Patcher is a strange beast in the plugin world, because it has an instrument version and an effect version. It can contain an unlimited amount of plugins in series or parallel-generators or FX- in both versions and it even has dedicated VFX modules that help streamline the process of creating something rich in timbre and expressiveness. Advertisement For fl studio 10 patch access to important modulation, you can put knobs and sliders on patchers, front panel, the control surface. In the following sections I will walk you through how you can make a beautiful, velocity mapped, key tracking pad sound with integrated sidechain fl studio 10 patch reverb in FL Studio

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Patcher is a strange beast in the plugin world, because it has an instrument version and an effect version. It can contain an unlimited amount of plugins in series or parallel-generators or FX- in both versions and it even has dedicated VFX modules that help streamline the process of creating something rich in timbre and expressiveness.

Advertisement For easier access to important modulation, you can put knobs and sliders on patchers, front panel, the control surface.

In the following sections I will walk you through how you can make a beautiful, velocity mapped, key tracking pad sound with integrated sidechain ducked reverb in FL Studio Now, click the Patcher channel that has just appeared. Now you will see the full list of your favourited plugins, generators on the left and effects on the right.

Choose a generator. If you are using Sytrus, I just made a basic supersaw with all operators as saw waves going out directly, detuned a little bit and spread in the stereo field 9 Unison.

There are 3 types of connections in Patcher. Turqoise is note MIDI data, yellow is audio and red is parameter automation data.

That makes it easier to follow an audio path through the entire patch. Right now, your patcher should look pretty basic. You can now play this single-instrument patch with your master keyboard and it will act as if you had just dragged the plugin on the channel rack. You can now add more instruments to make a parallel chain.

This works for all plugins in FL and Patcher. I am also pitching one of the Sytruses up an octave in the synth. Patcher auto-connected MIDI and audio nodes for me. To connect a node to a corresponding input, simply left click it and drag. Or right click a sending node and select the destination from all available ones. You can mute an audio wire by right clicking it or change its send level when the mouse is over it.

Each zone has a MIDI output, and it has 16 zones. Should that not be enough, you can have unlimited instances of it. Now it will have 4 turqoise output nodes. Connect those to your individual generators. In the line editor, turn off snap, slide and step and then right click to create additional points in the graph. Each zone has a line editor and is superimposed on the previously edited zones to make it easy to cover the full MIDI range if need be.

In the same plugin, you can also transform incoming velocity for each layer, which is all you need if your synth patches already respond to velocity. An Envelope Controller. Right click it on the panel. You should now have 8 red parameter outputs.

Now, connect the first four red nodes from the envelope controller to the red nodes on the filters, and the second four to the red nodes on the Balances.

Your Patcher should now be looking something like this. You can of course connect a parameter output to multiple inputs, should you choose to do so.

In this case that would mean one filter velocity map would affect two filters or volume knobs at the same time. Inside the Envelope Controller you now have access to one of the most powerful modulation tools around. On the first 4 articulators, turn on the envelopes, but delete the pre drawn shape using the step mode and make a single point, right click it and set it as the sustain. Use the Velocity view to map the Lowpass cutoff frequencies to velocity.

Tweak the multi stage envelopes of each one into a shape of your liking, then use the velocity tab to make the output scale with velocity. I will do the same thing with the other pair, only the delay and reverb will be panned right and different in nature.

I will then combine the wet chains and sidechain them with the dry chains, so they only pop up when I let go of the note. The image above is approximately is what your patcher should look like after doing that. Now set the compressor up like you usually do. If you want a more live performance-oriented patch, you can skip the sidechain from the dry to the wet, and maybe not everything needs its own reverb or 9 unison voices, which would give you better multithreading performance inside patcher.

This is where you can put knobs, sliders and buttons to control the whole thing by hand, with your mouse or via MIDI messages. In Edit mode the wrench in the top left it lets you design a basic face plate and knobs for your Patcher patch.

You can set default values for each of them by right clicking in edit mode. I made this very expressive custom patch in about 30 minutes, give or take a few minutes spent just listening, playing around with it and tweaking.

Taking that time to craft these personalised tools in electronic music might seem daunting at first. But when you have a whole range of them, ready to drop into a session, your workflow will actually speed up a fair bit when writing. Step by step Quick Recap: Add a Patcher and drop in some instruments. You can play multiple instruments at the same time using Patcher and still have them come out as discrete mixer channels useful for drum patches.

Each audio wire has a volume control. You can route multiple outputs to a single input and one output to multiple inputs- whichever way you like.

Envelope Controller lets you get into the nitty gritty. You can put a patcher inside a patcher, to avoid cable mess. You can customise the look and feel of your patch via macros and a face plate.

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