We tried to make Curve 2 as simple to use as possible. A help view in Curve's bottom right corner provides useful texts for its controls. For longer texts, the help view starts scrolling after some seconds. Clicking on the Cableguys icon will show some more help on editing the waveform.
This page helps you getting started and shows some of the non-obvious features.
Click "Browse" in Curve's top left corner to show its preset browser — which is in fact a shared online database. Click the "Sync" button and you will get all the new presets that other users or our preset designers have been working on.
Syncing 1000+ presets takes a while, but runs smoothly in the background.
Curve's preset browser has several filter settings to filter for a certain instrument, a minimum rating (by your rating or by the average rating of the community), by preset name and author. Also, per default, Curve only shows presets that are approved by Cableguys. Those share a common volume level, good playability and can get you started right away.
You can change the filter to show all presets, and browse unverified presets for hidden pearls.
The "Details" area in Curve's Preset Library shows you more information about the author, rating, tagging and upload date of a preset. Pluginguru for example provided a short text and links to his website, Twitter and Facebook page. Clicking on one of the icons lets you browse his pages.
Click the "Profile" button in the top-right corner of the Preset Library to add your own teaser text and web links.
Macro controls, modwheel and aftertouch
You can explore vast sound variations quickly and let multiple parameters alter at once with Curve's macro knobs.
Macro 1–3 are individually adjusted and differ for every preset, while most presets have macro 4 in common - the "Fatness" macro. Handy for quick thickening up of your sounds.
The first knob is hard-wired to modwheel, the second one to aftertouch.
You can easily create your own versatile macro assignments with our straight-forward drag'n'drop controls (accessible via the top right button in the macro area).
Our preset designers are doing the same and expanding the best presets from the community for quick access to those parameters that define the core of a sound.
Curve 2's modulation matrix
We think that we made it especially easy to assign modulations in Curve. After all, that's when the real fun starts, when Curve's flexible, drawable LFOs and drawable(!) envelopes add great depth to the sound. Listen to presets by Konrad, EdT and others for great examples.
To control individual OSCs, simply mouse-over a modulation cell. Three new controls will show up which allow you to assign individual modulations for OSC 1, 2 and 3.
An "X" in a modulation cell tells you if the OSCs' values differ.
Curve 2 allows you to not only draw waveforms for its OSCs and LFOs, but also for its three envelopes. You can draw the envelopes you need for your analog curves, for rhythmic patterns, for whatever you can think of.
Click on the magnifier in the EG section for editing the envelope curves.
How to make a "correct" preset
Curve invites everyone to share their preset creations with others. A vital community and fresh sounds which are opposed to public voting make it not only interesting for everyone to use new sounds, but also for the creator to find out what ratings they can achieve with their sounds.
This tutorial will help you in making your presets playable, to make sure they are in tune, and that all presets share a common volume level.
Make sure that your presets satisfy quality needs, and you can take an important step to getting highest votes.
It's useful if all presets share a common volume level. Our tip is this: First, set the volume slider of your host sequencer to 0dB. Then adjust Curve's "Preset Volume" setting so that your host sequencer shows a volume between -3dB and 0dB while playing one note at a time at a high velocity (or by playing a chord of 3 notes, if your sound is especially made for chord sounds).
Make sure your sound is in tune. If it's not a drum or FX sound, this is vital, so that your sounds play in tune with the rest of the song:
At least one of the three OSCs that you can use should serve as the main oscillator, with having pitch set to 0, or to a multiple of 12 semitones.
"Detune" can come in handy for creating fat patches by detuning one OSC opposite to another one. If you do this, it is for example good to set one OSC to "-8" and another one to "+8". Setting one to "0" and the other one to "+16" would detune the resulting sound.
If you modulate pitch with an envelope (EG 1 or EG 2), the pitch will be changed unless sustain is set to 0.
If you modulate pitch via an LFO please make sure that the sound does not get out of tune.
Make use of velocity, modwheel and aftertouch
The standard behavior is routing velocity to volume. To gain more depth, it's also useful if you set up velocity to influence filter cutoff and other parameters.
To add more fun, it's good if you make use of modwheel and aftertouch (via the first and second macro control) as well.
You might set up modwheel and aftertouch to alter LFO speed for vibrato effects or Dubstep-esque basses, or to alter resonance for screaming sounds, etc.
Make use of keytrack
By default, the filter's cutoff frequency is static, but for some sounds it might be better if the cutoff frequency changes according to the note that you play. That's where keytrack comes in. If you set keytrack to 100, the cutoff frequency is doubled for every octave above C3, and halved by every octave below C3.
Do you have any feedback for us on this tutorial, things that we should improve, or wishes for new topics that we should cover?
Contact us and let us know!