Dubstep / Electronic Music Production in FL Studio (Part 1) | Jan Koch | Skillshare

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Dubstep / Electronic Music Production in FL Studio (Part 1)

teacher avatar Jan Koch

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

8 Lessons (55m)
    • 1. 00 - Introduction

    • 2. 01 - General Organizastion

    • 3. 02 - Drum Samples

    • 4. 03 - Sidechain

    • 5. 04 - Percussion Widening FX

    • 6. 05 - Mastering Chains and Saving a Template

    • 7. 06 - Sound Design in Serum: Creating Wavetables

    • 8. 07 - Sound Design in Serum: FX and Conclusion

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About This Class

In this class you will learn the fundamentals of electronic Music Production in FL Studio.

This first class focuses on structuring your empty projects, using Sidechain as an important tool, organizing your samples and creating the first Bass Sounds using Serum.

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Jan Koch


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1. 00 - Introduction: Hi. My name is Young A k epidemics. And in this skill check last, I am going to teach you the fundamentals off electronic music production in this case especially dub step with FL Studio and serum. So you're gonna learn how to structure your projects and how to create some nice and unique bass sounds with serum. You're also going to learn how to use specific effects on your bass sounds also in sounds and how to master and mix your tracks properly. So have fun with this class and enjoy. 2. 01 - General Organizastion: and here we are in FL Studio. So this is basically my my starting point for every project. And ah, I find a template for this. I can show you how to do that. So what I always have is I have some groups with drums and site chain with synth base F X, which I named into impacts rising reverse into impact falling and other FX I will go to in this region a bit later and my automation. So it's basically you don't need that you can go with ease tracks which are there normally when you start it up, but I find it Ah, yeah, it's it's more organized when you put all the drums over here and all the soon there and so And also, if you go to the mix up, I have also some things. So I have I named my Muscle Channel Master just Ah so So it looks a bit nicer, and I've actually made ah, a mastering chain sword off. It's not like the actual mastering chain. I always do my individual mastering per track, but this is ah to compare the sounds without anything and with some standard effects, which I will also go in later in this class. Ah, Then I have a site chain bus where everything except the kick and the snare runs into. We'll go into side chain shortly after this introduction. At my side, chains signal challenge where the signal comes into trigger the side chain than I have. Ah, Dedicated kick snare hats and symbol. Ah, line sword off. Yeah, it's like a dedicated channel. Saurian couldn't get the word dedicated channel for the kick, the snare, my hats and my symbols and ah, yeah, On the symbols, I have some effects which I will show you also later. Then I have ah ah extra channel for the sub in which I have just in a queue which cuts everything A to K So the sub does not contain too many high frequencies except when you want to do it. Ah, that depends on you. I like myself usually just being almost a clear sign wave. But ah, I will show you later. Actually, that I don't use this very often, except for maybe trap treks and A to AIDS and stuff because I have Ah, my synth pluck in serum has a built in sub Also later. But I will cover all this later on. So don't worry if you don't understand what I'm talking about. And all the other channels are unnamed and empty. The only thing I changed it that it's that every channel, as you can see, is routed down down below here is routed toe the sightseeing bus. Usually it's always routed to the master. But since we have site chaining in the ADM scene, um, this is very, very important, actually. So I route everything you can market, and then, ah, just throw out everything into um 00 proud everything into, ah, a dedicated channel which you then route into this one. But after you have some slightly compression. But as I said, I will cover that later. I don't think I made these. Oh, yeah, I actually did. Okay, so I actually did every channel. Sometimes I don't do the last few channels because you probably never gonna be getting into the 100th off channels so you can use this as other buses for I don't know for vocal bus or something or group other things, but most of the time I don't need it so I have also rotted it. No, this is rather to the master. Yeah, this is routed to the master because you won't probably need that. You can. Also, if you click on it, it just blends out. And you can use the whole view off everything else. 3. 02 - Drum Samples: Okay, So another thing my project always starts with is if you go up here to the channel. Rex, I have some groups over here. So the first group I have is base just sold by alphabet. So that's why basis My first group in which I have ah, a synthesizer I use for my basin. This is just so I don't have to load something up and make a new group. This is just I think the default sound from this is Sarah. By the way, this is the serum skin which I'm using. And ah, this is just ah, pure a pure soul wave. This is just the innit preset from serum. So this is just so that I don't have to load anything up new and then make a new group. So it's always in a group. Then I have certain down here, which is also just the serum. It's just named synths and bass. You can right click rename color, and I can so you can change the name, change the color. And over here you can change the I can even if you want. So if its base you could I don't know because it's a synth bass. You could make something like this or something or like this if you want to as a symbol, I don't use it. But you could if you want to To even make it more organized. I use it here to make this to show that this is the drums, you know, like based soon, ethics and such. But you don't have to use it. Then I have a dedicated subgroup, which this is myself. I use I can actually turn on my media keyboard, wait a second and then play the notes. So this is my self pitch, which is massive, actually. And it's basically just a sine wave, then a sine wave, but an octave higher and another sign wave. But 19 cents hires 1970 owns higher, just basically a pure sine wave. You can turn these two off if you want. This is a pure sine wave at a low e, and I can fade in some upper harmonics by using the octave used to do it About about 50%. It depends on how you think you want to. If your sub and then you have these 19 cents that you can up I think it's the visit, the seventh on nine. I think it's the seventh You'll also find it in. So instead off just a pure way. Sine wave. You have some upper harmonics, which is pretty nice. So you can even hear it if you don't have, like, very good speakers off every good headphones. If you actually watch this with, like the airports that come with your iPhone or Samsung or whatever, it's probably hard to hear the low subs, so I would ah, actually, yeah, I think it would be better if you watch this class over good headphones or even a pair off studio speakers and a subwoofer, so you can actually really get all those frequencies in that I use in my tracks. But yeah, then I have actually to drum groups. This is basically just like an fastly write down some ideas. You don't have to do this. I would maybe prefer one drum group, and I have actually I think it's VR virtual right samples. Yeah, but you a right kick. Virtual rights. Now, another clap from virtual riot, some nice high heads, um, and some rights and symbols. This is just so if I have an idea. I can quickly just make a drum loop and Ah, yeah, like this. So I can always ah, make a quick idea and write it down instead. Off Always have Teoh, like, find the nice drum samples that fit with this track because thes drum samples are very good . Um, but I won't use them in your tracks because, I mean, there are awesome samples, and I sound really, really nice, especially this now. I really loved this snare, but it's pretty overused, actually, so I wouldn't recommend using them. But just for laying down some ideas, this is perfect. The other one I have are basically also virtual right samples. But now it's for rhythm. So you get this typical rhythm pattern down and, uh oops and yeah, so this is just for laying out some ideas. But the most important thing I have down here, it's this side chain 4. 03 - Sidechain: this side chain is. Actually, I can't remember why I get this noise from. I think it was from some sample pack where there was just a noise. If I now turn up the, uh this is basically the volume off of Ah, the routing of are turning up you can hear Ah, the sound. Yeah, business. My side chain sound. It's a pretty short, sort off noise, but it's pretty low, but it doesn't matter. What kind of sounded is you have to find your perfect or preferred sound for this. So this is a very short sound which is routed to this channel. Here it's called sightedness side chains signal, and usually it is turned off. You can also do it by right clicking here and say slight change to this check site into this track. Or in my case, I change of this track only because I don't use it elsewhere. So what this does is it routes the signal. You can see if I if I play it, you can see it playing here, but you can't hear it, actually, because it's not playing it back now it's playing it back into the sightseeing bus, which then plays it back into the master, which then place it back into your speakers or whatever. But if you turn this off, it just sends the signal. So it does. Does not send any volume, informations or boat yet it's it sends the information's, but it does not send the sound as it is. So you send just the information about the sound into this so you don't hear it. And what I have here is just the standard. Ah, the standard fruity limiter set to compression over here. Usually it's sent to limit. But I said it to compression. And then I said the site Shane to input number one, which is the side chain signal. So every time, Ah, the site, Chain signal place. I don't think you can see it here. No, you can, but the information gets gets over. So if I ah, as an example, I just make basically just a note so you can hear it. Maybe not that this So I have just just this, which now sounds like this pretty harsh high frequencies. Let's make this maybe a more pleasant sound. You don't have to understand what I'm doing here. I'm going into this later. So now it's Ah, this sound. Um Now, what you can do is, if you click on track it automatically. Besides this to a free channel, in which case it is channel number eight and names it after what you named the sense. So now a. So you can see the sound goes from the center thighs er into channel number eight, which then routes into the sightseeing bus, which now goes through with this compression, as you can see, spend into the master. So now if I, ah, put any information to the site Chain Channel, if I go into here and just make a typical four on the floor beat but not with drums, it's just the side chain signal. Ah, you don't even have to put a note with a specific length in it. It's enough if you just click here so it makes as you can see very, very short notes. They don't have any length information. It just triggers the sound as it is in the holy place from start to end, no matter how long the sound is. So now you can hear the sound gets duct. I can actually Ah, make this a bit longer. If you shift left click, you can copy the things you marked, so you can now hear that the sound is being ducked and you can actually see it right here. Now the sound is being docked. So that's why the information to send fruit. But you can't hear the sound if you choose another sound, which is Ah, we can do. Actually we can if you're out this to the channel and turn this off for a second. The kick is you can hear it now, but the kick has another information. It sounds different. I think it's It could be a bit longer, actually. So if you do the same thing, but with the kick sample instead of the sample it shows here, you can see it's way longer and more for pumping thing in comparison to this. So you have to choose your preferred sound for, ah, using it as a site chain signal. In my case, I found this sound to be pretty good. Um, but you can you can also like NFL so you can perfectly shape your sound by making this output shorter or making the stature sad. symbol. Start a bit later. You can really make it really short. This is basically just half of a sine wave, so you can really shape your sound, even the input, so you can make your own perfect um sigh ching trigger. So, yeah, that's the site chain and it issues typically in a song. If I mean, that's that's not a good sound I have here, but just to show it off if you now put some dubstep drums over here and you have the sound playing without any side chain. But with the drums and the sound, it sounds like this. Now the kick and the snare sound nice, and the synth also sounds nice, like if you have a big track, but the impact is right. It's just taken out off the kick and the snare. And if you duck the sound from everything except from the kick and the snare, that's why you can see in here. Let me close this, that the kick and the snare are routed to the master and not to the site train bus. The high heads are routed to the side chambers and everything else, but not the kick and the snare. So everything gets basically lowered in volume when the side chains stick, signal is triggered, which I trigger every time that I triggered the kick and the snare so everything gets lowered in volume except the kick and the snare. So now it sounds like this. It is a very, very short lowering off all you. I can make it bit bigger if I, uh if I hire the release time or even lower the threshold so it lowest the volume or like this. I know it's very low, so you can see where this is going. This just makes a lot off a lot more impact. However, I have made myself a preset for this side chain, so it's easy to reset. May be a bit lower like this. So it's said pretty short. But just enough to if I now turn this off while this is playing, you can see how it just takes out the impact off the kick and the snap, and this is really important. In every electronic music genre, there is like trap dubstep, future base, house, techno, everything. There's always this side chain involved. Sometimes, just when the kick hits and not when the snare heads or the collapse like in in house. You always have this fall on the floor pattern. Where this alliance Basically it's like like this. Now, this is too fast for house. But oh, this is even too slow because they have half the time. It has to be like like this to be house. Um, yeah. Now it would be right for house, even though the sounds aren't the right ones. But yeah, this is This is side chaining, and this is very important. You really have to cite chain everything except for the kick and the snare in your tracks, except when it doesn't sound good. You should always look out that it sounds good sometimes if you have very short based sounds and kick is over it and the sighting is over it it's ah, it's basically taken away the sound because if you have a very short since sound with a kick over it and the site in ducks this very short since sound, you can't hear it anymore. So then you should maybe not sigh chained that much or lower the volume that much 5. 04 - Percussion Widening FX: So the next thing I'm going to talk about is three effects I have as default in my sets in my in my templates. So on the master. No, let's start with symbols on the symbols. I have my preferred que block in which is faithful to pro que um, we can make it very big. So I have made myself a preset called 100 hertz cut. So everything this does, it's basically not the 100 hertz cut. If I open this preset it slower. It said to 100 hertz as it is called. But what I did is I cut every frequency Ah, above oh below I can't every frequency below maybe 200 20 to 250 hertz like he ever the very steep slope. So every ah frequency below this point. Basically 200 in this case, 254.99 hurts gets deleted, gets cut away. You. So you just have everything from, like 222 150 hertz upwards, too. Whatever. This is basically like to 22 K or something in some cases. So I have this. So it cuts out the low end because sometimes if you have riel recordings from drums, you have this low rumble which you don't really want. Ah, what I have now is a stereo enhancer. This? Ah, I'm actually not sure what this does in this in. Oh, yeah. This is sometimes. So sometimes if you have some samples which are recorded from a drum set up with the microphones, you have some symbols more on the left off your ears and some symbols on the right off your ears. And I don't necessarily like that. I like it. Mawr, if my symbols or my drums in general stay pretty center. So not frequency wise, but just like heart panning to left and right. I can show you that also. Then you can use this stereo separation. So if you take it to plus your left site, it's basically made mono, but then to the left and right channel again and the other way around. So if one site it's louder than the other, you can take your preferred site and just make it this side. And after that, I haven't over the top compressor, which is one of the best plug ins for electronic music production, which is essentially a multi band compressor, but it works in a really specific way and makes like a sound very crunchy. So I put that to what is a 22 23 around around 20 to 25%. It's depends on one sample to use. And then I have this thing which is in Petula. You can make plucking is yourself, and I think this one was from NASCAR. You should check him out. He makes really cool music. And the ah made this pluck in, which is basically is stereo. Yeah, it's it's always said it's a stereo with so what it does is example this surface, which is just what the layout does, you have to fruity filters. You can do it with other pluck ins. What? But what basically it does is it modifies the left and the right sound to be a slightly slightly different but ever so slightly that it creates some sort off stereo with. I can show you that pretty easily if we take just my standard sounds I have here in the symbols. So we make maybe like this, like this. Yeah, So this now this now goes through everything return everything off. It sounds like this. You can actually see it that on the first hit, it's more on the right. And the second it is more on the left. So first thing is, everything under this gets deleted. Not really much information, but you can see it actually down here that there is some information. You can't really hear it, but there is. This is always getting deleted out. Then next thing is the stereo enhancer. So now we have just the left sound and I have just the right sound. But these sounds don't bother me so much because it's very, very slightly. As you can see, it's not that much. Sometimes you have it sounds more like like this or like this. Not like only, but sometimes some had sound like this. So this is why I have this one so you can separate it. But in this case, I don't need it. Next thing is the O. T. T, which probably makes one of the biggest differences. First of all, it makes the tail off the hit much longer. If I boosted to 100% Theo leaving sold, it evens out all the frequency so it makes it like the tail is very long and it boosts the low sounds to be much louder and so on. But I just prefer to, like, maximum 30% but not really on the hats on the hats, maybe like, and symbols like maybe 25 not more. And now comes this awesome thing, which I can start off very mono and now make the stereo with higher. Do you hear that? It gets more spread out to the left and the right channel, and it works by slightly delaying the left to the right side with a different time. So it creates this stereo effect. Basically, you can also change the texture. That's, I think, affecting the filter and the delay settings. I preferred up here, and then here and now you just have a gain up, so I make it very wide. So I start off with making it mano basically and then making it wide again. But I prefer that sound over the sound without the effects 6. 05 - Mastering Chains and Saving a Template: and the other thing is my muster wreck. So the first thing I have here is ah, an SSL compressor. It's it's really tiny. I really can't get it to work. Sometimes it works if you have a tiny plucking to make the window external and make it bridged. In this case, it does not work. But, um, basically, it's just a preset, so you don't have to remember any settings. If you have this pluck in its from waves, the SSL compressor stereo, you can click on load and I choose the preset mastering. And ah, it's just like a simple compressor at the start, so you can maybe, like, even out a bit off the levels. Next thing I have also formed waves is a crime, a tape stereo. It's a tape emulation pluck in, which gives the whole thing a bit warmer sound. Um, you can maybe fiddle around with these knobs a bit, but I like the the mastering preset in here, which is clean and open, so I choose this one. Now what I have is a two band compression I made myself. There's no surface. It's just this, and it splits with with two federal does. It splits the frequencies to You have to actually have some some noise here. I think it's from the tape emulation, but it splits the frequencies to above 100 hertz and below 100 hertz or 150. In this case and above 100 Hertz gets into a compressor, which has this preset organic thickness, which I like and below 100 hertz. We have another. It's the same preset, essentially. But, um, if you make trap music and you use very low, long sub base, it can distort the high end from the high heads, for example. So that's way. Want to split it so you don't have any distortion while it's compressing from the Lohan to the top end. Sometimes you want distortion from low into top, and we will go into that shortly, but not for high heads and sub sounds. Next thing I have is very important. It's another A Q. And this shape is the so called Fletcher Munson Fletcher Munson Shape or Fletcher Munson curfew can look that one up. It's basically what is Ah, it's sort of scientifically proven. What's the ah, best thing to your ear? The best frequency spectrum, all the the ah, it's what is the most pleasant for years to hear you can. This would be an extreme shape, so you can hear the lows louder than this region at the top end. And here something's a bit louder, but I like to dial that in just a bit. I have made myself a preset for this, so this is more pleasant to the years, and I have a cut at 20 hertz and 20,000 hertz. So what this essentially does is it takes out every frequency below 20 hertz and above 20,000 hertz, which you can't hear your ears can't hear any frequency below 20 hertz and above 20,000 hertz. So that's why I cut these frequencies off because they would just take away the energy from your mix. Because if you export this as a way fire or MP three file and land, play it back at the club, the speakers try to play back these low or high frequencies, which you can't hear. You can't even really feel those low frequencies. It's most of this range from 20 to 100 hertz, which is the sub which you can feel and here. So everything below that which tries with the speaker tries to put out It just takes away the energy that the speaker would use to, ah, to play back all the other frequencies that you want to play back. So that's why I cut below 20 hertz and above 20 K Then I have just a simple limiter. So nothing clips or distorts eso I can lay to get into the mastering process. But ah, this is this is just for good measure. And this is actually just because I have a razor keyboard and I like it when my keyboard lights up to the sounds so you don't have to use this. The last two. Basically, you don't really need those. This is just for good measure. Also, this the tape emulation is just for me, so I like it. But you should use a general glue compression so you glue everything together, your drums and your sense and everything. Then this to ban compression is pretty important to you. Don't distort any high heads or something this accused important. You can tweak everything according to your sounds. What sounds most pleasant to your ear Um, yeah, and that's essentially it for this. So now what I did is I Safed this empty thing. If I delete everything I have in here, I think we have this since sound also. No, we don't. Okay, So if you have, like this empty thing with the groups with your channel racks and everything set up, you can safe your file into Ah many projects. There's a folder called Templates. We just have to find it here. Templates. Then you make a folder. I called nine epidemics because that's my producer name. And then you make another folder which you call in this case, it's, I think, dub step, and then you name the project file the same file that the folder is called. So if you want to if you want your template to be called top step, you make a photo called dubstep and put this safe. This s named Dub Step in there. So if you're safe this you can open from template or a new from template, get into epidemics and choose Ah, the pre said you made all the template you made. I made a few thes older things like 140 bpm. This one is set to 150. This is just perfect personal preference 7. 06 - Sound Design in Serum: Creating Wavetables: Okay, so now let's get into some sound design. Maybe for electronic music. I'm gonna focus on dubstep most off the time. Maybe a little bit future base or something. Um, but yeah, let's Let's start with this. Ah, with this plug in here, which is serum, I really like it. It's from X for records, and this is always my go to synthesizer. This is a very, very awesome synthesizer because you can basically make everything with it. And more importantly, you can make your own wave table. So what this is is it is a wave table synthesizer. So, um, this innit? Preset. You have to also laters sup also later and noise also later filters. Ah, lot off LF owes, you can actually have, I think eight off them. Ah, and a few envelopes as well. A somewhat knobs if your piano roll pitch enveloped the pitch band and now you have here some effects which I will go in later. No worries. And the matrix and global, which basically will overwhelm you the first time. But I'm going to focus on this also later for the for now. So you can see the shape off the standard way form, which is in here. If I play it back, this is a soul wave. If you click on this image, it will go into the three D mode So you can see here. It's on the first frame off this wave Here at the position up, you can scan through the frames off your wave. In this case, it's only one frame, so it won't scan through everything. But if you click on here, you can see the We've table that I need. I have a lot off board wave tables and stuff, but ah, I think that things you get with room and lock digital um, well, let me see. Spectral also user is where you say if your own wave tables But I'm going to go into spectral for now. So if you choose anything maybe monster monster Really good for starting with dubstep sounds you can see now this is the three d view off a thing. If you click again, you get into two d view. So if I now scan through this, you're going to see that the way form here changes and down here at the at the number like now 208 164. This is the number off frames you have in this time. The maximum is 256 frames, and you can choose which frame you want or modulated. Or however, if you click again and scroll through it, you can see it's highlighted in white, where your position is. If you now hold note, I'm going to choose a very low note. It's not even on here. It's like this e but an octave lower, like over here. Now scroll through it. You can hear what basically is a wave table synthesizer. You don't have to make any bass sounds with it if you're going to analog and and I know these very much, maybe like look in this direction, play higher notes or chords. Even Theo, you can get into this stuff, but we're going to focus on bass sounds for now, so get back into spectral. Maybe choose another one months. The three. Maybe. Let's listen to this. Oh, this is a very vocal wave table. I think it's important from a voice or something, and that's the big thing for this sympathizer is that you can import your own wave tables and how that works. I'm going to show you now. So, um, over here you have fuel your packs, which is essentially your samples, and you can choose anyway, file. I think I don't know if it works from here, but if I, uh, going to here? These are myself. My kicks. This is a kick I made thes. These are my snares. So if I may be used this thing and now drag and drop it over here, you get this window. This is the importing modes. I don't really know what anything of these really do. These are very interesting. I'm going to show you and shortly what these do. But for now, let's pick import normal dynamic pitch follow. Just let go off the mouse and it imports the sample. Now you can see we have a lot off nothing over here. That's why um, basically you can see at the top here now that behind the sample, everything just fades out. I can drag it into here also, so you can see it better so you can sort of actually see what is going on. Because you have this big impact over here. like this part? No. Come on, let me. Yeah, like this part, which is what you can see here and now this old, all this. Nothing over there. It's basically this part here where nothing is assembled when the same bull fates out. So, um, you're gonna fix this if you go on this button edit or I don't know if it says at it for you, but this pen will pop up if you click it. You can scroll here through every sample off your reform. And if you now take maybe over here where the symbol gets gets more quiet, take any sample that you want. You could actually go until the end, but I will choose this one instead because I don't know why not and click on add slash remove and then remove selected till end. It will remove every sample or every frame, um, and will remove every frame behind end the marked frame. So from 37 till the end, we remove everything. So now we have just these few samples. But if you now scan through them, you will hear that it's it's very step e on. That is because we only have 36 frames eso to smooth this out. We're going into moth and then select morph spectral. You can choose any other thing, but I like more spectral zero the fundamental off the face, the best For me, it sounds the best. You can choose whatever you want. Old sound good, but I like this a lot more than the others. So you click on it and now you can see it made additional frames between the frames that were already there until 256. So if he now move through this, it is way more smooth. Now we have a lot of difference in ah, in the volume. This is very loud as well as this worried reaches zero and this is very quiet. So we're gonna go to process and then go to normalize each gained separately. And what this does is it takes everything and makes it the loudest it possibly can. Every frame makes it the loudest that the frame can be possibly. Now, another thing to do for good measure is expect the edges so you can look at the edges here . It makes them so they line up so it doesn't if you just play 11 sample, one frame. It sounds more round. It doesn't clip anywhere. So now if you clicked Spectral zero, the fundamental normalized and ex fated all the edges. Now you have a proper wave table. Sounds good. Not a lot of high end, actually. That's because off the chosen sample, maybe another sample would have worked better. I don't know. Maybe if he Maybe if you take this sample step, you can, uh, see what this would do. If I import this. It's taken a long time. Please don't crash. There we are. So this is a way shorter sample, Actually, all we have a lot off weird things happening here. What is going on? Let me try that again and ended it. I don't know if that's the right thing to happen off. This is just the sound off the snap. But it seems so. Yeah, Let's just go with it. This is just, like, made in between. Maybe we can highlight the samples. I know. What did I do? Delete even individual samples by clicking minus over here. So I think Yeah, this would be the sound that I was looking for. Yeah, this. So you take now the last frame that has a bit of information Makes selected to lend, Make everything gained spectral and exploit the edges. Now this may be a better wave table. It does sound a bit weird, but that depends on the sample used. You could. You don't have to use any snacks or kicks. You can use everything you can go into any other base pack like pick any base. It may be an important this figures this It may get other results. Just play around with it. Remove, select it'll. And if you have nothing over there, make it all the second volume. Make it smooth. And now you have well, something like this. So now you can see what what this sample actually is. You hear this sound and you can recognize the sound. If you take the same samples and imported, Why one of these modes choose anything? Maybe I'll just take this. It always makes everything until the end. So if you now make it all the same, volume more fit and explain the samples. Now you get other details in it. So it is like just a different importing mode. So Now that you have this, you can play a one with all the knobs and found out what they do. I won't go into very, very deep detail what everything does. But this is basically the unison. This you can actually, if you have other mouse over it, it says what? It's what's doing. So it's creating multiple voices off this sounds. So if I have one voice, two voices up to 16 and any of the D tune which makes how our house spread, they are in pitch, so it spreads them. From now, everything is the exact same note to 12 If I, Laurie to To could see now, this is a visual representation of what is going on. If I put up the knob, you can see that these spread out so the left one gets lower in pitch and the right one gets higher in pitch. But very, very slightly. Just so it makes this sort of sound. Uh, until you can hear that are to actually actually two different notes. Yeah, but with this you can actually make some nice sounds. If you have a soul wave and just put the unison up, you don't have to do to 60 like six. Maybe is enough and lower the detain just lightly. We can get a really very, very nice sound full, like some nice chords or something. Yeah, but he and the lower notes, usually what you maybe do is put it up to 16. But to the make the D 2 to 0. So don't have any of these sounds, but it just one sound. And then if you lower the face and the randomness off the face, which I won't go into detail because it's very complicated, get just a bit crunches. Sound thing with one unison just a bit louder and a tap distorting, which is just a bit crunchy. Yeah, another big thing that this plucking does is if you go to hear you have all these different warp moats, which I like is because you can. Basically, even if the rematch function function, you can do basically everything with their sound. Flip it around and something. But I like Ben Linus for these sounds, because it's if you click on it, you can see the visual representation of what it does. It stretches out the way for you have been plus which squashes it together. And if you now scroll through it, Onda, when you want to move these and these and every nope in this plucking automated you can use one of these. It's an L F O is a low frequency also later. 8. 07 - Sound Design in Serum: FX and Conclusion: so you can drag and drop it, for example, of the wave table position. And it will replay the shape that it does here to your sound, which modulates here. Now, this is very messy. So we're going to fix this first of all, going to trigger so it triggers every time when I trigger and note or the I left the door triggers a note. It always starts at the beginning position, which you can choose freely. You can make as much points as you want, track and drop, like thes shapes and such. But if you double click them, they get deleted. But I will do like a nice A nice shape lights round shape like this. Maybe may put another point and make it a bit rounder like this. And ah, modulate not that much. Maybe just a bit. Yeah, this is this is a very messy wave table. Just a tiny, tiny bit. Yeah, why not? Like this Now you can can listen to what this stuff and maybe even modulated this from the back up to the front or whatever. In whatever direction you can like this, well, you might alert the other direction and Also, you can modulate the volume of it with the same LFO, which creates, like a wobbly motion. I would maybe make it a bit longer. Theo. Yeah, This this gets into a nice dubstep sound said this point, You maybe want to at the sub oscillator, you can enable it in here. And I would suggest clicking direct out. So this will go through the effects section eventually. But if you clicked, direct out this up will go directly out and not trigger any FX. This is actually why I don't use the sub also later in my in my preset anymore. Because I have this dedicated sub oscillator in here you can use either cleans up or maybe , ah, bit warm us up or trying a wave square waves, Saul waves everything. I I prefer this one is a bit warmer self than the 1st 1 We can check it out. So this is a more pure sine wave. And this has a bid over frequencies. If he now modulate the same l f o to the volume and I'll play the sound with it. You have some nice deep rumbling sup. So the next thing I would suggest you would do is go into the filters. They have many, many filters there some good tutorials on what each filter does. I also highly recommend virtual riots studio time, where he explains serum. There's actually YouTube video to this, which is awesome. I really, really love him. But, um, now, just to show you, I would take the high pass and peak filter, which is over here and multi hp 12th. So this is a high pass and a peak included. You can't really see. It may be a bit if you hire the resonance, you can see it here and now. I would modulate this to about 66. 60 to 70% orbit less in this case, 50 to 60%. And now modulate this in the other direction. So it goes. So the two points, like, meet each other in the middle. This creates a vowel ing noise like a vowel like chi or yoy. And these sounds so it gets more vocal. So this is what I would do in this section. I would go over to the effects section and ah, first I add the compressor. You can activate it here. It will look differently for you because I have a skin on this. But now I would activate multi band and now it's essentially an O T t, which I also have my master chain and my highest and everything. So now if you compare before and after, it gets a bit quieter So if we know, make the gain wobble with the same LFO. If you fall in after it makes the high end more poppy in this in this case, it makes it more crunchy and boost the high end a bit. So now what I would do is maybe at some slight distortion in this case, it's tube distortion. Not too much, because it will distort like this, which is not nice, but just a bit. Maybe even make the soft clipping there. Yeah, like this basically Oh, wait. Yeah, that sounds nice. And now you basically have ah bass sound. You can experiment with all these other things hyper in dimension flame, jizz phases, chorus delay, reverb, another I Q. And another filters at a Q and another filter section, which you have all the filters. Just not the original representation. And ah, then you can by clicking track. You can round it to a channel. And basically not just with one sound. One son is a bit not It's not enough for a whole track. But you can basically ah, draw something of here. Maybe like this. Put it in here into the basis No, into the basis. Yes, like this or this is maybe a bit too long. Maybe that's make it like this. And now you can. Ah, I would use some other samples from from Assemble Pack. I did. Maybe. Yeah, maybe like this. Put this in there. That maybe lose used to the first half of this. This is at 1 40 bpm. So after stretch it a little bit, but that's not bad. You can do it. This is just full representation of what you can do now. Um then routed route everything into the into the mixer so it gets sent to the side chain signal, which is very important. And now let's just make a quick drum loop over here. Kick, snare, kick, kick, and snare like this. Then at the clap on the second snare at the hi hats. Very important. Another high. It at the site change Very important. I was already step further, which is here. And the high hats. Maybe every quarter note like you would prefer. I don't know. And then you have an open high head, I think, Yes, we can make it like this. Maybe like this at this every quarter note and every kick and snare at a nice crash symbol . Yeah, I know you have a nice drum loop which you can put over here and enjoy sounds due to make. Of course, this is not mixed correctly because I just threw in some samples. These are way too loud. Yeah, And put some more variety in it or something. But that's basically how you can start a track with some. Now you can choose maybe some nice kicks and snacks for your tracks. Maybe. Maybe put in a nice kick. This is not This is more of a trap kick, but it works for Dobson as well. And a nice now, maybe more. Yeah, I'm not. Let's try. This is a very luscious nails. Very short snippet. Make trim. It just cuts everything. That's nothing away. So let's hear how this sounds. It's OK. Yeah. So that's basically how you can start your track and, ah, in the next section, we're going to talk about more off the effects that you can put on your basis and, ah, make some nice background since so thank you for watching editor of the next episode.