Tremor Tutorial

Tremor Explained®

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20 Videos | Length: 2hr 9min 12sec
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Chapter 1 : Tremor Basics

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    Tremor Overview

    Explore Tremor's interface and see how the controls for the drum synthesizers, step sequencer and effects processing are laid out.

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    The Preset Pickers

    Learn how to customize and personalize the factory defaults by mixing and matching presets from the the five preset pickers located in different areas of the Tremor architecture.

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    Triggering Tremor with a DAW

    See how the individual synth engines are mapped to MIDI notes, as well as how to use trigger notes in your DAW to play any of the 24 available patterns in the step sequencer section.

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    Transport & Custom Metronome

    Learn about the Undo/Redo functions, the transport controls and how to use a customized metronome sound.

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    Basic Real-Time Recording

    Discover how to record Tremor sounds in your DAW, as well as how to record into empty patterns using real time MIDI input.

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    Standalone & General Controls

    Explore how to connect the stand alone version of Tremor to your Audio and MIDI hardware, set the tempo either numerically or by tapping and control playback from your QWERTY keyboard.

Chapter 2 : The Synthesis Engine

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    Kit Page Controls

    See how the Kit Page is used for master Synth Engine controls and how the Macro controls are used for direct access to select synth engine parameters.

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    Ramp & Repeats

    Discover how repeat triggers are generated from a single trigger input and then used as a downward ramp modulation source.

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    The Oscillator Controls

    The heart of each synth engine is the oscillator. See how to control its pitch, shape, pitch modulation, width and frequency.

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    Harmonics & Membrane Controls

    Discover how the harmonics and membrane mode controls are used to shape and influence the partials generated from the main oscillator.

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    Noise, Mixer & Sub Oscillator

    See how white noise is shaped with the built-in bandpass filter and blended with the oscillator and sub oscillator sounds in the synth engine mixer section.

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    Drive, Filter & Output Controls

    Explore how the drive controls are used both before and after the filter section, how the various Clean and Fat filter modes work and how to set the output stage of the synth engine that feeds the final Amp Envelope.

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    LFOs are repeating cyclical patterns that are used as modulation sources to animate other parameters over time. Hear how they are used on a per synth engine basis to add motion to parameters like filter cut off, post filter overdrive and panning.

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    Sample & Hold, Envelopes & Macros

    Discover how these modulation sources are used and assigned to dynamically modulate destination parameters over time.

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    Engine Setup & TransMod

    See how to use the Engine Setup controls to link voices for automatic layering, create choke groups, have individual engines play back at multiples of the main tempo and more.

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    Discover how to work with and manage synth engine and master output FX and FX chains.

Chapter 3 : Patterns, Graphs and Mapping

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    Working with Patterns

    Learn how the 4 playback modes work, how to rename and manage the 24 available patterns, change the step sizes used and add swing values.

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    Creating Patterns

    See how notes are entered into step cells to create patterns and how the velocity, repeats, probability, insert and step size features are used to easily construct interesting and evolving patterns.

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    Discover how graphs are used as modulation sources to vary synth engine parameters based on each step of the underlying pattern.

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    Learn how MIDI CC and host based automation are set up and used for continuous rather than step based automation.

Product Overview

Feel the earth move when you make your beats with FXpansion's Tremor software drum machine! Eli Krantzberg returns with this smash series, showing you everything there is to know about this awesome drum machine that features powerful synthesis, effects, modulation and step-sequencing.

Eli begins with an in-depth overview, how to manage presets and use them, triggering Tremor with your DAW, real-time recording, standalone operation and general controls.

Eli then dives into Tremor's deep synthesis engine with videos showing you all about kit page controls, ramps & repeats, oscillator controls, harmonics and membrane controls, noise, mixer and sub oscillators, drive, filter and output controls, LFO's, envelopes, macros, engine setup, effects and much more.

Eli wraps up the series with powerful tutorials showcasing how to work with patterns, creating patterns, graphs and MIDI mapping. If you use FXpansion's Tremor drum machine, learn to make it shake the ground... watch "Tremor Explained" today.

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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.

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