Programming evolving pads?

[SoundwaveLove]

I'm getting into writing more ambiant music, so my interest is in thick evolving pads.  Would any of you like to share neat tricks for getting some cool changing pad sounds?

[american sinner]

Lot of ways to do this.

My favorite, and by favorite, I mean mostly I find it most intuitive to get me the results I'm after, is to use long complex LFOs or Envelopes to modulate other things. 

 

In Atlantis for example, you can use 'chips' for LFOs. 

You can also draw complicated and long envelopes (In atlantis the time of the envelope is extended by simple dragging the right most dot)

Crystal by green oak has similar envelope drawing properties.

As you can see in the pic The envelopes and LFOs are affecting many other parameters. (green dots) Playing around with which reset on new notes, this pad can evolve over minutes. 

 

http://jeremyevers.com/atlantis/

 

Dune 

http://www.synapse-audio.com/dune.html

Is a paid one that is particularly easy to do this with, with the way the mod matrix is set up. 

 

But, like I said, many ways. Hopefully you get other replies with other techniques. 

 

 

[bigcatrik]

First see what you can get out of your ADSRs and how many sources you can route them to. An ADSR creates changes over time, but on a one-shot basis. A quick amplitude ADSR with a slow filter ADSR (or PWM or pitch) can be interesting. Next, know your LFOs, which create change over time on an oscillating basis and you probably want to make them on the slower side. Your other "change over time" option is a wheel or pedal and possibly, if you've spent a little more than average money on your keyboard, aftertouch.

[Conbrio]

Buy any of Korg's keyboards with Karma--the best evolving pads and cool ambient textures and that's before you turn on the Karma feature.

If you can afford a Kronos, that's the way to go.

 

 

[mate_stubb]

In the modular world, feedback loops can cause wonderfully chaotic and organic changes. Try 2 or 3 oscillators modulating each other in a ring.