AAS Chromaphone Explained®
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3:21 The Sonic Architecture
Explore the layout of Chromaphone and how it uses physical modelling to recreate the properties of two resonators interacting when being excited by mallets and virtual noise.
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6:42 Banks & Programs
Learn how to navigate, save, copy, move, delete, restore, and back up the bank and program based preset system.
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6:17 Interface & General Concepts
Explore how Chromaphone's controls work, and some of the general concepts involved when modelling the coupling of resonating objects.
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8:31 The Mallet Module
See how these parameters influence the sonic characteristics of the simulated impact produced by a mallet striking an object.
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8:55 The Noise Module
The noise module is a white noise generator that is used as an alternate way to excite the resonators. Hear how the controls shape the frequency of the noise, and how the noise envelope parameters are used to influence the amplitude of the signal over time.
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7:44 The Noise Envelope Module
Explore the ADSR and Delay controls, and hear how they are used to influence the noise module's amplitude, filter response, and density values.
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4:09 Resonator Quality & Pitch
Discover how the quality dots are used to adjust the number of modes used in the synthesis, how to set the pitch of the first partial, and how to adjust the pitch tracking across the keyboard range.
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3:55 Manual Settings & Pitch Envelope
Learn how to set the four independent partials in the Manual resonator type, and how to modulate the resonator's pitch with the dedicated pitch envelope parameters.
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6:16 Decay Release & Material Parameters
See how the decay and release parameters interact with each other, and how the material parameter is used to control the decay of the individual partials generated when an object is excited.
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3:46 Radius & Tone Parameters
Discover how the Radius parameter effects the natural decay of the tube resonators, and how the tone parameter is used to control the amplitude of the various partials that are generated from the resonators.
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8:15 Hit Position & Coupling
Hear how the hit position parameter controls where the resonators excited, and how the impedance resulting from coupled mode affects the exchange of energy and how the two resonators interact with each other.
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7:59 The LFO Module
Learn how the LFO module is used to modulate parameters in the noise source module by altering values from their static position based on repeating cyclical shapes that can be synced to tempo.
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4:13 The Vibrato Module
Learn how to use this section to modulate pitch in subtle or dramatic ways, and how to control it's rate, depth and onset.
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2:44 The Multi Effect Module
Discover some of the onboard effects and how they are used to process the signal before being sent to the output.
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11:26 Sound Design
In this final video, listen to a short piece of music comprised of Chromaphone presets that were altered and automated to bring out their unique characters and colors.
Product Overview
Eli Krantzberg returns, this time showing you the incredible AAS Chromaphone creative percussive synthesizer. Chromaphone uses physical modeling to recreate the properties of two resonators interacting when being excited by mallets and virtual noise. Sound difficult to understand? Well Eli makes it all simple and fun! This synth is capable of creating incredibly expressive drum, percussion, string, and synth-like instruments, so hold the phone and check it out!
Eli begins with a video on the basic sonic structure of Chromaphone, followed by vids on how to browse Banks and Programs. The Interface and General Concepts of Chromaphone are then explored giving you a solid foundation in understanding this synth. The Mallet Module is then explained in detail as well as the Noise Module, Noise Envelope and Resonator sections.
Moving on, Eli demystifies the Material, Radious and Tone Parameters which allow you to fine tune your sound. Hit Position and Coupling is then revealed which allows you to take your sonic shaping to the next level. LFO and Vibrato is then discussed and you'll see how these simple but important modulators make all the difference in your patches.
Wrapping up the collection, Eli shows you the powerful Multi-Effect Module where you can further enhance your sounds as well as some Sound Design examples. If you use AAS Chromaphone, this series will really help you get the most from it and inspire you to push further... Watch "AAS Chromaphone Explained" today.
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Reviews
Submitted 2 years ago
Chromophone PLUS
This is TRULY a must-watch video series not only for those interested in this extremely useful software instrument, but also for anyone interested in an in-depth lesson in the studious application of various effects and their impact on the resulting sound. Kranzberg does a really good job of demonstrating how variations in all kinds of parameters effect sound, and how various filters, envelopes and their interactions can be used to create unique and highly expressive, very rich and complex instrumentation. If you are actually interested in software sound synthesizers, then you must watch this series.
I am a: Professional, Musician, Producer, Beat Maker, Audio Engineer, Sound Designer, Mastering Facility, Sound for Film/TV
Ease of Use Quality of Videos Value of Training Access to Videos
Reviews
Submitted 2 years ago
Chromophone PLUS
This is TRULY a must-watch video series not only for those interested in this extremely useful software instrument, but also for anyone interested in an in-depth lesson in the studious application of various effects and their impact on the resulting sound. Kranzberg does a really good job of demonstrating how variations in all kinds of parameters effect sound, and how various filters, envelopes and their interactions can be used to create unique and highly expressive, very rich and complex instrumentation. If you are actually interested in software sound synthesizers, then you must watch this series.
I am a: Professional, Musician, Producer, Beat Maker, Audio Engineer, Sound Designer, Mastering Facility, Sound for Film/TV
1. When did you start dabbling in music?
I started playing drums in high school at age fourteen. Like most kids my age around then, I was into progressive rock. Genesis, Emerson Lake and Palmer, and Yes. They rocked my world. A few short years later though, my musical life changed. While studying music in college I discovered Charlie Parker, Milt Jackson, Sonny Stitt, and John Coltrane. Milt Jackson spoke to me in such a profound way that it left me no choice but to take up vibraphone.
These great players, along with drummers like Philly Joe Jones, Max Roach, Art Blakey, and Elvin Jones changed not only the way I thought about drumming, but also music - and by extension, life - as a whole. I realized life was meant to be a creative endeavor. The idea of improvising based on a loose set of guidelines and rules permeated into my psyche even when I wasn't holding a pair of drumsticks or mallets. But if I am going to be perfectly truthful, I have to hold Henry Miller and Woody Allen equally responsible for shaping the way I view and experience the world around me.
2. What training have you had?
I am currently an Apple certified Logic Pro. Young and cocky, and armed with only a partial University degree, I dropped out of school and began playing steady commercial hotel engagements and jazz gigs when I could. This went on for many years until I decided it was time to complete my degree - which I ultimately did with a major in Political Science and a minor in music.
It was at this point that I formed my current band Nightshift. We are going in to our twenty third year now - playing commercial one nighters like weddings, corporate events, etc. Don't turn your nose up at it though - it has allowed me a wonderful quality of life. It gave me the freedom to go back to school and complete a post graduate degree in Communications Studies - all the while supporting myself by playing weddings.
3. When did you get into recording?
It was in this graduate program - in the early nineties - that I found myself drawn to the fledgling emerging universe of hard disc recording and midi sequencing. Based on nothing more than the recommendation of one of my band mates who had an old Atari, I jumped in head first and bought a Mac LC ll, along with a version 1.1 of what was then Notator Logic. I had no idea what I was getting myself into. But, in hindsight, it was a decision of epic importance in my life - shaping my future as much as the music of Milt Jackson and Charlie Parker did fifteen years prior.
I opened up my own commercial home studio in 1998 and began doing a variety of projects, working on radio jingles, artist CD projects, and whatever came my way. A couple of years later a colleague called me up - desperate. He was working at a post production house and one of the editors had just quit. They were doing audio post for a weekly TV series and needed a Pro Tools editor - and fast! And so, once again, I jumped in head first into what would ultimately open up my world even more - the world of Pro Tools.
4. People you have worked with/for?
Focusing on Logic, I built up a small but loyal client base and my phone kept ringing for Logic tech support and instruction. Film composers and studio owners all over the city were calling me. Even the music stores were giving out my phone number at this point! This kind of stuff becomes a self fulfilling prophecy. The more of it you do, the more calls you get to keep doing it. At least that's the way it should be!
As my Logic chops kept growing, I was hired by an old buddy of mine, Len Sasso, who was then an associate editor at Electronic Musician magazine, and began writing some columns for them. I had a blast doing them - and really learned to focus and express my thoughts in a concise and clear manner. This lead to a collaboration with LA based composer Terry Michael Huud on the 2006 film called Civic Duty - which was certainly one of the highlights of my professional life as a composer.
5. Why are you so good at training people?
I wake up every day excited to boot up, and create. Whether it's instructional videos, creating music, working with a studio client, performing with my band, or teaching at the schools - my days are filled with what I love doing. Enriched by the stimulation and creative freedom this modern music making software brings to my life. I bring that excitement and passion to each and every training product I create. My years of experience both using and teaching these programs has taught me the best way to make the user comfortable with these complex programs.
Products by Eli
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tutorial videoAAS Chromaphone Explained
Eli Krantzberg returns, this time showing you the incredible AAS Chromaphone creative percussive synthesizer. This synth is capable of creating incredibly expressive drum, percussion, string, and synth-like instruments, so hold the phone and check it out!
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tutorial videoAAS Strum GS-2 Explained
In this FREE series commissioned by Applied Acoustic Systems, Eli Krantzberg covers the expansive performance library of electric and acoustic guitar strumming inside and out, and shows you how to make Strum GS-2 your new favorite session guitarist!
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tutorial videoAirEQ Explained
Eli Krantzberg returns with an in-depth series on the amazing AirEQ by Eiosis, which was designed with a vision of achieving musical, technical and sonic excellence in equalization. This just might become your to go-to EQ!
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tutorial videoAlchemy 2 Explained
Logic Pro X 10.2 integrated Alchemy 2, one of the most powerful virtual instruments ever made. In this three-hour video training tutorial series, Eli Krantzberg teaches you how to become a Alchemy wizard and unleash all of its power on your music!
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tutorial videoApogee Maestro 2 Explained
Maestro 2 is Apogee's flexible and powerful OS X Mixer software solution that's included with all Apogee interfaces. Studio master Eli Krantzberg shows you everything you need to know about Maestro 2, as well as how to get the best performance out of your Apogee interface and improve your workflow.
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