But put multiple layers of Falcon in Unify and it's a whole other story. Put on too many layers and it overstrains your CPU. VIs like Falcon are single core and that really slows them down. These layered instruments load up quickly because Unify is Multi-Core, which leads me to another feature I like. Not only can you save your new velocity-split patches in a User Presets folder, you can also tag them to make them easier to find later. Maybe if you're blending two similar instruments you might want some EQ on one of them. Or any combination of synths and organic instruments.Įach of these instruments in your layers can also have their own effects chain, taken from any effect you own. You can load up a whole slew of patches of instruments that have exotic articulations (think Westwood's Untamed Strings) and play and get all kinds of random effects. Maybe you have an acoustic guitar that you like, but prefer the sound of the harmonic in another guitar VI.
Or a Pizzicato that becomes a Bartok when you really hit it.
#PLOGUE BIDULE PLUIN SWITCHER PATCH#
Maybe you want to have a long string patch at normal velocity and then a spiccato when you hit the keys harder. What you can do with this is only limited by your imagination. I couldn't find it in the manual, although I remember Lehmkuhl talking about it in one of his videos. And not just three velocity layers, based on the CoreStation it can be at least 23, but I don't yet know what the limit is.
So you could hit a key on a guitar VI harder softly and hear a saxophone and with more velocity hear an Omnisphere patch. Then add separate layers of other articulations of the same instrument or any other instruments. Start with a layer for your standard articulation.
It's as simple as setting up a keyboard split, and is a very familiar thing to do for anybody who uses libraries by Orange Tree Samples or Indiginus or the new Evolution series Colors. I'll get the ball rolling by mentioning one of my favorite features, the ability to separate layers by velocity.
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