Twist Tutorial

Twist 2.0 Explained®

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11 Videos | Length: 1hr 9min 23sec
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    Tutorial 1

    Trans-Systemic Synthesis


    Enter the world of trans-systemic synthesis, where traditionally separate sound shaping elements are combined in a single consolidated interface, and approached from a fresh perspective.

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    Tutorial 2

    Loading & Saving Patches


    See how settings are saved and recalled separately for patch presets, pattern presets, and MIDI Learn templates.

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    Tutorial 3

    Layer & Filter Controls


    Discover how the layer controls are used to modulate the harmonic frequency and spectral balance, and how the filter controls work.

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    Tutorial 4

    LFO Controls


    Learn how the various LFO controls are used to modulate the filter cutoff frequency.

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    Tutorial 5

    Amp Envelope Controls


    Learn how the amp envelope controls are used to determine the volume of a note at the various phases it goes through between note on and the return to zero after the note off.

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    Tutorial 6

    Pattern Generator Basics


    Learn how to set the number and resolution of the steps in a pattern, and how the note offset functions work.

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    Tutorial 7

    Sound Parameter Tabs


    See how a sounds timbre is modulated in interesting and irregular ways by applying the pattern generator to the filter and channel height and width tabs.

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    Tutorial 8

    LFO Parameter Tabs


    Discover how to use the pattern generator to modulate the LFO values to create either subtle or extreme rhythmic effects.

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    Tutorial 9

    Intelligent Rhythm Control


    See how the IRC function is used to quantize real time MIDI input to various musical subdivisions, and how it's gate feature is used to allow notes within a specified range to get through if a bit early or late.

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    Tutorial 10

    Effects Page


    Hear how the built in delay, chorus, and reverb effects are used to help a part sit better in a mix.

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    Tutorial 11

    Twist & Shout 2.0!


    Listen to a short arrangement created exclusively with Twist 2.0, and see how each patch has been modified with some of the functions and techniques explored throughout this series.

Virtual instrument guru Eli Krantzberg puts on his miner's helmet and digs deep into SONiVOX's powerful, but easy to use spectral morphing synth Twist 2.0. This series takes an in-depth look at Twist 2.0's features & functions, empowering you to twist your synth sounds to the max.

Eli begins with an introduction to trans-systemic synthesis, explaining what it is and how it works. From there, Eli shows how to load and save patches before jumping into the layer, filter, LFO and amp envelope controls.

Next it's on to the awesome pattern generator and sound & LFO parameter tabs. Eli then demonstrates how the Intelligent Rhythm Control function can be used to quantize real-time MIDI input, and how the IRC gate feature is used to allow notes within a specified range to get through.

Eli then shows how to use the built-in, top quality reverb, chorus and delay effects to make your part sit better in the mix. Eli concludes the series with an arrangement example created exclusively in Twist 2.0, using some of the features, functions and techniques explored in these videos.

Twist 2.0 is an amazingly powerful, dynamic synth that utilizes simple to use controls and a ergonomic design. Join Eli as he shows you how to get complex, simply... Watch "Twist 2.0" today.


- not reviewed

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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