RipX DAW Tutorial By Attack Magazine - Bilingual Subtitles
Hi, in today's video we're going to explore Hit and Mix's new creative platform Deep Create,
which is their creative platform that allows us to not only separate and manipulate steps,
using their unique rip-ex format, but we can actually create projects wholesale within it, not unlike something between a DAW and an audio editor.
So as we explored in our STEM shootout,
to bring audio in to Deep Remix or Deep Create,
you are going to have to import it to separate the audio and convert it to their
unique rip-ex format called rip audio which allows MIDI and audio to be treated the same.
To do so you can simply open the folder here and choose an audio file in mp3 or other format from anywhere on your hard drive.
With deep create we also have a record button so you can record audio or MIDI.
directly into DeepCreate and bypass the need to begin with any sort of audio that already exists.
In addition, DeepCreate has added the ability to record MPE and audio from any input.
Hit and Mix has also revamped all of the effects that are included, which now feature extensive automation capabilities that will explore shortly.
Before we dive all the way in a brief tour of the interface,
the central area where we are invited to record
Or import new rips is where much of the editing magic will occur as you'll soon see.
On the left we have what I would sort of call the input area.
So here we have all the rips or collections of musical ideas we might be working on at any given time.
The layers of our selected rip and the layers are essentially the equivalent of tracks within the deep create paradigm.
We've got the MIDI and audio inputs from which we can record into any given layer audio or MIDI.
and a interactive help hover feature so I can hover over it.
Of deep create and it hopefully tells me exactly what that element can do for me.
Above at the top of course we have our transport and loop area and our global BPM and time signature for the currently selected rip.
Along the right we have sort of the processing features.
So top we have all the pitch effects including any combo effect presets I might have created.
Our time effects here.
here, our level sort of similar to EQ and panning and processing for dynamics, those effects
are the sounds that we can drag in wholesale anew or layer with existing.
here.
And we also have loops and all kinds of effect presets that can be added down here.
These are all customizable.
I can drag and drop them in different orders or even to the other side.
And I can actually even take room away from the central editing area.
So it's a completely modular interface format.
So let's dive in.
I'm just going to open this Deaf Lines Rip,
which is a project where we can click and drag across to zoom in,
and what we see here is basically a piano roll with Time Interval Grid,
and we can zoom in and out in either dimension by clicking and dragging.
And rather than a DAW with tracks in a timeline, DeepCreate offers what it calls layers.
And whichever layer is selected here is the one that is currently edited or recorded into and also highlighted when we press play.
And it's got a corresponding color.
Now I'm going to select the base so you can see the base blobs sort of
And these are all converted to the rip-ex format.
Which combines audio and MIDI in a way, or at least that's a good way to...
about it.
So what we see are sort of audio blobs that are placed on a piano roll timeline grid.
By default the scale will be chromatic but I'm going to click here to detect the scale and now everything is conformed to the deharmonic minor scale
and detect it.
So as I begin editing and moving components around it will remain within that scale and key and we'll explore that more later.
But back to the layers.
Each layer has a volume slider,
and we can double-click to return it to the default, and we can mute or solo each layer independently.
And you can select multiple layers by holding down the command or control modifier as
you should be able to see clearly with the modifier key highlighted at the bottom of the video screen.
And I can solo them as well.
So now I'm just...
soloing the vocals,
which is incredible,
and each layer has little drop-down,
so while Deep Create does not afford any sort of conventional mix plug-ins,
each layer does get its own stereo panning plus a low,
mid, and high EQ, but of course where it gets interesting is the ability Edit.
I'm just going to select a span of the arrangement in the loop scrub area and enable looping here.
Let's go ahead and just solo the voice and I can select each sort of vocal blob independently.
Now, I can also select the Draw Sound tool, and this is going to take the selection I made
from the Sound panel, which happens to be Melatron Voxample, and allow me to draw it in to the Rip X No Grid.
wherever I see fit.
So this is where deep create really begins to shine as a unique creative tool.
So it's kind of resampling itself here.
Now the right sidebar we have our pitch, time, and level effects.
We also have sounds that we can use to sort of replace or remix.
Now, if you want to apply effects and sounds across all audio within the selected layer,
you might want to just select an entire span of time,
but personally,
I find it more interesting to apply effects and sound layering automation on a per-note basis, which one of the uniquely flexible features, decrease.
create allows.
So I'm going to switch back to the move and select tool.
So this is all selected.
That's good.
And I'm going to enable the pitch to scale.
Now I can quantize the pitches as well.
And by flattening the pitches I can remove some of the pitch glide.
I think instead I want to flatten the pitches a bit and you'll notice the contours of changes in pitch they they flatten out.
Now I'm going to select just this one blob and impact.
And when I click the vibrato effect, we get a contingent vibrato automation lane for that one blob.
So I can impose the vibrato on that particular blob.
So it increases over the course of the time that particular note is held, and all this processing happens in real time.
Now it's kind of obscured by this other note here,
so I'm just going to this and I can add a harmony just to that one selection as well.
Now just added a chord to that one vibrato slid up note and I can say hey I don't want the full chord right away.
Let's sort of fade the chord amount in.
Okay so we're already arriving at all kinds of sound design ideas that are difficult to even imagine
creating in any other sort of platform that I'm aware of.
Okay, so with the base, which I will solo now, let's look at using some of the time effects.
So I really like this glide here.
I wonder what would happen if we didn't pose.
a chord on that.
Well, it was a little bit too gained out.
Perhaps a harmony would be more appropriate.
Oh, that's nice.
And I can warp the time of it.
So the time warp is factorization.
by a multiple.
So default everything is warped times one.
But if I half it, then it's half as long or I can double it.
Okay, yeah, the time's 1.4.
This is starting to get interesting.
We can also select a sound and combine it with, like, let's combine it with this less pawl.
Okay, so that's given me some really interesting effects, which I like quite a lot.
that less pawl at the end so we get those kind of harmonics and just to smooth it out I'm just going to fade it off at the end and we can
add any sound in our hard drive to the sound library by adding a folder.
It takes a moment to import to the ripback format and so we can layer any sound with any sample we like.
We can also select a VST3 plugin but it's a little bit
Particular in that you have to select a preset of that plug-in and then it's going to export that preset to your library
So it's not like you get access to the VST-3 plug-in outside of this one moment of importing Let's yeah,
let's go ahead and check out Arteria's PS80, V4.
I have to go ahead and select.
Of course,
we could drop the imported coolology preset into a new layer and draw in some sounds or even play them in via MIDI or MPE.
I think it's time to look at some other creative purposes other than simply manipulating ripped audio created by others.
So I'm going to go to my rips section here and I've got a blank slate.
So let's just go to our blank slate and look at this,
we've got an empty grid that I can populate with whatever sounds I would.
want.
So I think just to give myself a bit of a slower tempo, I'm going to enter 111 and apply that to the rip.
And I can see here, this is a beat grid.
This four beats, I believe.
And I've imported some free wave alchemy samples from this Miami tape folder,
and I'm just going to drag some one shot samples to create a bit of a loop here.
And so I'm going to take this somewhat more workable kick and just command D.
And I'm going to drag it back a little bit, and I'll do this two more times.
So we've got...
What do you know?
A little kick loop.
And now I think I'm going to add a vocal layer.
And let's see if I can get the voice input recording.
Okay, there we go from the MacBook Pro microphone.
Enable And...
A-O.
There's some blobs.
My voice is a blob.
Okay, and I've got more than enough garbage material here, but let's see what we can do to manipulate this, and then
maybe I'll add some MIDI.
So let's go back to our loop.
and I'm just going to take that and syllable as part of our loop here.
I'm just removing all these other blobs.
Let's experiment.
I think, first of all, I'm going to set a musical scale.
Let's go to a Yeah,
let's just do a hexatonic blues,
so I guess that's a blues with six notes, and I'm going to make sure everything is yeah, auto pitch to scale.
Very cool.
I can duplicate that end, and I'm going to simply harmonize it, and I'll duplicate it one more time.
And there we go.
I'll just pause playback to get a handle on it.
Because the transport keeps following it around.
Okay, so now I think I'm going to select all three of those and switch to the Split tool.
And I think I'm going to just get rid of the first little...
bit of each of those and I don't really want the consonant at the end but I'm
just gonna see what I can do to impose a little pitch effects on there so I want
to try to add some vibrato just to that highest note
so
is being added over the course of that one note and I want to take the middle note so I'll
just make sure that is the one selected and I'm going to slide that pitch down.
I think Let's go and add some reverb here and might as well add a bit of a delay there.
I think it's time to find some other percussion elements, so I'm going to be careful to add another layer here, just call it percussion.
And I've just got an 8th note grid, but if I zoom in a little more, I can get 16th notes.
And I think I will use that handy duplicate command.
and to create a bit more of an interesting pattern here.
I think what might be...
A little more interesting is to take some of these hits and instead change their pitch.
And I can do that by simply moving them up or down.
Let's go ahead and add a base.
I'm going to tell it to receive input.
from my launch key which is connected here my MIDI controller and it's got this
sort of default electric bass sound which we can manipulate later but let's just go ahead and start recording in.
I'll arm the layer for recording.
There's the blobs.
My voice is a blob.
So you can blend certain notes over time.
So want,
I'm going to set this back to zero and I want just this note to have some grand marimba and just this note here to have that melodron box if we can get it going.
And let's go with the Tasha Godo harp here now.
The idea is you're going to have this virtual instrument library populated with your own custom sounds,
but if you can take notes and on a per note basis,
impose different sounds,
and you know,
if I go back to the melodron box,
I think maybe this would be good to show how I can sort of fade that melodron box in over the course of the note,
just like all the other effects with the per note.
Lane It's worth mentioning the effects can be combined by dragging one on top of another to make your own presets,
which adds a whole other layer of customizability and flexibility.
I'm gonna go back and add a little hi-hat here, right?
I think it's...
I think we've earned it.
I think we deserve it.
And it's automatically created a new layer for us, so I'll just select the hit, and you know where we want that.
I'll do the K1 there, and then just this one, can I get the reverse working properly?
There we go.
All of this is to demonstrate how rapidly you can create really unique ideas that are
difficult to arrive at in a standard audio editor or in a DAW.
Thank for you in the Once you've created those unique ideas,
you can simply go to the Export menu and export to any number of formats.
You can export your Rips to MIDI.
You can export to MP3 to Wave.
So now I will...
I'll the 24-bit wave and I'm going to first create a single file and export that.
So there's the entire batch of audio with all the weird vocal stuff I recorded by audio and all the MIDI I recorded,
but perhaps more usefully we can export just a particular layer or all the layers as separate stems.
And yeah, let's just select within that lube area.
Now, separate layers, I should say, because I created this myself.
Many layers, so let's export those.
And here we go.
With all the automation per note baked in.
But for the last example,
I'll take this synth loop here and demonstrate how we can drag any audio file on our hard drive or directly from splice even.
into the rips area and I'll click rip and it's going to take a moment less than one minute and then
I will be able to drag it into an existing project or open it as its own.
project.
Here's our imported rip.
So believe these are all from one synth loop, but it's detected them as different parts.
Now I want to take these and copy them into my blank slate.
But it's a great way to show that you can take extracted audio,
selections of extracted audio, from other rips and simply paste them into a different rip that you might be working on.
So it's incredibly flexible.
In addition,
it comes with all sorts of specific mapping you can do with your MIDI controller to trigger different sounds or samples on specific keys,
as well as receiving MPE sensitivity that can be assigned to various elements.
And of course, we can combine our processes to new multi-effect processes here.
For more information, I would go back to the Rippex Hit and Mix website where they've got all kinds of other videos and tutorials.
reviews and blog articles, all worth checking out if you want more information.
And they've got a 21-day demo version for download on their website
which should be enough time to get you acquainted with this powerful tool for your creative toolkit.
So that's been a look at Deep Create from Hidden Mix.
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