here for press up I have that
lower it's gonna take less pressure to
get to that maximum setting if I have it
all the way off we're not gonna send
after touch at all so it'll be very
consistent and we won't have any
response to pressure I'm gonna put that
all the way up I like that expression
now I'm also noticing that the sound is
fading out as I hold the note and that's
because our main amplitude envelope is
in a percussive mode it's the sustain
levels all the way down and I want to be
able to hold this note out for a long
time so I'm gonna go to the Settings tab
here and turn my sustain level all the
way up and this will allow me to hold a
note
and he'll stay powerful the whole time
the one last thing I want to change on
this before I perform with it is to
adjust the polyphony this is a bass
sound I don't want to have multiple
notes played at the same time so I'm
going to go back to the settings tab and
adjust my voices down to legato and
let's see what this sounds like