How to Sound Design for Music Composition | Mikael Baggström | Skillshare
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25 Lessons (4h 3m)
    • 1. Your Journey in Sound Design

    • 2. Sound Design Core Effects

    • 3. Waveforms, Recordings & Samples

    • 4. Filters

    • 5. Envelopes

    • 6. Modulation

    • 7. Pitch & Tuning

    • 8. Stretch & Fade

    • 9. How to Sound Design Ambient Pads

    • 10. How to Sound Design Deep Sub Bass

    • 11. How to Sound Design Pluck Sounds

    • 12. How to Sound Design Huge Sub Drops

    • 13. How to Sound Design Dark Pulses

    • 14. How to Sound Design Ominous Drones

    • 15. How to Sound Design Epic Risers

    • 16. How to Sound Design Low Booms

    • 17. How to Sound Design Magical Pings

    • 18. How to Sound Design Mega Impacts

    • 19. How to Sound Design Mighty Stabs

    • 20. How to Sound Design Punch Hits

    • 21. How to Sound Design Reverse FX

    • 22. How to Sound Design Trailer Braams

    • 23. How to Sound Design Whoosh FX

    • 24. How to Sound Design Cinematic Clicks

    • 25. Congratulations

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About This Class

Your Journey in Sound Design

Do you want to learn how to sound design unique sounds to use in your music? You will master the fundamentals of sound design, but also practical sound design on a range of styles like: Ambient Pads…Ominous Drones…Dark Pulses….Magical Pings….and Huge Sub Drops.

I hate wasting a lot of time browsing through presets to find the right sound, and I’m sure you find it boring and inefficient too, right? What if you could learn how to do sound design yourself. Because with the knowledge of sound design, you can easily shape any preset into something new. Or create completely unique sounds from scratch. Your own sounds and presets, that no one else have ever used. In this course you will:

  • Learn the Foundations of Sound Design

  • Explore the Sounds & Colors

  • Discover Practical Tips & Insights

  • Get Live Examples & Demonstrations

  • Become a Master of Sound Design

My name is Mike, and I am a composer and sound designer, who loves to teach and share my knowledge with creative people like you!

If you are ready master sound design, then take action, and begin your learning adventure, right now! =)

Meet Your Teacher

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Mikael Baggström

Music Composer | Sound Designer | Video Producer


Hey Friends and Creative People!

My name is Mike, and I am a Music Composer, Sound Designer and Artist. I Share my Story, Journey, Experience and Knowledge, to Inspire and Empower Creative People like you. =)


I believe that learning should be fun. I love to bring my personality into my teaching style. I also try to make my courses dynamic, to be more interesting to you. =)

You are more than welcome to visit my website to learn more about who I am.

Friendly regards,
Mike from Sweden
Founder of

See full profile

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1. Your Journey in Sound Design: Hello. Do you want to learn how to sound the sign Unique sounds to use in your music. You will master the fundamentals or sound design, but also practical sound design on a range of styles like ambient pads, a luminous drones, dork houses and huge subbed robes. I hate wasting a lot of time browsing through presets to find the right sound, and I'm sure you find it boring and inefficient, too, right? What if you could learn how to sound? Design yourself? Because with the knowledge of sound design, you can easily shape any priest it into something new or create a completely unique sounds from scratch your own sounds and presents that no one else has ever used before. In these cores, you will learn the foundations of sound design, explore the sounds and colors, discover practical tips and insights, get live examples and demonstrations and become a master off sound design. My name is Mike, and I am a composer and sound designer who loves to teach and share my knowledge with creative people like you. So if you're ready to master sound design, then take action and begin your learning adventure right now, 2. Sound Design Core Effects: In this video, you will learn the core effects off sound design and music production in 20 minutes. So let's start the clock right now. All right. So the first core effect for sound design, in my opinion, is equalization or filters. So either using a filter inside. For example, a synthesizer like illness fears you have this year when you set the filter, type low post high Paul's Band Pulse on and said the center frequency for the filter. If you want residence as a notch or peak at that frequency, and then adjust some settings with envelopes and such but more importantly, the equalizer, which you can use as a plug in on any track you're working on as an added insert effect, and with the equalizers, you basically have a couple of ways to eke you the sound. The first is a low or high pulse. Well, this is a high pause because I cut the lows, and in the other end you have the low pulse. Basically these air filters. Then you have the shelves, so a a high shelf roll off or increase. Here it is not as drastic at the full off over a low war high pass filter here, and then you have a notch with chicken, set of other to go up, down. And then also the Q factor. The Q range here, which is how why frequents, arranged or affecting so super important. The equalizer. Next is the compressor because let's go back. Let's turn off the accuse. We have the main style here. A compressor. Basically, it is short for dynamic range compression, which means that you compress the dynamics over a sound which in turn makes it louder because he decreased the peaks the top levels of the sound so you can increase the average level. So now, before I have. But with it you can see the compressor is actually come oppressing the peaks. Almost 10 disability here and then, if you ah, by the increase it manually or turn on the auto gain, it will increase the average level up again. So you actually get a higher loneliness so incredibly important. And there are many different styles off compressors, and every compressor has its certain color and character to its summer had more of an analog style, some or more clean Ah, so you can affect the color of the sound with the compressor us well, and another aspect is using it in peril of mode. So this is the bonus state by heavier, which is Teoh, not use it 100% but actually mix with a dry wit. Setting the known compresses sound, which is basically like turning it, turning it off and the fully compressor. And then you mix them together to get the impact of the fully hard compressed sound and the more dynamic sound. Ah, that is something I really use a little core perfect Number three is saturation and or distortion, so there's many different kinds over saturation you can use. Let's see if we can dial something up here. Um, let's use the cell. Okay, so let's add a classic saturation effects. So I have this saturation noble here, uh, which isn't plugging out often use. Basically, the US increases thanks to sound more greasy because it adds mawr harmonic over town tones so you can use light saturation and you can even go to guitar EMS or based Ansel Distortion pedals. Really more grits to the sound and actually you have also beat crushing and sample rate reduction, which is also form of distortion, which makes the sound more vintage. More grain is so to speak, and you can even mix and match between different styles off distortion. So I actually have a plug in here in logic called the Fat Effects. And here is the distortion module, and you can use three different types or cheap distortion. And here you can actually see different types of distortion styles as you can see all of them here. Jube is one of my favorites, and that's do some grit as well or no dye, your distortion and some big crushing so only beat crushing like this, she of distortion, classic analog style distortion. Dire distortion makes a match between them. You can see there are many different styles of distortion and saturation plug ins you can use, and you can use them to various degree. And it's actually one of my favorite ways to shape my sounds with sound design. All right, so the next core effect is fattening up. Thickening the sound with unison chorus or in samba will effect, So basically, this is like taking one by win and then having eight or 10 or 20 violin players playing the same thing. It will definitely fat up the sound. So if you listen to this sound now, uh, okay, sounds pretty plain. But if I add this chorus, Blufgan on 100% makes so before on with, let's use the compressor to dial up the e level young, so you get a much wider sound. If you think it's too wide, you can always decrease the mix. Here there is also So this is the corresponding let's see in ominous, very actually have a unison on the oscillator here. So unison menacing Desai. Sirs, have this mold basically adds more way forms in layer here at some depth and spread. So you go from this to this much more wide and fat sound. The next core effect. I used a lot on one shot samples, like percussion or even rhythmic stuff like Austin autos or comping guitars. If you want to add more, attacked the sound. At least that's how I use it. Personally. It's called a transient designer, So if we check this track here was removed that I just have a recorded stumps, food stumps myself. So it sounds like this on its own. So this is just my foot sump, but with a transit designer, you can actually increase the attack and decrease to sustain, to make it more snappy. So we go from this to this. You can do this on any especially percussive sounds, but also, as I said, arpeggios or Austin autos or any driving rhythmic sounds to increase the shortness and clarity of the attack and have less sustained. The next thing is I ordered to show you the units and course ensemble Teoh make it more fat and wide in the mix. But let's say you already have something that is played by many players like this. So this is justice string bullion, string sample library, and it has that luscious sound already. Let's say you want to increase the state of you with even more well, use a stereo imager to increase it. So before um, it sounds with this and with full 100% yester, you can really hear it. Often it will sound very strange with full 100% on anything, but I mean listen to how it pushes it into the sides of the stereo, however, sometimes might want to go in the opposite direction if you want more focus in the middle, then you can make this completely model if you want to. This you can even see it represented by this visualize er here. How wide the stereo field ISS. So that is a steri designer or stereo imager. The next core effect I call movement effects and especially what I mean by this is not too rhythmic but actually creating movement and motion curves. So one of the most fundamental ones is, of course, the classic LFO that you can apply to any parameter to create his cycling movement into anything. Really. So let's say you met this LF l one here to the filter eso is set to fail to the cattle frequency and now you have Ah, but in most cases have slower movement because that adds that curve. Let's mute death for now because I will also show you what you can do with. Let's see here. One of my favorite slow movement effects is actually the tremolo effect, which also adds that stare you top of movements off. Do I have the story imager? Let's turn that off on with it. So here, he said. The rate off the movement curve and the depth you can see here. So go from Syria. He doesn't do anything after saddles full on even uses for rhythmic effects if you want to , if you just increase the speed. Super powerful from movement effects. The next one is the Facer, which, as this kind of spacey type of facing sound before with wait for long sounds like strings and pads. You can also use other types, like Road three speakers, Landers anything that adds that subtle movement into your sounds. Now let's go from movement effects to rhythmic effects. It's a degree difference here, but ah, I am talking about fixed that as more of a read me character, which you can do with movement effects if you increase the speed, as I just showed you with it for Melo. But let's take a look at this effect here in logic. This is called step effects, and it as a basically a stuttering effect like this. Do you these drinks American said the pattern and there's very use types of these effects, some of symbol trans gates effects, and you also have various plug ins you can use with C. I have another one called Gatekeeper, something that as this read me kind off movement, let's add some. All the priests like this. I mean, as you can see, there's there's a lot of things you can do with these kinds of movements. Effects. I think I have another one. Let's see over here that's even called movement. But it also has lots over rhythmic presets. So without it against rings here, but or this is a pad. But with it, I personally like rhythmic effects that you have some kind of way to reduce the dry, wet ratio. So from full or to be less, you can have it completely dry settled rhythmic aspect to it. Something like that. Next, we have another one of my personal favorites, which is what I call a sub generator. So adding information in the Sabha base register. So if you go back here to the strings again, let's say but by something here. Well, logic has a simple one here, but there's many to plug ins like this, so it's just adding base here before on with Listen, listen again, you can actually see it if I cool up here. The channel eq jurgen on just look here in the low range without this are based regulator. It lacks here in the 2200 hours and with it generated a sub base there. So using a sub generator or bass booster, plugging is really good for percussion sounds as well. So going back here to did they sound here, this stump sound? Let's see here. So I have this begin called spectre, which is it looks like an e que but it actually ah adds harmonics in the frequencies I choose. Like here added a tube distortion harmonic in the low base and here so it works like this sub generator. In this case, I can also use it as an exciter. But let's see what it does with his base boosting before after huge difference. Great for precast percussion sounds. So these sub generators or sub harmonic enhancers have a sibling, which is harmonic. Exciter used to had shimmer to sound, which you can use with this exact begin here. So instead, let's used it to add harmonics here in the in the high wrench. In fact, let's use the this one here. Lets use it with some tape and just add some shimmer Let's see what but it does. Obviously I like to use it. Mawr on ah, long sounds So these strings here so adding. So it'll be before and add. So as you can see, it's even called add silver. This present. It's actually adding, in most cases, air and shimmer again. Not the same thing as there's boosting with the Q. Because it adds harmonic excites. The harmonics can be a great way to make. For example, a vocal lead melody instrument cut through the mix by adding those harmonics. The next court effect is adding some space to your sound. With delay on the next one is reverb, and you can also use them in combination. So take a dry seen sound like this. Well, I have actually a delay effective right here, So I like using analog style delays. So something like this and then you can use low and high cut to basically reduce the frequency. Focus in the delay, and I like using it in stereo like this. So you go from something like this. Do this, which takes us to the next one, which, of course, is the reverb where you can dial in the length of the reverb, even shape the frequency response. And of course, the dry wit ratio. So here I have a large room presets at a dry 70 and 30% wet. So, of course, if you use a heavier blend like 50 50 or so, then you will get more of that river bush. But you should be careful because it's it gets very washy very fast. So that is reverb. Now, I just want to show you if you have sounds that have some end in the recording that you don't want to have their well, then you can use a noise gate effect. Let's see if we have one. I think we have one right here. Yeah, so this if I hold down the key, you can actually have a crackling going on there in the end of the recording. You can, of course, slice the audio samples. But I like using noise case for this because it basically tells that when the sound reaches below a certain threshold, then reduce it by this much and with these speed settings here, so we can get from this to completely superfast. And then you set how, um, how the speed is how fast it will reduce with these settings here. There's a very good, for example, for recording guitar distort tor, where you often get that string bus and stuff the noise you don't want but also in precast of sounds that you record or anything like that. And finally, when you have a sound that you're satisfied with, add some limiting and maximizing to boost the overall levels. I like using it in combination with compression and saturation like this, and now we have. We go from release noise, add the compression, and then finally add that limiter and boost the gain and just make sure you set the output levels to have a bit of a headroom there. But go from this to really massive thumpin that sound at that specter that Ah, let's use this bass booster again here, um, the sub or the based generator. And now let's see if we can. Yet it he urged you the base again like that. So all in all, we have this go from this well ordinary selling storm perfect that I recorded Wedel these let's say I think you see the ignores Katie's a bit too quick. Congratulations, my friend. You have now learned all the core effects of sound design and music production in less than 20 minutes. So now take action and experiment with creative ways of using all these different effects with different variations and different degrees. Mix and match for your sound. A sign and I will see you in the next video. 3. Waveforms, Recordings & Samples: sound design foundations create your sound sources. So in this video I will demonstrate the main sources off sound you can work with for your sound design number one is way forms or oscillators. So here I'm using my favorite synthesizer. Oh, Miss Fear And I loaded a synth way form which is also called an oscillator. There are various types of oscillators, like square ways. Triangle waves, sine waves s so waves. Those are the main ones but also variations off these waves. So in sore tooth you have various variation in them, which means you can play something like this. For example, a T least if you're using an also later that is tonal, meaning that it can play a pitch because it repeats as a cycle that is one also later dust . Now, another thing you can't even some synthesizers is used an actual sample as a an audio source. It basically becomes an oscillator because, as with a synth oscillator, it repeats at a certain frequency, which means you can play it back like this boys choir, our sample like that. So that is the first ah source of audio or sound way forms oscillators the next one is to work with sample libraries, which is basically ah, some strings breast woodwinds, any type of instrument that they have recorded several versions off each key in various dynamic ranges. Microphone positions. Ah, round robins, velocity layers and so won't. So you can play things like this. So working with riel, sample libraries orm or about using a real acoustic instrument in most cases, but with sound design, you can use that as an audience sort as well as a layer in creating your new sound or with Spertzel design tools and effects to shape this zone. That's the 2nd 1 sample libraries. Then you can also use what I call one short sample. So if I load up this sample player here, which is battery, I just voted a sample that I recorded myself into this pat here and now I can play it back like this. So this is a storm. So that is one source you can use. And with most sample players like this one simple players. He also have lots of sound design tools you can use that we will get into in another video , but ah, let's go continued with the fourth main sound source was ISS audio recordings. So you can record your guitar performance, your electric bass or whatever. I just recorded myself during a little vocal thing here like this, which sounds pretty corny and strange on itself. But, I mean, you can actually use beat boxing, harming and doing things with your voke voice or and record any sound any audio outside in ah, with an external external recorder and use death as an audio recording. Teoh use for your sound design as the sound source and finally audio samples that you just dragging s audio wave forms here So you can either bounds out media part here as audio auras I've done here is I just used a sample that I already created. And then I'd right into the d w to use as a sound source and this is a sub drop. So these various sound sources all have different advantages and dis adventures is and ways to manipulate them, which will go into in the next videos 4. Filters: sound design foundations how to use filters Now the sound sources, of course, the most fundamental aspect and character off the sound. But after that, I would say filters or the next most important because it basically decides where you want the frequency focus to be within the sound itself. So let's explore the three most fundamental filter types. The 1st 1 is low post filters. The next one is high post filters, and 1/3 1 is banned post filters. And then there is all sorts of specialty filters, but those are the three main ones. So the best way to explain this, I believe, is to show you an equalizer, because if Filter is basically a fancy equalizer, that has the advantage of having a certain Kohler and character to it. So let me show you here. So the low pass filter as it sounds, it allows the low frequencies to pose, which means it's basically equivalent off. This the If you have an EQ, you and you roll off the highs. And, of course, these value where it where it starts to slope down is the value off the cut off frequency. So this roll off here in the highest is a low pass filter, and the equivalent is, of course, a high pass filter where you roll off from the low end and keep let the high frequencies post. And then we have finally the band pulse, which is a certain band where you basically roll off the highs and the lows and keep the middle, and the residents here adjusts how sharp it is. So with high residents, the it is will be sharper and more narrow, so to speak. So let me get rid of these IK use and let's go in and have a listen to it. So this is the sound of a low pulse filter without any filter. By the way, you will heal ALS. The high frequencies so low frequencies pass residents increases a peak in narrow and not more narrow and more narrow peak in the sound on the capital frequency. So let's say I use 300 here way. You get a peek at this frequency, but you still have the roll off in the heist, right? The next one is the high pass filter, so here it's the opposite. Higher place, this cut off frequency by the way. This is not tip number two filled in frequency. It is the point where the fielders starts to act. And again, you can't great a peak in the sound with the residents. And then you have the band pass filter here. So here you said, the center frequency off the focus off the sound. Let's say let's say one particular hurts and then make it more focused. And by the way, I also want to give a very important advice here. Which is you have these fielder types, you learn them. Well, what about DB per octave? Well, let's go back to the EQ. You again. So if we open this up here, so take a closer look here, I activated the high pass filter or hypo CQ, which means high frequencies will pulse. So that's why it's cool that now you first need to said where you want the main roll off to happen. Let's say 200 hertz. All right, now, this is very important. The slope is actually the curve here, so it actually has to start all the way over here gradually and then go down here. That is decibel per octaves. One. Okay, we'll have six decibel of reduction. If I increases to 12 you can see it starts to getting Mawr. Ah, this logo's faster, and I believe I can do 24 36 40 eight. Again. You can see the slope changes. So if you apply this to the filter office indecisive ER or sample player, you can hear the difference between a 12 db low pulse fielder at one kilohertz here in Middle C still leaves lots of the higher harmonics. Let's change it too low. Pause at 48 db way warmer, more mellow because it had a steeper slope. All right, so you learned the main aspects of the filter. The filter type, low pass, High Pass and band Pass, which are the three cool filter types. The cut off frequency for the slope, the residents, which practically creates a peek at the frequencies you set it. Now let's talk about the fourth main aspect, which is actually the envelope to filter, because this is a noble slider, depending on your synth will actually control what the field envelope applies to the filter , so you can basically, ah, set the envelope so it opens up for the field are very shortly like this, for example, and then open up the fielder to the max here so the envelope filter envelope will control, so that start here at the lowest city. It's very warm, right like that. But the fielder envelope, if I increase this will open up with these timing settings so that the cattle frequency goes all the way to the top and then back again, which will create basically a little pluck like this so you can create Oregon eating. Open it up slowly. The filter to create kind of a pad. Ah, uh, started sounding like Vang Gailey's or something all rights. You learned the core aspects off using a fielder for sound design, the three main filter types. The filter frequency or cut off frequency and the residence and also the envelope to control the filter. Now there is an even cooler way to control your performances in real time, and that is to automate. Ah is modulation on the cattle frequency and residence, especially the most important, is probably the cattle frequencies. You can map it to fader like I have done here, or you can even use the modulation like an LFO to control. Ah, the cut of frequency. Let's try that first like so. So let's meet that. Or you can draw in automation in your DW Off you map this. Ah, any parameters. So I prefer to actually record it like this myself, because then you can do things like this. The now the great thing about filters is that you can use them on any some souls for sound design. I showed you how to do it here in a synthesizer, because that's where you probably should learn how to use it and how it works in practice. But you can use it on one's short sample players like this one. I showed you with a stone. Just activate this filter here. This is a more simple one, as you can see to get rid of the high frequencies. If you want, you can use it on audio sources, and by the way, it's basically the same as an e que. But with added Kohler and character or the fielder and the residents know Bob and that you can control it in various ways. Eso It's more advanced than an e Q. And it can add way more character So I will show with this by playing the string orchestral sample. Abre sounding beautiful, right? But now let's sound assign this amazing string library. Breathe some filtering, so I'm using a plug in that has some filter modules in it. You should really have some variations of filter plug ins in your DW because they are amazing for sound design. So this I turned off everything, so we still have the natural sound. But as you can see here, I have a filter section right here and here we have again low posts, samples and hypos variations. And as you can see, they are often a short version here. LP low Paul's BB Ban polls. HB is high pulse, and you can see some variations on specialty filters. You can also see that even the 12 db per octave as you learned 24 db per octave. They come in variations who is sharp, smooth, edgy. Ah, and this really shows how much character and colder even the same type of filter with the same decibel can Proactive can have. So it's try this one the first year, said it on, say, one kilohertz. Some residents and this particular Fielder even has a drive to had some separation. So we get from this this let's d activity that. And here you actually have a band post fielder, and it shows very clearly where the band should be here, right like this. Let's increase the highest of it. As you can see, there's so much you can do with filters for sound design. 5. Envelopes: sound design foundations how to use envelopes. So what does an envelope do in sound design? Well, let me pull up this synthesizer veterans in here, and I will explain the difference between the two main sources off the sound manipulation over time, which is an l A ful and an envelope. The main difference here is an envelope is changing the sound from a starting point the trigger to an end point that the release or to speak. So it has a beginning and an end while in LFO change us any parameter over time in a psych lickle fashion, like a way for and it never ends Well, right, So I hope your witness. So for an envelope changes any parameter from a starting point to an end point. But next, how does it actually change over time here? Well, it's with four main parameters That is standard for envelopes, which is shortened as a d s are. So in some synthesizers, you only see it like here a d s or and they stand for a a attack d decay s sustain and or release. Now there are several types of envelopes to off them or fundamental which any synthesizer has. That is the AMP. Envelope and the filter envelope, so the names practically tell what they do. The AMP envelope is controlling with this shape off 80 s or the actual M, which is the output level off the synthesizer. So the volume, so to speak. While the filter envelope, of course, controls the filter. However, I'm also going Teoh changed to only sphere here just because ominous fear, like some synthesizers, have extra envelopes so they can simple be called end one entity or and so on. Or, in this case, mode envelope. So Atmosphere has four independent mode envelopes. And the great thing, if you have access to extra envelopes, is that it can map them to any other parameter in your synthesizer while the amp envelope and filter envelope or tie to AMP. So the output level filter is basically controlling this cattle frequency knob overtime. Now let me demonstrate how you actually use an envelope in practice to shape a sound over time, because that is what an envelope dust. So here, if we have the amp and hope I have deactivated this fielder and look for now because the AMP envelope is the main envelope. It changes the output level over time. So if I take this attack value the first in the eighties or setting and present on Syria milliseconds, you can see the sound starts and goes to Max immediately like this. Right? But if I add the attack time like this, increase it. It will almost. It will be a smooth beginning off the sound. Yeah. Okay. So you can make a pad out of this if you wanted to. The next setting is the decay time again. So we have the attack time, the decay time, the sustained level on the release time. So what does this mean? Well, basically ah, this is stained level. If I have these on Max, if I press Aquino, it will remain of this top little the peak level for an infinite time since the sustained valley ISS at Max. Ah, right like that. If I have the sustained low like this essay on 10 here, then it will take the decay time for the sound to go when it reached its peak value to go down to this sustain value. Okay, so if I have it like, let's say this it will fade in and then fade out down to this value. Like so. Even if I hold down the key like this, Did you hear that? It's got up to the peak point and then the Chris, if I have it on Ciro, it will fade out completely in what's a two seconds after it reached its peak like this. Like that. Even though I hold the keys steel, it reached zero. Because the sustained level is on Cerro and the release time. The final aspect here is Ah, this is you need some sustained value for their So this is basically off there. You release the key. It will have ah tail in the sound like if you pluck a guitar offer, you release it, it will ah have a residence tone like lifting it. So if I have this, let's say like this, it's almost like holding the sustain pedal. If I have the release on zero, it will immediately drop. Ah, a little bonus day appearance. If you have everything on Sierra like the attack and release, uh, sometimes you will get a little click, which means it can be a nice thing to have. Yes, the hint Overton, that I could release like that, especially if you use their low sob a sound or anything like that. So the EMP envelope works the same way in practically every synthesizers, the attack, decay, sustain and released. In the case of Almost Fear, you will see these as Vader's, which is most common so you can have a fading time. You see the time when I drive this up or you can have it. Let's say on immediate attack, short decay, no release and no, no sustaining no release. And you get the pluck sound like this because even though hold the key, it takes 1.0 point 142 seconds to drop down to the sustained level, which is zero. So it goes up immediately to the peak on. Then he drops down in this time. So if I want to have a longer plan, just increase it now if I have. If I had a sustained level, anything above zero, then it will still be Puckett. But if I hold the key, you still hear stubble. The sound, not the full sound, like full, sustained level, but just a hint of it, like that so you can, and these can be a great way to make palaces with various lengths. So you can if I increase the sustained just a hint, because if you hold the key, you still get a tone. Next, let's say you want to make a pad type of sound. Then I recommend having a long attack time on a long release time. Because he bought that smooth, fading and smooth fadeout and released tail. I also recommend having the decay time quite long with this sustain at lower levels. So you get that read, you'll fade out even if you hold the keys. So now you can get something like this. A nice pad sound all right. So the AMP envelope is pretty easy to learn how to use. What about the filter envelope? So the AMP envelope controls the amp basically the output level of the sound. So the a level over over time, whereas the filter envelope controls the cut off frequency, so I will actually go back to retro sent to show this. So, as you can see here, you have, ah, the filter and lope sitting here. So let's in fact, make this into the shape of a plaque Sounds 00 attack very short sustain. And this or decay time and the sustain on zero as well. Ah, like that. Now, the fielder and Loeb doesn't do anything until you choose the envelope to fill their setting, which is here. It's at zero now, So basically, you start by setting a low pass filter. Oregon is a high possibility. Er, and do it inverted. But let's use the most common example, which is low pass filter like this. Okay, uh, then uses set the filter and love time like this the shape and these noble controls. How much the filter envelope will control the cattle frequency. If I put it on Max now, the filter will open up to the max according to the timing off the filter envelope. So, in this case, a very short plot. It will go instantly up here very shorter onto time and then go back immediately, which will create a very clicky type of addition to the sound before we have it on zero. With it opens up. And if I mess with this now, I can open it up. Ah, longer attack. That's at the decay time and have some sustained. So it fades in and out like this. You might want to have some release. It's the same type of shaping you do over time, as you do with the MP and the whole envelopes or like this. And in this case, you might want to actually have some release and add some amp envelope here. Ah, you need to work both of these in combination to create the sound you want. Next is a very important feature, which is the velocity control for the envelopes. So we have it right here. Let's actually go to the AMP. Again. Let's make a plaque type of sound here. Enormous fear. So something like this to see what we have now, right? Let's actually increase it more. I don't have the filter envelope on, but if I wanted to, I could add a mawr present or focus attack by making it pluck shape here on the Enfield, revel and then please, how much the fielder envelope controls to cattle frequency. Of course, if this is already open, thief filter to envelope doesn't do anything, because the thing is, how much does it add to the from the filter here to the cattle frequency. Some synthesizers. You can even invert it. But so you know this very just click here and it does the reverse. So goes down with a pluck shaped like this. But let's get back the days. Let's have something that now the velocity here. If I have it on Ciro, this is velocities. How hard hit the key. So if I hit it now very softly or horse, it's the same level. It doesn't change how much the AMP level is at, so if I have it on Max, it will listen to the dynamics, the velocity off each key, and apply that to the AMP envelope like this. So if I place off and hard, it's a very huge dynamic range, and you can use this for the filter as well. So the harder you press, the key them or the filter will send to this envelope here. Off course, you need to have this setting turn on, but that means it also great gets brighter in this case of the filter envelope, not only louder then we also have the mod envelopes or the extra envelopes that he can map , and they are shaped the same way. 80 s or so. You can actually have a plaque in any other type of parameter in you synthesizer. Not all synthesizers have this feature, but if you do, you can simply choose the mold envelope bomb, which is this one here, lets you pluck here and change. Let's say things symmetry here. So the scene where we have it, Ah, symmetry like that and changes like this muting. Let's, in fact, do some other shape here like this, or changes over time with these settings, and you can even see you to you like that. You can also, in some cases with some synthesizers, controlled the envelope trigger. And that means that if I, ah, have, let's say, the amp and Loeb, let's use the modem LaPierre. What you just heard was the loop mode, so without it, it will simply stay here until I release body. If I loop it, it will start over and over again. So let's go back thesis. So it's important for the AMP. Envelope because or failed because some synthesizers when you do, say, the golf to mode or so low motor glide mode. The Lagardere's solo here So this means that the envelopes or not re triggered if you play the notes, the goto let's let's boost to cut the frequency bait like that so you can hear it more. Ah, so if I play it with a gap between the notes, the envelopes are all re triggered, meaning they start over. Let's check because they here. But if I hold down so plainly, goto when I take the next note, you can see it continues Now. This can be very important if you play bass lines or leading melodies, and so one where you can choose if you want the envelopes to re trigger or not, because if you don't re trigger them, they will have a more smooth connection between that because the envelopes doesn't trigger again, which means they will not add this in this case, plucky character. Congratulations. You have now learned the fundamentals of using envelopes for sound design 6. Modulation: sound design foundations how to use modulation. So modulating your sounds is an excellent way to add variation and movement and rhythm and any other sort of characters through the sounds. So let's open up almost here and I will explain the three main ways to add modulation. Ah, all right, so let's start with L f o modulation. So LFO is ah, practically there in any synthesizer you will find enormous here. You actually have eight of them. But let's just go with one here. So what is an LFO? LFO stands were low frequency oscillator. So of course, this is political form here. Now an LFO is basically a wait at a psych lickle variation to any parameter that you map it to you. So, for example, let's take the cut off frequency off the filter because that is a common parameter Teoh modulate. So if I turn this now while I hold the note ah, you will hear how it will affect the sound character and the frequency frequency focus depending on where I placed his cut of frequency. So in order to modulate that you can use an l f o if you want to so here we have. LF l one now, let's go here and map LFO one to the cat off frequency. All the filter Pedro capped off like that. Now what you can do instead in many synthesizers it's actually mapping directly, at least in almost very can modulate with LFO like that and it opens up here. But it's also right here. LFO two is now married to the cattle frequency. So now if I hold a note, um, it goes like this. Okay, so you need to learn the main aspects over an LFO because first of all, it's based on a cycle kill way form. The most common is a sine wave in some synthesizers. You can actually change the way form off this. So if you take, for example, a square wave, it will bounce from here directly over here and back again. So it creates more of the rhythmic aspect like this compared to a smoother sine wave way, because it changes dynamically as these curve here. All right, then you have sink that you can use to change the rate to sing to a note value. So the rate is basically the speed. How fast it goes back and forth the parameter you map it to like this so on one hurt faster , faster. Eso won. I like Teoh. Turn on sync so it turns on note values of one boar. Or, let's say, a quarter note. The best thing about rate in sync mode is that it seems to your GW's so the temple of your project, so to speak. The next is depth, which is how deep the LFO controls the cattle frequency on. If I decreases, you will see this is a thought. Do less of the movement, right? Four Full, go away. There's also DeLay, which means what I pressed the note. It will not start the movement off this cycle immediately, but actually after sometimes. So, in fact, let's increase it to like this like that. But let's imagine that is a top of the broader effect off the sound. Well, you don't usually want that. They brought it to go in immediately. So added Delay, let's say like this. And now if I hit a note, it will start straight with this filter value. And then this l A full will start increases that we'll hear it more pronounced thay So that is the delay factor in some synthesizers, like enormous, very can also set this centrepoint, meaning these line which the telephone will relate to you. So if we decrease the depth here like this, let's go back here you can set So the LFO is bouncing in this area like this or higher up like this on anywhere you want the center point to be. It's basically these line here on the depth is high hop high up. It goes here in the peaks and valleys, so the depth is increasing the amplitude off the wave. The that is the middle point, the LFO with related. So I also wanted to experiment after you said the rate and depth which did my opinion or the most important with the way form. So the sine wave is the most common, but it's very smooth. Try, for example, a square wave or even a sore wave. Ways that instant sharp attack in the telephone then goes down like that, which can be really cool to create. For example, though and Pells is like that, the next type of modulation is envelope modulation, so an air phone shaped the sound in a cycle ical fashion over time with the shape of these way forms. Well, with an envelope, you already seen how it works with 80 is or with the amp. Envelope failed through envelope. If you have extra envelopes that you can map to any parameter, that is a good synthesizer. In my opinion, I love using these to shape other aspects. Not only the amp output and the filter cattle frequency like am Banfield read a book. But actually, as I used here, I controlled. I mapped the mod envelops one as the source and that the target is course pitch. So, ah, if I'm you, this is basically going to shape this this parameter right here. Now, how will it shape it? Well, if you go into the mod envelope, this is the shape it will go through. And how much depends here on the envelope. Ah, depth. So you can see it here. If I turn it on now on Cerro, it will Don't do anything. The more I increased this team or that envelope will control the parameter. I'm aptitude. Uh, so you heard it there, Uh, like So you can also in verdicts that goes Ah, down instead of up the perimeter. Me up it uh So you can hear here that you can use this, for example, to make advisor or a ah sub drop. However you have one problem here is that goes down now. But then it goes up again because the more envelope shapes it to go down and then go up again like this. So let's go back to the center point place like that. Ah, you need to shape the curve here. Ah, so set the sustained value. Max, releasing Max and I go in. You can now see that like that. Now you have Ah, the mod envelope. Go up. It will change over time in 2.6 milliseconds or seconds. Now then DK doesn't really matter here. Uh, because we have. When you have the sustain a max, this doesn't make a difference at all. And then he can change with the depth of how much the more Evelyn changes like that. Or go back to go up again like this. Well again, you can change the time here with the tech Great for making risers or subgroups within mode and delivered or extra envelope that he can map, do any parameter pitch cattle, residence shape, horsing and someone. Now the third way to modulate sounds. You have l. A focus for psychical modulation envelopes for controlling from a starting point to an end point. Or, if your envelope support said your mode envelope, use it in loop mode, and then it's basically crap becomes a kind off similar to an LFO, but not a sigh Click away, but actually the shape you change with the attack, decay, sustain and release settings. Now the final ways parameter automation. So there's to wait to use days. Either you go into your D W, and you go to your automation and you basically right in the modulation. But let's go back here to atmosphere and let's mute Uh, okay, so what you can do other than that is in some synthesizers, you can simply provide clicking parameter and then enable host automation or even meaty cc . Learn my favorite way because then maybe cc or map to fade er's or nobles or any controls that you have ah, at your disposal. So that's I about map this failure, the number two fader. Then I simply click media learn Let's do it on the first Vader media learn media CC learn And then I drive this. And now that is mapped. As you can see medicines, you learn mapping to the next. And now I can play and perform the automation in the performance when I play like this, or I might want to have them at a setting on, then record the automation after words. So if I have, I can see him play. Make sure that I have parameter ah, automation read and all right on. And then I can just recorded like this like that. Now I have the automation in my D w s can see if I go here. Ominous. Fair on DA. Those are actually now control. So let's make sure this is don't read again. So I don't change it by accident like that. Now, to access these information that I recorded you simply at least logic open up the piano roll for this clip and then you open up the automation here with a and you can see this is one parameter I modulated with cc one modulation. And then I also have breath control modulated. So does all the parameters that used this media CC while let me deceased it to you that I know because I actually problem programmed it in into my medic keyboard. So I sent out modulations. Easy one breath control ceased to, and then I mapped it in the synthesizer. So CC one controls this Sisi to controls that and now those or accessible right here. If I want to change them like so and do something different, let's do it so you can really hear was going on here like So let's do something really crazy like this. Like that. Congratulations. You now learn the fundamentals off modulation for sound design modulation with Ella foes, envelopes or parameter automation, either in your performers, by mapping failures here or simply by manually writing them into your sequencer. 7. Pitch & Tuning: sound design foundations how to use pitch and tuning all rights. Working with pitch and tuning in various way is an extremely powerful way to do sound design, especially when you also work with layers that make up your overall zone. So if we open up, these synthesize their ominous here again, we have this also later here. If I play middle, C you can do The first step is to actually change with the transpose which changes. Ah, they sound when I press the key. So let's say with zero, it represents the key With minus 12 it will play an octave lower like this so transposing can be really powerful. You can have another layer and let's say I have this on Sierra Now This layer fast this layer in unison sounds like that. But you can actually transpose with this transpose here, Teoh, let this play an octave lower. And now when you combine those layers ah, get a really powerful zone just from transposing The next way is to use fine tuning off the layers so you can actually tune the different way forms that I use a little bit differently now both are on the same octaves, so no transposing. But if you imagine a big violin section, every single player on violin will have a slightly different tooting that is actually what makes the sound richer and more powerful. So if you use the same concept here, let's tune these slightly to the left just a couple of cents and they slighted to the right , and that makes the sound fatter and richer. I can call a bit more analog, so to speak, which takes us is into the third tip, which is instead of using that this or in combination, you can use analog drift or simply drift or tuning drift, which is basically if I have this 10 every time I hit the key, it's perfectly in tune with this key. If I increases to the max every time I hit it, you will hear a slight variation, the tuning drifting in and out like this up and down because that is the way old electron ICS and analog synthesizers worked. So again the difference is zero on full. If you listen carefully, you will hear that the actual tuning drifts like that in an analog way. Next is one of my favorite ways to shape the tuning or pitch over time, which is to use the pitch bend real Now you can actually set in most synthesizers how the pitchman corresponds to the pits. Pinwheel. So in this case, it will go down a two semi tones and up to seven tone. So like this. Ah. Now, if you, uh, changes to, for example, one semi tone here now you can do things like really decent and sound like this up the or you can also perform with some modulation curve like this up thing on to the extreme, you can go with down 12 which means one food OKed A when I go down the pitch pinwheel. Now you can do a subdural or advisor if you change this, for example to 24 which is two octaves going up like this. Uh oh. Okay, so these pits Pinwheel is a bit jerky, so you need to use modulation for it so you can actually modulated with a linear movement instead. But anyway, that's using pitch bend. Then you can also, of course, pitch shift audio. So if you go here and listen to this audio, I just recorded simple like this. Um, like that. Well, you can actually pitch shift here in logic. You just go to transpose like this, which is, let's say we go down seven, Sima tells. Oh, I had the wrong track down. Seven semi tones like that. Here's a bonus tip. Practically all sounds will sound great when you pitch them down. If you go in the opposite direction. In most cases, it will sound very cheesy. Mm, it might work, but just as a guideline, pitch transposing or pitch cheating all you down will work in most cases. But it can also use E except from transposing or pitch shifting order like that is used a pitch shifter plugging. And I will just used one here in logic, which is this one. And I call this hormone e layering here because you can actually use it makes here. So what? 100%? It's basically similar to what I just showed you was just transposing up Semi total seven here. Go down instead. Like that. So before it sounds like this again, OK, so no transposing or pitch shifting here in the DW used this pitch shifter plug in goes down 75 semi tones. Okay, but with using a mix between the dry south on the food bishop to sound, I call it harmonic. Layering is let's use seven like that, which is a perfect fifth harmony and 50% practically creating a harmony line from this. Now, what you can also do if you have a pitch shift that supports this or a synthesizer with a foreman, failed to reform and control. And the best way can describe this is that the four months are basically the fingerprints of a way form. So if I take my voice right here and then I use this old pitch. Vocal transforming begin in logic, which looks really crappy, but it's their work. So if I pitch it down so before MM and after Ah, still the fingerprint off my voice that he pitched down 77 tones here. But if you also decrease, the four meant I will be able to go from my ordinary voice to amore demon type voice. So let's show it Ah, like this even more down like this, right? So that is the foreman control off the pitch of your voice or any sound source so let me show you another example of this. That is more clear because I actually recorded at a lower voice speaking like this, I believe in darkness, right? So I don't actually have the deep of a voice to get away with this. So I use the page shift down, but without the foreman control, it's just owning. Very. I believe in darkness, very strange and robotic like that. But if I decrease the Foreman controller here now let's listen to this and you get that demon voice. And of course, if you go up instead, you get that more of like, I believe Smurf type character. Now you can use automation on page in many different ways. So, for example, if it goes into the synthesizer, you could map LFO to change the fine pitch over time, for example, or use mode envelope to control here, the course pitch, or you can even program a note like this one here and then tie it here. I attach it to the pitch bend and then you decide in the synthesizer by here how much the pitchman will go up. So 24 semi tolls means this note belong rice two full octaves like this thing. Uh, you can go down to make a sub drop, or you can also use any type of modulation on pitch like a plug in for it. In logic, there is a modulator plug in here so I can have an LFO on this. Let's beautiful. So I have the sample library here, the strings just playing octaves. But this I just added some dynamic shifting here on it. But let's say you want to make it even more creepy by adding modulation to the pitch. Well, I was going here and then set it to pitch men wheels. So the LFO controls the pitch bend again. This is the pitchman, So let's see if I can like that. Well, now, if you set this level here, you will see it starts to go up and down at Max. It will go full on pit, spend up and down with a telephone to create, but just that slight settings you crazy. That eerie, spooky, ominous type of sounds like this, and also slower rate. I would recommend all right like this, for example, or put it in another way, form for the other phone. If you want to? There's even a random here. Does he have that fixed the sound? You will see it represented here. So that is one way. You can also automate the pitch. Just make sure that you've really map it as you wanted to. So, for example, with this modulator plug in unit map it to, in this case, the pitch Spend in the case of almost year here since I automated the modulation. Ah, here, the pitchman here, you will need to make sure it's mapped. So the pitchman does what you wanted. Go up 24 7 knows or perhaps just one oak shaped like this. Ah, I will stop there. All right. Congratulations. You have now learned ways to control the pitch and tuning for sound design. 8. Stretch & Fade: sound design foundations how to use stretch and fade. Now there are so many things you can do with stretch and fade techniques for sound design, both with audio clips on even with medically. So let's get started here, and I'll show you the 1st 1 is my personal favorite, which is time stretching. So let me show you this. I recorded this sound right here, which is just me or my microphone doing this. Okay, so that is how it sounds like it. Naturally. Now, what you can do risk. Of course, you can pitch this down if you wanted to you. But let's say you want to have the pitch remain, but make it shorter because it has a long tail. Oh, make it more of a thumb. Well, then you can time stretch the clip. So in most VW's, it's a simple matter of just hovering your mouse here off the right side off any clip than holding old or option key on Mac. And you can see the curse of changes in the ass left, click and drag it. Let's do it very short like that. And now you get from this. All right. And you can, of course, do it in the opposite direction. Often it can sound strange when you stretch things out and it can work better as like the texture, because if you will include more artifact. So like with ah, pitch pitching and tuning, it sounds better pitching down. I feel this the same way, often with time stretching it stretch. Compressing the clips sound better because often with time stretching like this, it sounds artificial and robotic. Which could work. Of course, if that's the style you're going for so you can do this own stretching with media swells that we have his rise to here, which is two bars now. Let's say you wanted four bars long. Just do the same thing. Hold down option or Old key Hungry mounds left. Quake. Drag it out and and now it's more like that. Eso that's time stretching, super useful technique. And sometimes you don't even have to time Stretch, um, too much because he just wanted to align to the greed. So let's say let's say this was, um, like this, for example. So if I assuming now you can see it's not perfect to the great you wanted to end here on the beat. So sometimes you just need to terms. It's a bit like that to make it to make it line. Teoh right, but again, open it. Sounds better to time. Stretch down, compress it to the closest beef or anything you you want. All right, So that's Tom. Stressing the next one is using fade curves. So let's say this sound again. Let's let's go back here. Or in fact, let's use another clip by May. This one here. Okay, so listen to the beginning in. Sometimes you have, like, a little clique in a sound money here in this clip here. Well, then you might want to add a fade in. So again, in most CW's, it's a simple matter of just hovering your mouse here and then adding this fade here. You can, of course, also added, fade out so that you go from this direction. And, by the way, bonus steep. We're working with Fayed on clips like this is to assume into your seat on your entire screen. Um, and then just every mounds left quick and you get a fade like this and you can see you can also change the shape of the curve of the phase. It can ramp it up slowly and then faster like that. And then we can do it from the opposite direction, like here and President old here in the middle to change the curve. This might be different work for in your d w unless you used logic like me. But basically, that is how you can add fades. Ah, so what's do it like that instead? Hmm? Let's ramp it down as well so that it goes exponentially up. And now you can also do cross phase between different clips to morph them together basically. So if you have this one here and then I have this other one here that high, I believe in talk nous that are recorded with my own voice here. So if you want to cross for these, if you just overlap them like this, depending on your DW, it doesn't cross fade unless you use you see this drag setting up here and then choose X fates of overlap. Now, when I add it, you get this cross fade like this. So boo, I'm believing talk nous like that or if it's on overlap like this you can, at least in lorded just moving and you see this quick peer instead of adding a fading If you drag to the left, it cross fades and you get the curve here. And you can also use this to change the cross fake curve if you're liking. I believe in talking this so that is fades and fades occurs and cross fates. Ah, again, time stretching is my favorite Saudi side technique off these, But you also have automation is you can do level automation. Let's move back here. So what you can do is in your sequencer. If you turn on automation and logic, it's simply clicking a and then you can actually ah added volume automation. So let's say I had a one down here and then goes up. Let's say like this and then down again. So this is basically creating a fade in and fade out with level automation instead, Like this. OK, so I have this point over here like that. Okay, so I need to put it on Syria to reduce that clip. In fact, as you heard, yes, I stay still have the clips. I would add a bit of his fate in In the Beauty Emam with volume automation, I find this can be sometimes better. Ah, because you get more granularity, more detail because you can actually add more points. You can do things like this. For example, if you want to. Let's say we Caputo's over here, so it basically becomes a rhythmic aspect. Mm. Now I want to show you an important differences. When you use automation, you can switch between track or region. So I personally prefer to do the automation in the region's themselves because then I can move them around in the sequencer and the automation will still be there. So I like, I prefer to work in the editor. So regardless, if I work with media clips, meet ingredients or audio, I like to open up the actual editor and then open up automation here in the same way. So this is the audio source, took a get this and switch here to region from track, and now I can do the level automation. Let's say I will see. I want to actually see the whole thing here like that. And let's say I start there, go up like that and then down and then ups and then down like this. So it sounds like this since that is now recorded to the reading, I can drag this quick over here. And if I go in, you see, it still remains. If it if I had done it on the actual track in the sequencer with track automation, that would have remained over here on the placement in the grid. So I also want to show with this in the media editor because it's a bit different if I open up automation here. Ah, you have, of course, the volume. But I like to work with the meaty CC instead. So often the expression Ah, or maybe volume. In most cases, the expression is actually the volume, basically, so you can actually go in and draw curves here. So we have what say, these kind of pattern? Let's see like this. And what does that sound off for this riser? Turn it off on Turn it on a C C super powerful technique to do level automation which you can do in various ways other automating in the actual level, off the track or the region with Sisi data with expression in this case, you can even automate the actual level off the synthesizer, the EMP or the output level and create the curves you want Exactly how you want them for the level out. Another reason I like to work with VI gin based automation both for label automation or modulation or anything is that when you time stretch to the clip, regardless of fits and old you were medically, the automation will stretched with it. So if I time stretch this back to say a to Boris Now, the actual automation data here is also stretched equally. So now you get this instead, the, uh which is amazing. Now, I also want to show you what I did in the beginning here when I recorded this, you get a lot of silence before because I started the recording, moved towards the microphone record and then push it off. Well, of course, when you time stretch, you need to make sure you have the information you born in. The clip the time stretch show. Every time started days it will time search all the silence. What I recommend is actually about just going in by assuming into the clip and then just simply dragging. Ah, the clip like this to the exact starting point. And then if you have Siles remaining, let's say you want end. Let's listen again there. Okay, so let's just ah, slice it used the sister to trim to to get rid of this and then now assume out and then you can place it in the grid. You need to make sure you can a line the clip to absolute value here so you can place it. Let's say here at the perfect bar line and now you get this. So now when you have the original sound now this is when it gets really cool. In my opinion is both You can add a little little fading just to reduced. If you have any type of clicking, you want to make sure ah, it has a fade out if if it needs one. So let's say you want to reduce it all the way here. Okay, so you it cuts off well at a little bit of a fade out like that. Now I would apply time stretching, But not only that, I will show you what's really cool is that you can used time stretching in combination with pitch shifting. So let's say you times to get this back to half its size and it gets like that. Let's increase the gain, by the way. So we can really hear this and then transpose it down with, say, 77 Notes. Seven tools. Let's reviews it. Even Mawr like that. Yeah, not all the way. Just like in the middle here, let's add more of a fade out. You can go further with the transposing and full oak tape. As you can see, there's so much you can do with combination with pitch shifting and time stretching. Now, if I would were to add some effects on top of it, what's a some saturation here? Compression character? Let's do it in parallel. You really have made it into a percussive hit. Low hit. No congratulations. You have now learned some of the cool techniques to work with stretch, fade and level automation for sound design. 9. How to Sound Design Ambient Pads: In this video, you will learn how to sound design ambient pads, Tip number one, slow envelopes. By this, I'm talking both about the AMP. Envelope controlling the output level and a filter envelope controlling the cut off filled the frequency. So what do you generally want to do is have this slow, gradual fade in the sound both for the AMP and filter and a T end the tail the release of the sound to get this kind off fading, slow, fade out as opposed to If I had the DEA's on a short setting, you get this like that. So that is the first ah tip, regardless of what synthesizer use like, for example, on this fair D increased the EMP attack released and for the filter envelope as well the attack and release tip number to add modulation for movement in the sound. So the main way to do this is with an l f O that you map to any parameter you won't in your synthesizer. In the case of almost very actually have access to several elephants that you can map with different rates and depths into any sound. An important thing here is to keep the rate very slow. As you can see here, all the syrup 0.29 hurts if I convert that to sink note value. It's like 78 bores. Ah, long over modulation. So that way you can map it If I check the modulation sitting here LF l one is back to seeing shapes, instrument cemetery and I even have the LFO 22 unison spread. So basically these or at adding a movement like this in the background which changes in aspect of this sounded adds movement like this tip number three use doubling effects, especially unison. But if that's not available, you can use a chorus effect as well. So a chorus ah would see modulation and Angelo chorus or something like that, basically in effect, that adds more depth. And with to the sound, I like using unison for this. So if I mute later, be here, you can hear without unison. It sounds like this. Well, unison. It adds more layers of the sound and spread them out in the stereo field like this. So that's tip number three. Tip number four is to use movement effects. So I already showed you that map LFO Steward Movement to any parameter, but you can also use extra effects either inside this incisor or externally in your d. W. Um, I like using tremolo, so you can also use a Flander or a facer to add a slow movement in the sound. So final. Do this hair without it with it. If I put it on maximum depth, some kind of stereo movement going on. But I recommend using mainly slower values, and you don't need maximum death unless you want it. Have it still in the mix. Tip number five is You can add some saturation for warming up this sound. So let's say, without this, this is just in the AMP. Amplifier. You can use any kind of separation that has a warm characters. Teoh with really reduces some of that horse frequencies so subtle, depending on how much you add with dr and so one. But I generally want to use it for that. Ah, case tip number six. They ring for color. So with past, you can really layer up various types of sounds. You don't have to use his synthesizer for to create pads. I like to use this exercise arrest the main sound, but you can lay you wrote it up in your DW with some orchestral soft strings. Or, in this case, the other layer I've used here. Enormous Vera is actually a boy's choir singing or or in pianissimo. So we're very slow or low dynamic, and that adds this really divine. In fact, you can use the You can also see I have the amp attack and release slow the failed to us Well, you can, in fact, used East as the pad itself was. I opened up the field, her hair slowly, and ah, by the way, that is a bonus step. When you use the filter envelope, you really need to dial down. Here's a a the low post fielder at a low setting so that the AMP. Or the fielder envelope slow the opens up and then closes again. So with this layering, you really as so much more character before eyes found this insider. But with those beautiful tip number seven Final e que sculpting. So if I closed this now and open up here, you can see that I actually like Teoh get rid of all the Lohan because I want the base sounds to my music can take care of this low in unless you're going to go for a pad Drona type of sound. But I want to get rid of that and often I use the higher end off the frequency spectrum. Either bill down to reduce everything in the high range to really have this need the cloudiness off the sound. I really wanted to push it way into the background or I increased the highest frequencies to add more shimmer in the sound of the divine Shemer without with eso. That depends on what created show is you want to go for with your sound and the tip number eight add a deep reverb. So after the eq you here in the channel setting, I added a concert hall. Warm reverb. You can even go for an extreme decay if you want to, but be careful. It might be come to blurry and clouded, but once you have without it, I mean, it still sounds deep because of the long release of these sounds, but it's pushed even further instant background with this extra reverb. Now let me share some really powerful bonus tips with you. The 1st 1 is, if you really want to, s a magical character to the sound. There's two ways that I love To do this, especially in the atmosphere on that is to use a Horman, Isar or Harmonia here that when I press it key here, it actually adds the unison adds, of course in units and the same note that I hold. But the harmonium owed here as whatever interval I've also 1/7 is good because that's basically 1/7 and an octave is basically power cord. So whatever you play, it will still sound in key. So to speak. Now, without it, it sounds like this. If I add it now, really hear those high seventh here. But I lowered the seven with it at Max. It sounds medical, but it tends to stick out a bit. You, Marcia, usually lowered in the mix and then I have the Octavius. That s so this is the unison, the Cerro, the past seven and the plus 12. Okay, so that is one way. Another thing is to use a grand Euler effect. All miss here has this built in. But you can also use it in your d W ah granular mode of granular synthesizer, or granular effect. Basically, it slices up the sound into tiny grains, thousands off them, and then goes through them randomly and dust various changes for each grain when it puts them together to create the new sound, which can add this really haunting, beautiful and otherwordly character to the sound without it with it. I really love this on Pat's I I feel that granny remote an effect which was really made for these magical pad type sound and then layer it on top with this one. Eso. I also have a final bonus tape, which is to add some performance curves into into reports. So you can do this with mapping the modulation wheel on your mini keyboard, Teoh parameter in your synthesizer, or using the standard expression fader, which is C C 11 which I've done here. So I actually drawn in these automation curves right here, too. Create a slow wave type of movement on the output level to create this kind of some. Whatever you do, do it in a slow and gradual way and no, not too much, no too much contrasts in the movement and of course, you can even map certain parameter in your synthesizer and modulated with your dear W right here in the sequencer as well. 10. How to Sound Design Deep Sub Bass: now learn how to sound Design a deep Sabah base. Tip number one. Use a soft way form in your synthesizer. I recommend a sine wave or a triangle wave as the second choice because you want to create a pure deep tone down here in the suburb A's range. And to demonstrate this, I have loaded up a sore wave here. Ah, and I will play the low cc one down here, which has a fundamental frequency of around 31. Hurts, I think. But you will hear a little higher frequencies, so prepare for it. Playing now quite annoying, right? It sounds like it's struggling, and you see here that it goes down extra harmonics because it is not a pure tone. So if I now changes to this one, and in this case I'm just using a simple sine wave, enormous very can use whatever synthesizer you want and play the same tone. Listen to the difference. This will be a deep sub base, and you will see here, but it's on Lee down here. If you don't have good headphones and or a subwoofer, you would probably not even hear it. It's that low. It's 31 hurts. If I played a pair, you will hear how pure this tone ISS very like. Focused, as you can see here it does this. If I play the middle C with this one, you will see harmonics for many s O. That's why I take them. One is to go in and choose a soft way form. So in this synthesizer, there really is only the triangle wave here. So you write generally want to use only one oscillator like this. And now you at least have way softer. But it's still mawr than this pure sine wave is so The second tip is to use a smooth envelope both for the AMP and the filter if you use one. So if you go in here again, I generally have the decay and sustain on max. And then by smooth I mean, sometimes with a 0.0, you know, millisecond here, um, attack and release. You might get some clicks in the sound. In the case of all this fear, this is a very, very good do sound Indian. But on some synthesizers you will get a bit of a click. So I recommend having some smooth attack values. So it fades in basically, um, not too much, because you don't want to create a pad out of it and slide release as well. Just like that bit of smoothness. It's subtle, but it does. It does make a difference. Tip number three Use a low post filter so you can see here. I already activated the filter, and if you see here, I set it at 80 hertz or 0.80 killers. Now this means that I will cut with the filter at 80 hertz so the frequencies below 80 hertz will still remain. And there there will be a frequency slope higher than 80 hertz. If you use a pure sine wave like this one, it's not as necessary. If I let's say play, see to you if I had now activate the filter it that's actually make a bit of a difference. If you listen to these with good headphones with good base accuracy does add some of that residence above. But it's even more important if you use any other way for him like a triangle, which still is soft but does have some higher harmonics. So if I play let's say low a here. And then I activate the filter low pass filter with a high octave here, 24 disability oak tape and then said that let's say 80 hers as well like this. From this to this again, you can barely hear it. Let's play d to again. You can see now it's just here in the low range. So that is Step number three, Tip number four years Glide and the Gatto, which also can sometimes be called Porter mentor on some synthesizers to connect the notes for a smoother transition. So in almost here, it's called Glide Here, and it's basically setting the time it takes for one note to get to the next one, so basically transitioning with a glide in between. So if I said this on the high setting, you can hear that it goes from like that. And by the way, both disappear is to set it on one voice when you play. Sabeh said that it will only play one in the note at the time. Even if you play two notes and then you use glad to have, I usually just have a couple of milliseconds like uh, little say 10 to 20 milliseconds, but you have to decide for yourself. You can hear that it'll glide Onda. You won't really hear it in the starbase, but it will be felt so that it glides in between in a smooth fashion tip number five add some saturation and distortion if you want your suburb a sound to not only be felt but also heard, especially on smaller speakers. So what I've done here is I simply added a saturation plugging here. You can use whatever you want on. Then you make some settings and without it on, it's still you can see here. But what a saturation or distortion Pollens Dust is basically introduced higher harmonics into the sound in a musical way, So they are mimicking analog distortions units. Now I put the eq you here below its you can see that without super pure sine wave. But with it you introduced these harmonics with this specific setting and this bunion they can look different and sound different between different saturation and distortion models and begins. So you have to dial in how much you want to add these harmonics to be heard in the mix so that is one way you can add some focus and more audible frequencies in your Saul bass. Another way I also like to use is to introduce. This is tape number six. By the way, it's a short transient for clarity on smaller speakers. So if you go back here, remove the saturation for now. Ah, and what I like to do with this is to either there it. This is one of the ways I like to do layer it with a any type of, say this little away. Then I add a low post field, especially I want to use the envelope ear so they feel to envelope opens up super briefly like this. Like that. And then on the amp. I just wanted to be like you pluck Uh, so that is one way you can bite. You might even want to transpose it up. Sue hopes up Anoke Day. If you want to go now, then applied. Teoh, layered with the sign with the sub's and then you'd simply low with the AMP to get a bit of a transient is like adding a pluck in a electric bass guitar for that present. So now, even if if you even if you have a pure sine wave, so without it on d one, you cannot really hear it. But with it you hear the attack and then you can dial in. How? How fast? That filter an empty envelope is like that. Another way you can do this is, um, if you have the example of filing, you wave instead and then you can open up the filter in the same way on that same oscillator just a bit like that. But I actually prefer to have them separated in most cases so that I can tiling more easily because then you can change the entire harmonic and sound and tone structure off this little pluck thing here so that it's exactly the length and the sound character you want it to be. And then, while once you have done that, you can still apply some extra separation afterwards like this. So why do you have now is, um, some a bit of pumps, itchiness and transcend for clarity and some extra separation here to get some higher harmonics so that it's still a sub base, but you can hear it. But the 99% of the rule power is still in this pure deep sub bass tone. Tip number seven Turn off velocity to AMP. What does this mean? Well, basically, if I check this here, what you want in most cases for deep bass sounds is flat dynamic, so that how hard you press the key will not affect the energy level of the the actual output off the sound the AMP setting here. And that's the AMP. Envelope velocity control. In this case, the AMP the the level output is actually controlled with how hard you press a key. So I want you to produce this to Cyril. You have to find this in your particular synthesizer so that regardless off how soft or how hard I played, Ah, the velocity. Oh, by the way, you would need to do it for the field to envelope as well. Like this lips. Let's go back to the sign way. So now if I pressed hard or soft, it's still exactly the same volume. That is what I mean by turning off the velocity to EMP or to both the AMP envelope and to the fielder at every envelope, basically but basically an open field and that where you need to do it for the extra layer here as well. On this, you want to control the pluckiness of the sound with the the velocity. But in most cases, I turned that too low setting as well. Like that congratulations. You have now created your own deep suburb a sound. Now I'm going to give you a powerful bonus tick. So check this out. I'm going to talk about performance modulation now we saw basis. You generally the ball to have flat dynamics. At least I do its meaning the same level regardless over how hard you hit the keys. But sometimes you might want Teoh Ah, add modulation so that the that level, even though it's flat per note here it goes down a bit or up in various stages in your track. So you could, of course, more joy that with level automation inside your DW. But I find that tedious. I rather have it on a fader and in most synthesizers that default for expression, which is C C 11 is actually the level off output level off the plug in. And I have mapped that to this fader. Sometimes you might need to map it yourself. But I mean enormous fear at least the fader cc 11. So if you map it and to cease 11 you can actually drive it down. If I play something here on middle C and then raised, um, it goes to Syria. That way you can have it on the high setting sound. Ah, and then on some stage in your track, you want to dial down. The sub is a bit, so you can just dial it down slightly there to reduce the level. Another thing I like to do with saw bases. I mean, you know, I added these saturation and the transient us some clarity, clarity and focus on smaller speaker systems and smaller in ear headphones as stuff like that that people generally listen to music on Well, sometimes you really want your subs to purely be that background and sound. And sometimes you wanted to be more audible. In most cases, this saturation and higher harmonics is what you need. So what you can do is map your modulation wheel to, for example, open up the filter on certain occasions in your track, or you can, for example, if you use, let's say, a built in distortion effect that some synthesizers have mapped the distortion. Um, so let's say we have the distortion here. Ah, something where you can map. Let's say they drive or in bed way is to have some kind of dry, wet ratio so that it's completely dry. Almost cases. And then you basically map what say this parameter here. Ah, modulate with well, so modulation real. And now I can modulate. You can see right here where I bring this up so on the lowest earning. But if I drag this up, really hear it, especially if I play time That way you can have it on the low study and then, yes, mortal age add some more great and corrector It's not really a sob base anymore, But I mean, in those cases in your track where you really want to beef up the low end off of your mix of your bass sound on make it cut through in the mix. You can do something like that, modulate a saturation distortion unit, and you can even do the same with this plaque. Pluckiness there. So, for example, introduced um, hi. Your pluckiness so the AMP is here, but you can modulate the amp with another fader or the mod realistic with the mod wheel so that there. But if I increase it now, you get the pluckiness here. Let's turn off the effect just for the sake of this. So you can just hear mawr over, um, more off this pluckiness oscillator when you ride up the mobile here. All right, so that is performance modulation to add more character and automate your sub base to fit the various stages in your music production. 11. How to Sound Design Pluck Sounds: In this video, you will learn how to sound design plaque sounds Tip number one, Snappy envelopes. So what do I mean by this? Well, check this out. Here's the filter Envelope and AMP. Envelope for this particular synthesizer. I have them both said at immediate attack, so as fastest possible. And then the most important thing is the decay, the decay iss Ah, all the way to the bottom. You don't have to have it all the way, but the most important is to have its short and snappy, which you can see here. Only 71 milliseconds here, do you? The longer you create this, the longer the black sun will be way. Don't want really snappy one, but it's super short, like it almost becomes a click like that. Now, here's another important point about the filter envelope. In order for it to do anything at all, you need to set the envelope to control the filters or the filter envelope. This is actually how it changes over time on this envelope. No beer is how much it will affect the cut off frequency, So first you need to use a low post filter or off some kind and then set it lower. Eso let's put this on Cyril to begin with now it's all the way open every time I hit the note If you Draghi is so that you close to filter the low post filter And then at this here increased this value the envelope control Teoh the cattle frequency. Then the envelope will open up like this very fast according to this curve here. So now you get this opening up. If I reduce it, it opens up less all the way. It will, of course, open all the way like that. Now Tip number two is to use unison or chorus for with which I already applied right here. Without it, it's just a single. It's later with it. You add some mawr with to the sound. And now let's go watch him over to my favorite synthesizer to show this because it has an amazing a unison mode, and that is enormous fear. So if you check this now, first I have this sound again. Look at the AMP. Envelope zero attack. Short decay. You might want to have a bit off sustaining release, but not necessary. So again, the fields Randall, open the envelope control to the cattle filter. Use a low post filter dial down the cattle fell you and then you will yet that as well. Ah, now here's another bonus tip for you and most synthesizers. You can dial in How much the velocity, meaning how hard you hit the key will effect the depth off the amps or the level and the filters. I recommend you have them both very high, if not even on Max setting. If you have this on zero, it doesn't matter how hard or soft I hit. The key will always be full volume. If I haven't Max, I can place off. You barely hear it and hoard it will go to full ampere. All right, so let's check the unison mode here. You going to also later enormous fear and you have the unison effect when I activate that it will add some depth and also spread all the way for missile without with So how much dry with basically you born to have and how much spreading hysteria field off the black sound. So that's step number two. Tip number three Use LF owes for variation, so elephants are amazing because they can add gradual movement automation off any parameter in your synthesizer to change the sound over time in a cycling fashion. So the LFO here I have mapped if you check the modulation here l a for one is map to synth shape and right now ups right now. Okay, so without them, it's the exact same sound. Now, what I wanted to do is change these like this over time. So the sound actually changes in the plaque to have some variation to it. And I did it on the residences. Well, with LFO two here So the residents will go like this, but I do it with LFO. So if I turn them all now, you can really see how they affect the sound here. I'm you hear it as well. So, Adil, a photo. Any character in a no beer with assigning the parameter just rate and depth of it too. As some variation in the zone. Tip number four, which is really good for plaque sound, is to use delay for depth. So if you go out here again to the sequencer, I've added this delay plug in and what I like to use personally for pluck sounds for the lies is ping pong sitting So they goes from the left through the right to left through the right channel like this. It had some extra stereo space. But I also like to do is you some kind of warm settings of tapes saturation off the delay signal? And I usually want to cut out the higher frequencies because I don't want the delay bounces to be more too focused in the mix so you can do it like this, and you can also if you want to cut off the low frequencies. But I mean the separation and also warms up the sound tip number five years reverb for space off course. So I just activated quite a long vocal, whole reverb, and now I have this plaque sounds and any short sounds like this or excellent with DeLay and returned because this sound itself has so much room to breathe, and now it's time for some powerful bonus tip. So check this out. We have this sound a complaint in harmony. I mean a test on character, but it's to clean eso what I love to do, especially on sounds like these rhythmic sounds is to add some distortion or saturation. So I added these smoke ampere adjusted to the drive speaker mode here, and we go from this to this huge difference. The next power tip is to use nor pay aviator for these kinds of short plaque sounds because , of course, you can play the arpeggios yourself. But if you add in or pay Deiter, which some variation in velocity for the steps here you can use that inside the inside synthesizer or as 1/3 party insert or pay jittery plug in. Then you can seem to hold down a cord like this on a tip. Number three, which I order showed you is really important for rhythmic sounds like this arpeggios is to actually automate the residence knob. It makes a huge difference on guy already did this where the LFO Here, you can automate it in your DW with performance. More regulation if you want to. I just added the LFO two to residents. So if I have compared to this, you can really hear it built extreme here where it really over drives the filter with these residents notice. Basically, the LFO is adjusting this up and down like this and you can see it in the modulation metrics their enormous fear right here. Or you can go ahead and actually automate it. Ah, in your d w to do the same, but apply the automation manually in your sequencer. 12. How to Sound Design Huge Sub Drops: Now you will learn how to sound design huge subbed robes. Tip number one is to start with a soft way form. And by this I mean an oscillator that has a pure sound, which means that it doesn't have much higher harmonics in the sound. In most cases, I would recommend going, but like I have here with a pure sine wave because that is the most focused way from there is the sine wave. If your synthesizer doesn't have a sine wave like retro synth here, I would go with the triangle wave as the next way form. If I turn off the failed to real here. The difference if I go with a sore way or if I go with a triangle, The triangle is still much softer and much more similar to sine wave. Start with that, then Tip number two is to adjust the attack and over the AMP. Envelope so it doesn't start immediately like this, which even can introducing click here because it's too fast What it mad Let it flow in like a smooth, gradual increase in level like this. And tip number three is to use the pit spend at minus one octave. So with the Reiser, I usually used to oak days when I go up. But with the sub drops, one octave seems to works best in most cases. So Manual said that on one octave, which means that if you press a note and then pushed the pitch span to the bottom range, that will be one octave down. Which takes us into tip number four, the most important part, which is to actually set that tone here, the key you're starting with and then go into your automation lane in your sequencer and automate the pitch spend wheel. And then you simply go from the middle position, which is zero with the first point. And just before the end of the note, you add another note at the lowest sitting. This is what creates the subgroup here because you're automating the pitchman wheel and that is mapped to one octave. All right, now, the next tape, I'm going to change synthesizer into wellness Fair. Ah, on that east to you use a low post filter. And by the way, using a low post fielder is even more important if you use a triangle wave or any other way than a sine wave because you can get rid of these higher harmonics to make it more similar to a pure sine wave. Now what you can do instead, if we go back here and activate the ominous fair track here, is to use the low post filter set it quite low on. I have to show you what it does. It does reduce some that higher, annoying, peaking frequencies. Even at this setting, however, what is more important is that you can increase the resonance so that if filter will slightly overdrive as the sound goes down in the sub, which makes it like this, it really starts to build in power from the filter self oscillating in over driving here, where the resonance which takes us to tip number six is to add saturation for great. You can do it inside the synthesizer with the distortion unit. Or, as I have done here, I've added this plug in called supercharger some compression, some character, but more importantly, quite a lot of extra saturation, which will really add some grit and make the subject more audible like this really, really powerful. And tip number seven here is If you're synthesizer has several oscillators. You can add another one as a layer for extra fat and especially if you have it on another octave setting. And in my case, I even use not a synthesis later, but a sampled waveform now really interesting here. So first I'm going to show you what this sounds like. Like like that then instead of using a low pulse fielder because this is not a pure low tone. Of course, I added the band pass filter at in quite low setting with a high residence. So you really add lots of fat here in their 200 to 300 range right about there. But it doesn't have that super dipped deep depth or the pure sine wave below. Now, both together will really lay up Well, Do you have that oomph and vale depth off the sine wave purity of it with this lo wound, the former fat character off this sound here. So together now we have massive sound of that is both felt and heard, and that is probably my most powerful tip here. However, what you can do as well is now we get into the powerful bonus tips by the way, is to add some effects. If you really want to spice it up even further now, this is important. I would recommend as a guideline, to never add effects on a pure sine wave or to sub bass sound like this. Never ever know reverb. No, no, nothing like not a space effect, not the movement effect. Do it on the other layer this layer here. So if you go into the FX here, I added first a base Ah man here, which is a separation unit. Were bass amp basically compared Teoh really had some great dirt there, added the adult facer for some movement like this. Also, these kinds of face serves and movement effects. Kannada looked to both risers and subgroups on I have a vintage tremolo, which also adds movement in the stereo field and all of them together like that Really cool . Sounds almost like a motorcycle. Yeah, I don't I don't know. But anyway, with the sub, the sine wave here on all these effects on the B layer, you really have a unique, powerful and warm subgroup that is both felt and heard. So let's played well, really powerful and full. Of course, it is emphasized by this extra in certificate, which is some compression character, fat character and some extra saturation on top of all of it. So if you want to, you can dial down some of the saturation, also even dialed down these particular layer if you want it to. If you want the overall suburb to B'more pure and mawr off this sine wave tone. Now, my final bonus step is after you have created this massive sub when you're satisfied with the overall sound and tone of it. But you think it takes too much room in the medicine highs, you can add final E key overall E Q. T. It'll after the compression and saturation and then just dial down everything. Let's say about 500 hertz like this even more, perhaps on to 50 and really wait out way like that, because then you have a sculpting IKI at the end to really get the final overall tone of your huge sub job 13. How to Sound Design Dark Pulses: you will now learn how to sound design Dork pounces. Now, when creating though pulsing sounds, I prefer to store with a very low smooth the way form a sine wave Or, in this case, this triangle wave which shows like this so test some harmonic overtones, but not too much like a soul. I want that low, smooth and focused Ah, frequencies in the base. So I prefer using a sub or sine wave or a triangle wave for this first layer. Then I like to apply a ah low post filter with some residents here. And also I have Ah, some enveloped you and a bit of a pluck sound to it compared to you. Okay, so the next layer if we get rid of this a layer is another Also later where I like to use, um or, uh, harmonically rich. And it's also later like they saw with here. Okay, so I have a second here. It's very much richer in, but again, I use a low post filter. You can use the band pulse fielder if you want to, and put it here in the low mids. Somewhere around 202 153 100 Herzer's So and ah, then some residents. A swell and a bit over field. Right, the open top of it. Okay, so you get there's to this sound, which is warm, but not as deep as this more suburb ese tone. Those layers will work really well together, so there's a extra layers more for adding some focus and clarity in this palace sound, but still be in the low dork range of frequencies. So next way we get to the envelopes on, by the way, tip them before here is to use this, though made with high residents. So you have this. But when you start to drive off the residence, you get that focus in that specific frequency that you choose here with a cut of frequency again. You don't want up here. You really wanted it, though. Means just above the base. So these first layer takes care of the lowest base, and they take care of those fat low mid frequencies just above the base. Okay, so some residents there Tip five is to use short envelopes, not super shorter. Let's apply this here. We can see the amp envelope. It's plucky, but it's not this click pluck, you can adjust to your liking how how long your decay value should be, but really fast attack. Uh, you might want to have some police just to have the tail to the sound. And if you have some sustain, have it low. It's just if you hold an old it holds out. But you're going to play short pulses like this anyway. And then I usually have some feel to rental to apply some more pluck to the beginning. So the envelope filter envelope opens up the filter abruptly just briefly with this setting here on, the timing is here. I just have this to put it on. Max is my recommendation by the length of the field, Rendall. Oh yes, that there is good than usual. Diluted back. Yes, like that. Just I'm or pluckiness to the tone right now. It's really important part now that is to add situate saturation. And really you can go with heavy distortion for that dork feel. So if you go into the effects here to the B layer, I generally keep the A layer, which is the sub, that the dark sub base layer clean. You. Could you add a bit of separation to, but I generally add that to the focus layer. So here I added this storm books, which is really high distortion like that. You can use whatever you like. You can use it externally, if you like in your sequencer, but I like to read it to you now. We're both layers, Yeah, that ah low base with the dark, gritty feel of this extra layer. Now I also like to add some kind of movement modulation, which you can do with Ella foes to apply, for example, to the residents noble, whatever you prefer. Um, you can also add some movement modulation with effects. In fact, let's add another one here, one of my favorites, which is flanges or faces or tremolo. So let's go with is being ditched. Tremolo has put it up here on you can hear it like if I turn off this layer like this. So nowadays this policy in from left right, I don't want it that much depth and slow work like that. Okay, But I also have This is really cool. If you use telephones to map to in setting in, almost every can actually map the LFO two. Ah, these effect numbers. So I added that here in the modulation matrix LFO one is controlling the storm books Modeler drivers can see here So without it, it's not Not only that family adding movement but with this you will it really here the filter over driving and then go back. They can apply more if you want to. It's up to you but adding some kind off subtle movement curves into the sound Ah, really spices up your policies so they are not too static. Okay, so what I also like to you use for policies because now we are getting somewhere with some is some delay some echo. So I like to use again the second layer for this and I like to use analog delays like tape delays and stuffs That doesn't have too much clarity to it. So this is a retro plex delay years 1960. Very speed here on without it. I mean, I will play it up here on with it. You get that, Cory, see, gritty, saturated, kind of the way. I love those kinds off delay effect. Well, these dog poses compared to Killian, digital joy and Yes, Subtle as you can hear it knots too much, especially not when you playing this balls about these ads. Some dip this and lovely now, then next will get more to the final mixing sound. So let's close this up. I like to use pattern little compression for pulsing moving sounds, which means I add compression quite heavy, so the sound is even pumping in this case. And then I use this dry mix dry, wet little here to make it parallel. So the drive known compressed sound with the compressed sound. So we go from this to this also. It fattens up the sounds of due to the heavy compression, but he can really see here drives hard and dr even harder if you want to. When you go with parallel compression, I also have some limiting just to make sure it doesn't click there. Then we get to reverb for added spice. You don't have to do it with these dark pulses. They could be just lowered in background like this. But if you want to push it back in the mix, just add some reverb. I usually filter out the low sabei so that the suburbs doesn't have any reverb. I want that clean and focused. I would like to filter out the high end in these low wind sounds from the river. But you can see also the curve here for this reverb, which is a long concert, whole reverb with not too much witness. So I mean without it. But with it you have Teoh, you have to experiment with the suitable reverb that you like. But I would recommend still to keep the low and ah, failed route below 100 hurts so that this sub base off this lo dork polishing sound ace and still very focused and clean. What you can do here also is to add instead of plucking or policy with notes, you could use an internal ORP radiator or nor pages in your DW like I have here setting or velocity, and then control the velocity per for pals here. So it stores louder and then goes down and then restarts here like this, like that. And then it's fire time for the final mix of the sound where I like to add some slight separation on top of it all some extra compression and was a warm up the sound with me finally to your filter or in this case with this begin, you have this a cooler character here is a warm own food character. So before but with now you're really getting that really dark intends pulsing sound. Now, a little bit of a bonus Tapir is you could go for a ah stereo imager like this one here, Ozone imager and increase or decrease the stereo image. I usually set that like either before the reverb off the reverb. Or just make sure that you have the final mixing parking in the final publishing at, ah, in the final stage here. So with this, you can apply mawr sterile with like this or push it more into the middle with more morals owned, so you can experiment with that as well. 14. How to Sound Design Ominous Drones: you will now learn how to sound design ominous drones. All right, so my first tip, which I believe is the foundation for a really ominous drone Sound east, a pad synth. So you can use whatever pad you like or any playable atmosphere meaning a total atmosphere . I recommend, though, to use something that has some movement in motion in the sound itself. Like this one here because that will add more interest to your final drone sound. The next layer that I like to use is what I call acoustic sustains. Meaning any type of acoustic instrument that can sustain for an infinite amount of time, Like orchestral strings like this one here say, I used cinematic strings here. You can use whatever library and ah. Then, brass, you can either use an ordinary breast library or s I have chosen here. This is a sound design, um, option in four. So? So you can actually add some movement into sound you can hear here. This is like it. This is more like a hybrid between synthesized and acoustic sustains. So those are the core layers you can use again. Whatever you like to could use even a low organ sound, anything that can sustain for a long time. So the next thing I like to add is more movement, motion and even a slight rhythmic effects. So motion and rhythm, if ICS to the either the individual layers or the overall ominous drone. So here we can see in the case of this sold here, it already has really great motion and movement in the automation, so I hoped it to add some more rhythmic aspect. Ah, so you can use any kind of stuff to effect or anything that as more of Britney character and I have dialed down, that makes you try what's makes so it still has that sustain aspect of it, but also some rhythmic aspect. Ah, I would I recommend that you only used is on one layer and more subtle because you want you want the main drone sound to be that hell down sustained long note with movement in motion . But some rhythmic aspect like adding it one layer all, they can add more interest to the sun as well. The next thing I love to use its saturation, let's see, are used here on the overall drone sounds all these layers, I added the saturation, and I chosen to keep the lows. Be aware of adding too much separation in the lower and just a hint over saturation to fatten up the overall sound. And then, of course, now, with ALS, these layers sounds, the harmonics and overtones starts to stack up, and it takes way too much room in the low majors and made. So you can either use the fielder or e que I have actually chosen to use in a bass amp for this with the heavy bottom preset here so you can see pace all the way up meats and tribbles low to get from this too. This again, this to this to really dialing back mawr. Tow it back to the low end because this is going to be a though ominous drone after all. Ah, then I Ah, of course what it put it back in the mix and make it more cinematic. So I like to add a overall reverb on the final group here. Large ambience. In this case, you can use whatever you like to use and how much dry, wet raising you want. But yes, before and after, like that and you can also do what idea which is to fill throughout the low lowest Sabah base frequency. So that is still we're focused and clear. Ah, and choose where your focus to do reverb have it smooth, most presence right? And ah, finally, once you have dialed in everything Oh, by the way, I have a tremolo as well to have some steri a movement here on these strings. So before let's open it up and then after dial it back depth bit but a slow, gradual movement there with tremolo and ah, finally, when you have everything set up, said even more gradual movement curves. You can automate the expression, the overall expression with, for example, the Mord real. In case that is mapped already to your instruments like this, starting from the lowest go up, down again and up, eso won even even cc 11. The expression which is the basic of the overall level, starting from low. You can basically do this if you have media failures or you can automate it in your sequencer but adding some gradual movement. In most cases, you want to keep a drone like this low where a swell in the mix just something background and ominous that holds the anchor off the tonality of your cold progression and musical position. And then you started playing your cords. Mel, this rhythms on top of it. That's the power off the ominous drone sound. 15. How to Sound Design Epic Risers: In this video, you will learn how to sound design epic visors. Tip number one is to use a long, sustained sound on whatever sink you like to use to create your riser effect, which means that if you hold down, I know it will simply continue to play for as long as you hold down that key. So this effect comes from the AMP. Envelope putting the sustained and decay to the max value. So let me show you this in another synthesizer, the this is all Miss Fair. So put the decay and sustain on the AMP. Envelope all the way to the necks. That is my first time. The next thing is to use a soft attack and release, especially the attack. If you have this to the fastest setting, you will get this very rapid, quick response in the attack of the sound, which you don't really want if you wanted to build over time. So I recommend having that only hire setting. Let's choose 1.5 seconds or so so that it increases intensity. You can go even further if you want to, and then I think number three is the actual rising effect. So my favorite way of doing this is to use the pits pinwheel. The pitchman wheel in the default setting is often to Seminoles. So if you aled on a note, you can pitch spend up or down to seven olds. But most synthesizers. You can change this Teoh another setting. So I recommend two full octaves over 24 7 notes. Eso if I shall we this in all Miss Fair. It's on the main page here. Pitch band up 24 which is two octaves, right? So that way you can hold out a note and then go Ah, two full octaves. And that will create the riser effect, which takes us to step number four, which is to automate the pitchman. Because if you just manually do it like this, it will not be that straight line. You need to create reading in your sequencer like this. Go in and make the note hold out for as long as you both riser. Then you go into the automation on your sequencer and choose to automate the pitch Bend like this, then you simply Ah, if I do this over again, you simply create a point first at zero the middle position. So when the pitch bend is in the middle and then another point here just before the end of the note that you want to put on Mex absolute Max, that means that the pitchman will go from the syrup position to the max full position over time. That is what creates the pitch mint. Like this. Ah, right. Ah, step number. Step number five or take five is to open the fielder slowly. Eso not only will the attack open up slowly, you can also use a low post fielder so that it is hot not the brightest setting, but actually starts at a warmer sound. And then you use the fielder envelope again. I recommend having this sustaining Max. But the attack over time, let's say four seconds. It grows in volume on in the frequency at the same time. So that can be a great effect as well. And you can apply how much they defected envelope right here. I recommend I recommend the max sitting ah, like that and then also adding modulation, which in most cases is using an LFO map to any parameter. I'm going now to go into my favorite synthesizer for some design which is homeless fear. So what I have here is I started with away form this synthesizer here. I also added some, um attack amp envelope here and some release. So we have this sound like that Set the filter envelope now modulation is what you change The parameter you changed over time. You can do this by automating them in your DW but I love using elephants for this. So if you go in here, you can see I have actually mapped the LFO to you since shape and seen symmetry which are these things here so actually changed the way form. You can map whatever you want the residence or any effect or whatever you want in your synthesizer to change the sound over time to add some interest to So let me on you today So they are now active and you will hear when I hold this down I have added some some variation to the sound you can is a slow radio won't have it more gradual If you put it on the faster rate it will become more rhythmic here from that So I said let's go back to a slower rate. Ah, Now, finally, my seventh appear is to use layering to add more depth to your riser effect. You can use another oscillator. Ah, seem to that IHS Oregon. Used like I did hear a sample. So this is Ah, a sound sample. And if you have it, only, for example, is starting on a lower oak shave like 12 semi notes below. Then it will really fattened up the sounds of both Rise together like this. Okay, so I need, of course, to automate the ah pitchman here, which I have done right here. So that means it will rise up to the max over time like this. Right? So now you have created that rice or effect a bonus tapir, which is really important, is how long do you want the riser effect to be? I recommend creating in the region as, for example, to exact full boards like this automated the pitchman like this and have the note exactly like this. Then in your composition, you can change it in I think basically all sequences DPW's by time stretching basically the media click in logic which I used. You simply hold down the option key or old key on PC where while you hover your mouse to the right of the it and you can see this time stretch marker, click lift quick and you can drive you Donald too. Out to four bars, for example. And now you have basically time stretched. Both the ah pitch bend modulation on the note. All right. Now, let me show you some really cool bonus steps here. The 1st 1 is to actually modulate not only the Pittsburgh whale, but also the modulation real. The modulation well here on the media keyboard, from the lowest to the highest setting. And then go into your synthesizer and map that modulation wheel. Do something. So you have here well, Teoh. Let's say let's say we put it on the filter residence so the residents opens eso that is, this hair will make it more and more piercing overtime just to show this effect like so it's put it on the Mac. So now the residents will go from the bottom to the max over time, I think, and you really heard that filter over driving with the residents? You can, of course, do this for any parameter assed long as you're synthesizers to port modulation in your automating any parameter with the modulation well, in your sequencer. So that is one border state. Another bonus tape is to use some extra movement effects. This is something I really like to use. You can use telephone like I showed you the great movement effects I like adding them as extra effects outside, especially stereo kind of movement effects like trim ILO's. We can also use Face er's Flying Flanders and stuff like that. So here I have a tremolo effect at 100% depth with 1/4 note rhythm here, and you can hear it like this before on ways you can use this as a high, your rate and you get really cool. Rhythmic Reiser like this on can reduce the depth if you think it adds too much rhythm or, of course, use a slower setting for more gradual wave type rhythm. Right, so that is one bonus tip. Then you can use also extra saturation and compression for two fat up the sound. So I went with this supercharger plug in saturation on moderate and quite a lot here, some compression, and also I have this character mode which I put on bright really brighten up the high intensity off those high frequencies. And now you get from this Do this the oh, really Add some great on dirt to you the rise in effect and really crucial sit through in the mix eso I like especially with saturation, of course and distortion. And finally, of course, if you wanted more cinematic and push it more to the background, add some final of re verbal rules. I have this reverb here on concert hall, which takes it from this Do this like that. So again you can make these risers yourself with any synthesizer that supports pitchman more modulation and stuff like this. And you can also dial it into whatever root note you wanted have and how long you want the riser to be. If you want to, you can even bounce these out as audio. That way you can time stretch it. Ah, line it better to the grid as you wish and even carried off immediately without the reverb here so that it cafs immediately before a transition point 16. How to Sound Design Low Booms: In this video, you will learn how to sound design low booms. Tip number one is to choose, of course, what kind of percussion sound you want to use to create your low booms from. So my recommendation is to either go for a massive drum like an orchestral drum like this hair big Boom and Sobel Inaction Strike like this or go for a kick drum wish could be either an acoustic trump or an electronic kick drum. So I personally often used in electronics kick from before because it is much more controlled and focused in the low end because it's super dry and super controlled into the sub range there. But you can choose whatever you prefer. Now the next step is to gain stage. Ah, the instrument you're going to use, which means that you need to lower the volume a lot, So the output still has lots of headroom. Why? Well, because you're going to do lots of processing here in the insert chain for creating the boom, and this means that you need to make sure that it doesn't clip anywhere throughout the signal change. So the best way to do this is to really and make sure there's a little off head room to spare. So gaining stage I go, I'm going down, Let's say minus 12 db here on these billions. The next thing, the first thing you need to do is of course, let's say we use this big drum here. Okay, Is to use a massive, low pulse filter of meaning and eat you here. And I have chosen both a capt. Here. So on then, this shelf. So So with both of those expected, I get a huge and massive low pulse here, and you need Teoh. But just where you want, what you want is to go. If you want all the sub frequencies, if you want to have some of the body left in it, that's up to you. So that's tip number three. Tip number four is if you still think you lack some off that bottom end, you can use a low sub base generator. Ah, in my case, I used this plugging called a sub kick simulator, and this simply adds a low sub bass boom on top off the sound. So let's check this out with the drum kit here and let's go back to this channel here the group were added. The sub kick here. So without it, it sounds like this, which could be great for that heartbeat kind of pals, because now it's super focused in it, like a thump. OK, but without when I add the sub keep listen before and with, and you can mix it into taste here. Amount. Okay, so I like to use that. And then I usually add some saturation, but make sure you keep the low end still focused. This plugging by soft tip here has a saturation type. Keep low, so it adds the saturation in the meeting high range. It's an optional step, but I like to use it. So let's meet will dial back the sub kick level there. Okay, so that's tip number four sub generator. Now beef it up for step number five with the saturation, and you can use whatever saturation plugging you want. You don't have to do it. It's just if you want your sub low, low boom Teoh still be more audible on DA in the mix. Next is very, very important because if you want to change this from this thump low sub thump to that boom is all about the tail that reverb. So go ahead and apply what I call the deep reverb. So it's long It's focused on the lower end of the frequency spectrum and also filtered out the output from 200 hertz. You can see the slope here, so you go from this to this. And this is where the very focused thumb let's tried with the big drums. So without you still have some ambiance because it's recorded in a room. But with right or let's right with the E. D. M kick. Oh yeah, my favorite, for sure, is to use dry Elektronik kick drum sound. You really want to have that sound that has that thump that low and thumb that's most important now an other optional thing is what? What? You want to use this for this sub? The low boom should go in the background of your makes or should you have feel it more in your face toe, so to speak. And that is where the steri with comes into place. You can actually add a stereo imager and considering what you want, your sub boom to do you do you go on to have it completely in mono like this. So this is after the river by the with the reverb, of course, as loss of stereo space. Or do you want to have it sue provide, like, 60% stereo with or something before and with even more. So it doesn't do as much with the widening because the should still have the river, that is. You can see it here, but Imo No, I actually four sub booms. In most cases, I usually want to reduce the stereo image. I mean, ah, when most things in music increasing the stereo stage makes the sound more well, it makes it more up front, so to speak, um and often sounds better to be owners, but with sub bases, sob booms at low range. In most cases, you you want Teoh actually reduce the stereo image. But it's up to you. I'm gonna go with slightly reducing this daydream image on them. I mean, I mean, you can also increase the dry or the wet ratio here on the reverb. If you want to have it, Mawr River, be wash it. But the more of the dry Siegel you have left, the more of the thump will be in the sound. So let's go back to 70 Dry 30 wet here. So I'm still on the E m k class Tried the There it is, okay. Or the big drum here. And finally, this is very important to really beef up the final sound and increase the length off the tail to sustain of the sound. I like to add as the final plug in the compressors last limiter and I use lots off compression because I'm going to use it in parallel mode. So you need to use a compressor that has a dry, wet ratio bitch, which means to mix the dry sound with the heavily compressed sound. And then you simply apply limiter. And I have it on soft distortion here with just a hint of headroom left. Her mind isn't syrah 0.5 decibel and then with this compressor, which is which I prefer is to use auto gain so it will push the level or output level the way up to Max basically to the ceiling of the digital scale without it with it on in the case. Oh, now that I have used gain staging. So depending on the output level off the entire chain, you might want to go even further down here. The threshold to make sure the compression really kicks in. Now we're talking compared to this Depends again. On what? Drum used. Let's try the the kick drum here. Okay. Like that. It can also used to try different styles of compressors, depending on the sound. You want this one? You have control over the attack. You might want to leave some of the tech untouched to increasing the attack value here. Okay, Um and finally, the e d m k care. It's probably going to be the loudest Will decrease Dressel. Oh, yeah. Oh, yeah. So way, Way, Way down here. You really want to be careful, You hear? Some years I'm clipping here, so you might want to reduce the input K. If you can't get rid of the final clipping sound when you compress this hard, I mean, this is clipping internally. Might want to skip this limiter here and use Ah, final. Ah limiters. So an adaptive limiter here are usually just have it on output Ceiling miners, Syrup owned five Yes, this is the After maximize were basically t get the final sound. So some of these crackles here are just because I have record on full HD resolution and my video camera at the same time. It's not the sound now. That is how I prefer to create low booms. And the great thing about it is that that you can control this style, the colder off the boom, depending on which audio source you start with the D M kick acoustic kick drum or a massive ah drums and then the entire signal chain with all these tips I just showed you. Now I also want to show you a little bonus to appear at the end. So in case use, let's say an E g m cake like this, and you think after the entire sound assigned with the signature here. But the thump is to up from still and that you want more of the sustain. Sometimes I add a transient designer where you can reduce the actual attack off the sound and increase the sustained. Make sure it's smooth. Ah, with the Pugin you used so not too drastic change, but decreased attack increased to sustain. Make sure again that you don't clip the statements chain before the final limiter, and now you can go from this to reducing that thump. So before and after get mawr off the sustained boom and less of that thump in the attack. 17. How to Sound Design Magical Pings: Now you will learn how to sound design magical pings. All right, So to create your own magical ping sound, I recommend starting with either a high note in a plaque sound a strike sound or a battle sound Because those have that initial attack in the tone And that long magical release in the sound The tale of Basically So it could be an acoustic guitar like this, of course, played up here. And you need to hold down the key, of course, to get that long release a bell sound, which can be any type of bell instrument but even a small bed like this. So this is the scene bell sound from on this here. Ah, and of course, the classic piano ping. So you can just load up any piano sound. I like to use it a little bit softer sound for this in the tone and then just hold down again. A school down the key like that. Ah, my next tip is to use layering with track with transposing So you could of course, use only one of these sounds or tea. But I like Teoh Lay your sounds. I use the piano bell and the guitar. He packed it all here to go from this piano bell on guitar. Teoh this and the reason it sounds so deep and rich is because I used transposed. So the piano is actually an octave lower than this note. The guitar is the same note as I play here, and the bell is actually minus seven, which creates basically a power cord here up in the high range to get some harmonic context in it like that. The next tip I have is to use some motion ra movement effects really slow once and add Teoh basically, any time one of these layers I My favorite way to do this is using a tremolo effect on a lower setting. And I used different timings for those trend lows on ALS. These sounds. So just to show you this on the piano I have a tremolo 100% depth with 11 triplets. So any any type of slower sound issues one board so before but win. You hear that most in terms that adds to the magical effect Ah, in the the ping sound as well. Now, of course, the most important thing is when you have added all those layers out of those movement effects and chosen your main sound sources use a huge reverb on top of it. So I use I like chrome over because you can in logic. Here you can use whatever reverb you like, but the most important thing is a very long decay. This is longer than the most common concert orchestral hole on also a very high wit ratio here, And you see, this is what creates that medical. It's just played on home town, and I like to use some filtering over reverb. So do whatever you like. You want to have more of the former sound well, or like that, or increase the high shimmery toes in the reverb that shows is up to you, of course. And if you want to use some ah, a little bit of pre delay or have the river go instant after you hit the King. Actually, most cases I want either zero milliseconds or just if pinto freely, all right, so that is using a huge reverb, and then finally, to make this really this tale really sparkle and come to his full potential is using side chain compression. So a compressor that is hitting very from a very low official minus 40 decibel with the quite a high ratio here, 3 to 1, just to make sure it really hits hard. Why do I do this? Well, because the with any type of plaque, strike or bells sound left initial attack. That will be, of course, the most, um, the loudest port off the sound. So when you decrease, it will compress it like this. Then you will practically ad load off that tail sound, which is what we born so. And of course, I also use or to get into Syria, decibel to get it up in level and some final Demeter like that. So from this onside old parallel compression means you have a drive which ratio like this. I like to go for 50 50. So from this, do this even here, the compressor pumping, which in my opinion, actually adds to the motion curve and dynamics and expression in the sound. It's up to you how much you want to compress it if you want to have that pumping effects. I think for this kind of sound is really adds rather than destroys the sound. So, um, that is basically the entire chain to create the magical ping sound. Of course, if I just use the piano, that would also work with this massive chroma verb that tremolo here on the piano and the final pearl. Parallel compression, Of course. Now this is transposed down octaves. Ivory probably need you played even up here, but I found it to be a bit dull, to be honest. So I I want to add that simmering, shimmering effect of the bill on that crystal clear attack off a plucked string like And of course, you can play with the levels for each sound here or with layering or what Somebody removed the guitar and just have the bill, or perhaps a multi bell on the guitar and piano. And you might even want to experiment with octave layering with notes. Here's like this, playing in the high range here with a full octave right so that ISS in my tapes for creating magical pings to use in your music 18. How to Sound Design Mega Impacts: Now it's time for you to learn how to sound design mega impacts. Now the thing about creating mega powerful impact sounds IHS it's all about the layering. So what I like to start with. So tip number one is some kind off subject. So a low e g m or he pope kick drum or a sob boom generator plug in that you can add to another drum Salento add that super clear, focused, low and boom. I like to use something with a bit of a tale to it, like, Ah, this particular one is a plug in called punch books and you have this sine wave kick drum here and you can set the decay. So if I split this now, you hear that it has that more of the age weight tap sound compared to a thumb over 909 for example, that will get that really low, powerful, ah, oomph and tail in the sound in the low end, Then I usually they're a couple off big drums. So this is a type of creators on some Tyco's. Just make sure to use lo sounding Tyco, so let's see where we haven't Peritus. Okay, And then I have another big drama in this case, Tyco massive. And somebody If I Let's change it out to be big boom and samba like that. So it never lower sounds than this. That has more of the attack off the mallets, they're or stick. And then I have another one, which is snares. Yeah, So sub kick or generator Big drums. And then we get cellaring when something mawr in the mid range with that snappy attack. So I like to use scenario drums for this. So in this case, I'm using this and sambal snatcher from action strikes and are used stumps. So these I have recorded myself and ah, let me show you. So now we get into tip number four, which is range, very hearing. So this practically means that the layers it's use should have the complete range off, though end though maids, maids and high crispiness in the sound eso If I play all the these stones here if I'll play them in a solo, it's if I can solo them out like this, you can see that I have actually let's see, added the panning here differently, and I also where is it cheese them differently. As you can see here, six semi notes die a little. I mean, these doesn't really sound like it's some panel records. It's so down. Often it sounds better to tune down, by the way. So as you can see here on, um, all in all, they want to have that range laying also in the stereo feels so I just hand them out to the right more to the left on some ones like this to increase the stereo field. So now you have the low sub cake. The Tyco's the big drums here, the snares theme, massive storms. All right, so the final layer I like to add is some kind of noise tail I call it It could be gravel or something. Just something that has ah, a bit of ah, chain mailed to the sound and ISMM or ah, sounding more like noise so you can record your own textures and sounds that has this noise ambience kind of sound. Or you can use like I have done hear a noise oscillator. Ah, I'm using this indecisive here. Illness fear, add some noise, adjust the settings here on the envelopes and this is really important because in most cases you want to have that as a tale sound. So if I can play this in solo? Yep. Like this. If I played now, I have. First of all, I think is how it sounds. We I add a low post fielder and then this envelope here. So I have some attack time. Not this initial click of the sound, but afraid in because it is going to be the tail port off the layering hair. Quite sure, but not too okay. And also zero sustained. Even if I hold it, it doesn't matter. But some release. So you find food. This is how long you going to tell you to be? Why? So that is the final layer, the noise, tail and about the range layering also. But you can think of is you can't in fact, you some panning and also some transposing here in these instruments, which I actually think I've done here on the snap from here. So you concede right here? I'm actually using a pitch shifter with 50% mix. So without it, you have this this and then weigh the pitch shifter. It really thickens up the sound because it adds a clones, so to speak. Pitch shifted down 77 note tones here. Right. So then we get into tip number six, which is to use dirty distortion. I just did that with the snap from here. Amusing a plugging cool punish right here and quite a lot over distortion and drive here. So we get from they do this really bad in gritty snatcher sound. Now, when you have all the layers that you want for your mega impact sound and have made all the adjustments individually to each layer, it's time to go to the entire group and add some production here. So what I like to use is parallel compression. I'm using this Pinkel supercharger high compression or and also saturation. By the way, here is on the high, sitting on the mild setting here, but turned up all the way and some fat color characters. And then I makes it in. This is the parallel mode 50 50. So first we have this with all the all the layers. Now we can really here I mean the noise stand without it without the stumps so you can mix match with the layers set the levels for each. Until we are happy at the superstar charger or parallel compression, you can really hear it. Oh, well, we really add some great to the tail of the sound as well. And then it comes Teoh, how much you want, Teoh add dipped to the overall sound to make it more cinematic. I mean, this is more Tom shape, which could be grateful trailer and hybrid epic music. But if you want to have it, mawr bigger in space. Of course, at some big reverb here, I usually like to filter here the low end what, like that, sold in low and is still focused and doesn't have that bush in the reverb. It's in fact, moving up even more like that, so filtering the Rio Grande also you can see. But I don't have too much reverb in the high and or the lowest, and because I want more clarity and focus sound there. So we get go from this to this, and what I finally like to use with his mega impact is push the output level the overall little with a maximize er plug in yes, that the output ceiling at minus sarah 0.5 db or something like that, close to the peak and then start to dry up the gain. Drive it up until you're happy with halted some. Now you have a supermassive mega impact to using trailer music's epic music or any type of cinematic music. Ah, where you really need those hard hitting impact sounds. 19. How to Sound Design Mighty Stabs: this video, you will learn how to sound design mighty stabs. So tip number one, the cool off mighty stab sounds East staccato breasts or short breast Sounds like it's for Sorto articulations. So in this case, it sounds like this solders for Sato staccato and any short accented or regulation Basically. So then I like to add also strings that could be stuck out the short stack out tissue more or speak up to something this way. Have more crispness to the sound on and ah, I also sometimes add a kind of stab sint if I want aim or clear attack in the sounds because of sin can have basically no reverb on this. You want to, of course. So I just added this filter. The most important thing here is a short envelope. I'm going for that stab sound and also that I'm using a so wait kind of sound that has lots off over toes because that means that it will sound a bit brassy on its own. And then I added it unison to really thinking it out. I really recommend that for these kinds of sounds on synthesizers. So all in all, now we get the brass, the strings and the same for focus here now. Ah, I also like to use octave layering. So this sound here Thetis. Then we get the next one which is actually lower tuba and trombones on Then a higher I transpose it up in lockstep. So when I put the same notes still playing in the high register there middle off this strength on this Ah, middle a swell on the synths, octave layering. Another thing is, if you want that really focused stab, attack sound you should not use instruments with too much built in ambience and reverb. So I actually muted the whole microphone here because if I if I sold with the whole sound, it's to bullshit Teoh reverb go for a room only the course. Mike's here if you want Teoh. And for this one I also used all of the clothes and Decca Mike's not the whole Mike's and Ah, yeah, So you basically dialling how much you've also for they sound. I could go for even closer sound probably here on the strings and the brass this well here . So it's up to you how much of a blend you want to her, but not too much reverb. So all in all, we have this now, right? Really great powerful stab sound based mainly on breast three layers here, some strings, little that stab be seen for clarity and focus in the attack. Then I like to use heavy compression on the overall sound. But first, before that, you could, if you wanted Teoh, have even more focus on the transfer of the attack by using a transient shaper or transient designer. Increased the attack and decrease to sustain. Not too much because that it will start to some very strange and artificial. But I mean, without it now on with it, get extra clarity in this attack off the sound which I like to use sometimes if I build these kind of mighty stab stones which which are not supposed to sound supernatural in any case at least no, in Allah's you want them to um and finally here I have him. The peril. No, it's full on compression. Quite hard, actually. And with the final limiter on top of it, So just really thicken the sound up like this. So before on after that is what drives it all home you could use instead of the built in limited on the compressor like this, an extra first a compressor and then a final maximizes if you wanted to. Finally, my foul tip here with his mighty stabs. ISS. When you play them in your music, make sure to have root focused voicings, whatever I mean by this. Well, basically, with your corporation. Whatever the root note of the current coordinates, that should be the most in focus. If I play here, you can see I actual play F, F, C and F three EFS and only one other note like this going but low to, let's say, C, C, G and C. In this case, it's even basically a power record with triple laboring on the route. You could go for Oak Table airing in the bay. So let's say the d here and then use Ah, 1/3 here on top, like in D minor here on Go to let's say, see something like that. But make sure you really focused all those roots in your current court in your progression . So I guess that's a bit of a bonus tip in the actual performance and the writing off these stabs. But now we have learned how to create mighty stab sounds on your own 20. How to Sound Design Punch Hits: In this video, you will learn how to sound design punch. It's now when you sound design your own punch hits sounds. You should think in a similar way with layering and so on, as when you sound design massive impacts with the difference that the panish its or, of course, much shorter and punch here in the overall tone and sound. So what I like to start with personally is a short kick drum sound for the core of the sound. I like to go for the low and first so in an extra kick drum sound like this not a to eight or long sustained, but more that beefy pounds she kind off the kick drum. It could go for an even shorter one if you like, but you can experiment with that so something like that, and then lay your on top of that. Any type of short snare or clap looked too much reverb here, so dry basically, so I'm just using in stumble drum snare drum sound. Here you can use whatever snap from you won't I recommend using something with very little baked in reverb and ambience. So what I call dry scenarios or collapse. If you prefer, you can lay her home top of it to clap here if you want to do or any type over longer rat Lee Ah, noise kind off hit. Ah, All right, so then I also like to use any type of snappy ah, slams or hits. You can go out and record any type of hit with a stick or, ah, risk Erste's or any type of object that he hit on another object. And I liked you Storms. I recorded my own stones with his hair and layer them as you can see, three different stomp sounds right here. All right, so that takes care of the main layering of the sound To treat a big and powerful sounds You have the low end with the kick drum, the low mids and some sparkling crispness from the snare drum on the storms Take care off the low majors and Mantis and some hi sparkly energy Christmas as well. All in all, you get this powerful way are starting to get a cool punished sound here a pound shit sound . But what also makes sounds bigger is not only the layering of the free massive frequency spectrum, but also, um, the stereo fields. What I like to use is left right, layering You can see here in this stomps. This is ah in the middle position. But this one is planned all the way to delay this £1 all the way to the right so that you cover the whole stereo field and what I also like to juiced enhanced even more with stereo imaging. So I add a stereo imager increases their stereo field like this and it will be more audible on this snap from here. So without and full own stereo in hoser without with really brings it up, two more powerful, wider sound here. So old. Now we have All right, so let's move on. And by the way, you might need to gain stage a bit more than I already did here. Just because it might clean up otherwise, chain over effective. We are going to add now. Ah, my favorite is to add some distortion or saturation. You can use whatever you want. I just add this saturation plug here, plug in here by soft tube without with beefs up the look blow end and really adds a lot of Christ place and great to the high harmonics before after so he can use even heavier distortion if you want to. Um and then I also sometimes want to use a transient designer if I want to make it even snap urine shorter and punchier, just boosting the attack part of the sound. On a same time, read using the sustain so you can get from this to this so more of it. It's like, you know, King banging hard on the door like blood in with some boosted Ah, saturation and ALS. That's good stuff compared to depending on how much of the tail you won't. So I like to use that really punish your sound and ah, then what you might want to do is, actually it might seem counterproductive, but actually removing the absolute lowest frequencies because, ah, you want the punch itchiness off. The sound is often around 100. You, let's say one 1 2130 somewhere somewhere around here, like 80 to 1 20 There you have the main pungent beef in the sound of this lower than that is more basin rumbly. So if you reduce it, you are taking away from the punch aspect. But you are actually removing a lot off the frequencies here in the low end, which gives the, um found more headroom so you can actually increase its policy nous. So that takes us to the final portrait in most all cases of these kinds of hit sounds is adding a final compressor and limiter to beef up the overall sound from Thetis to Oh, yeah, I mean, imagine these in an epic track cinematic fac or a trailer or hybrid compensation as an extra very beefy. Punish it on top of all your main percussion ports, and since it doesn't have any long room, a sustained or taylor ambience or tail, it will really punish through unintended in your overall mix. 21. How to Sound Design Reverse FX: Now you will learn how to sound design reverse effects. Now let me start by demonstrating how incredibly effective reverse effects can be for transitions either here at the beginning or between your verse and chorus and so on. So let's take a listen as you heard, the thing with reverse effect is that it builds and grows energy up onto you until a hit point like here, when this song really starts. So what type of sounds can be useful Reversed effects? Well, basically, I have a rule that is a heart attack and a long release tail. So, for example, a Cymbal crash is perfect for this because it has that initial peak, the heart attack and then a long released tail. Or, for example, if you play a piano chord like this, especially if you played with higher velocity, you will get that initial heart attack and then it will fade out gradually. That is perfect. So you have t types of reverse effects. Ah, known tonal like drums, percussive sounds and tonal like a piano, for example, that has tonality. Teoh can reverse the actual court here, which I done right here. So tip number two series. Of course, the main way to create reverse effect is to reverse the sample. And you can do this in, for example, if you use an audio sampler like this one here. So we have the reverse right here. Let's use let's use this one. Yes, press reverse and it will play from the other end up until to the starting point like this . And on the reverse, you play like this. However I refer, I prefer to do these inside the D W so you can drag in audio samples that you have on your drive or in your d w like, say, this one. Just drag in the long symbol here and then find out anywhere in your DW where you can actually reverse the sample in logic. It's here in the tracking Spector mawr and then you have reversed. So first we have this here, this symbol reverse it, you get all the way. So this is Ah, I heard the initial thing is merely like noise. And I don't want this tremolo this reverb. So what you can do is Time stretch or I actually recommend slicing it first. So let's a we slice it from here, Andi. Then you want to line it. So the end point where the hit point is is in the beginning. So let's It was like that. And so and now you have reverse Cymbal crash. Okay, so you that is Ah, basically time stretching. You can do that. It's well by hovering your mouse here. Prison old option key. Well, Mac and you see the time stretching if you want, extend it to longer. One for example. Okay, like this or ah, in the other direction. Like this two bars to one more brooks. Really great on these reverse sounds. So that is how you can you time stretch slice reversed the sound that the main way And you saw me aligning it. You really want to line it so that it ends at the actual transition point? That's the main way to use this rivers effects. You can also have soft transition points, as I call them. So let's say you have these reverse symbol groups If you drag it over here to the ah, off there. Four bars here. Something new comes in here, so just make sure you need Teoh. Line it so the end point is on the perfect beat here. So you have this like that, and you could have a simple crash there. Um Right. So that is how you create the aniline. The reverse sounds, What I did here. It's a bit different with tonal samples. Like a piano here. Ah, what I like to do here is take this sport here. Split it. So this is stand alone. Then. You need to find out in your VW how to bounce, bounce in place, create a new track, leave the old track so it will bounce that audio out. So this is the first quarter, what's reduced to gain a bit, and then you simply use the same trick. Reverse this and line it. So the end point is on the perfect four here like that. That would just start at the beginning. And now this is basically similar to this one. Okay, so the tip number five s, especially when you use slice and times just like this is to add a fade, especially fade in here like this. So you fading because now it's thought even with a click, because I slices to have faded into it like this and what you can do. You also, if I assume in a bit more second see here, what you can do is change the fade curve Sorts here is gradual, perfect line. But you can also do it like this. It's fades in faster in the beginning or create a curve like this. So it's very, very lower than ramps up exponentially. In the end like this. It could also be a great strict like that, and it was removed that support. Now then, if we get into tip number six here is to add some kind of movement effects like the audio. I just right in the in the beginning had a tremolo, so you can actually add some kind off tremolo effect or something to it. Oh, it's in fact, let's do that. So I have a tremolo here on the modulation. Just add some extra interest in the sound like this. Okay, so this is own less reduce the curve again. This has have read me character to it, you know, and you can set the rate more gradual movement and not as much depth unless you want to like this. Okay. And finally, of course, I like to add some reverb to add some depth to meet and push it to the background like that . So basically those all the main points and I also want to show you broadcast it sounds and total sounds. But also any kind of like a crash or explusion works great. So this is actually, if I move the verse here on and remove, let's see the fate of this okay like that. So some kind of crash reverse it again and then this fading like that. Those kinds of sounds can work. So heart attacks long tails, any type of sound. Reverse it at the faves aligned to hit points times special. Slice it to make sure it really hits at the end. That's the highest energy point, and you also need sometimes need to reduced again. So it's not too high in the mix because it's basically an effect element, not the main focus of your music. 22. How to Sound Design Trailer Braams: In this video you will learn how to sound design trailer Brams. So the main thing about creating your own trailer Brams iss in my opinion number one breasts and veering or your friends. So as you can see here I have three layers of breast like this based from bones from four. So this'll is a breast and samba patch also four so and then symphonic essential here lo breasts. So I also layer in rain share with octaves as it can hear and then whatever sound to use You don't need to use brass at all if you don't want to, it just feels like that is the fundamental ah sound for creating Brams. But now tip number two is to you can use any type of authority sustains, as I call it really powerful, bold sounds that sustained so you can have ah, low strings like this or even synth dirty sings like this and this I also have as a swell as you can see actually fades in here. So like that and then I have this deep, dirty sub texture here, which is actually a bowed organ pipe organ haunting, almost creepy sound effect just to add some ambiance, you can layer up any sound stuff you want. Ah, make sure that they are. What I call the authorities sustains this Amin's might not be Super Bowl, but it actually has that ringing atmospheric sustain. Then what I like to do is add some light movement affects to some of the sounds, especially as you heard these cells here. I love using tremolo for this You can use face transplant, your stereo automation, but getting from this do this wavy pattern. Ah, if I open up the Trimble, I have it here slow sitting like this. It was a mixed kind of low here, So this one as well I mean I mean but that's just to create some headroom when you layer all of these sounds. So we have these three breast layers, the strings, the dirty sink swell on these dirty sub texture and all in all, you get this and you already have an amazing trailer brand sound. But let's not end there. I love adding saturation to really add some heavy drink to the sound. Since I already used so much layering, it feels gritty and powerful on its own, so I went with guests. Some life situation was closed. These we can on Lea si the saturation plug in like this so before and with get some more saturated harmonic overtones. But, I mean, you could go overboard if you want to do. I heard that some distorted sound, but you can use any saturation or distortion plug in for this. You can even use a guitar or bass amplifier if you wanted to. Then I also like to use stereo imaging. This depends on what your final sound. What your vision is. You Do you want it at a center point in the mix or really wide? Ah, so if I demonstrate this before and now with, that's with very high stereo enhancement, but let's go more narrow. So before, before that, more. If you wanted more into the center, um, usually usually you want. It's really big steri enhancement. Now next. What I like to do is actually cut out some of the ups absolute lowest frequencies, because you won't be able to hear them on anything unless you have a subwoofer anyway, and they take too much room in the mix. So I just cut everything from around 40 tea or so eyes rumbling. It doesn't affect the sound character as you heard there, but it actually would use to sum off. Ah, the the loudness here in the rumbling low end. So you get more headroom so that he can go for the final step, which is the final compressor and limiter. Zara, maximize. Er, I have the limiter inside the compressor here, so yes, Tom. Hard compression here. I usually like to leave the attack here. Be tire in order to not compress the initial attack into the sound because that adds a lot of the punch in the actual Brem. Ah, so around 40 50 milliseconds was so high ratio and then just used limiter some distortion here on do you get from this to this final breath? Right. So without heavy compression and the limiting in distortion, you added some great in the final sound as well, so that some of my top tips on creating your own trailer brand sounds 23. How to Sound Design Whoosh FX: Now you will learn how to sound design Bush effects. So my first tape regarding how to sound this on your own Bush sound effects is it's all about noise. So what do I mean by this? Well, everything should basically start from either a noise way for more also letter or any type of texture or sample that is mainly noise, like the breeze of the wind or some water pouring or anything like that. And then you apply number two a filter curved to it at that motion. So let me show you this. Here this is ah, atmosphere, which I used to create the sound. I'm using a noise oscillator here, and I'm also using Ah, this sound here. So, in fact, let me just play it. This is how the noise sounds, right? And then this is how this rain takes your zone, right? And then, um, I added motion automation, and I like to do this by, um adding, for example, the modulation here to it. So you can see if I open this up. I added a curve here. So the modulation will you go from zero to the top and then I simply map that modulation to open up the filter. So basically, what I do is hold on this. And then I opened up the filter like this like that. But I automated instead. You can automate it by automating this parameter directly. But I will show you why I prefer to use the modulation wheel and then map the modulation well, here to these parameter. So basically, these opens up like this. Ah, bonus D Pieris what you can do if we delete this? Ah, just at a point here in the near automation from the lowest to the highest like that I usually want Teoh have it end right before the note. And so it actually gets time to go to the end here. So now it sounds like this theme, But then you can automate the curve off this so it's not a straight lines. It's not a perfect linear movement, but rather so if I used the automation curve tool here, you can do it like this. See, like this, or you can do it like adding So So it's stored slow and then ramps up exponentially. Theo, I prefer that, actually, and also what you can do is if you want to have it dive down at the end. So something like this. So it's actually basically goes up. This this parameter again goes up like this and then it quickly goes back a bit like this or even you can if you want to go even further, have it ramp up in the beginning and basically create a curve like this. So it basically goes up and then down again. And how far you wanted to take go down. It's up to you, of course, so that they would go back to almost the bottom again like that? Yes. You can see you have huge potential when you use the modulation real like this and then map it in your synthesizer. So if you go back here tip number Ah, three motion automation. Yeah, that's the main automation to control the filter. But what he can also do, which I have done here, is modulate some other aspects off the sound so ever actually modulated with the modulation wheel. And this is why I like to use one curve here in the DW and that map that to several aspect in your synthesizer off choice. You can see I automate seen card sinks to actually Ah, this here in here the air If I drag this, that is automated by the mod wheel. And also the drive here on this analog facer. So take them before layering textures as I showed, you can have Whatever. Whatever. Ah, sample. That is basically noise that you want. Um, so I usually goes into some noise samples that just find something. Let's see if we can actually get it. Teoh, play here. Ah, let's see, what do we have something like that and that we'll also be automated now some rhythmic aspects to it is well, right. So let's go back to that. All right, so that is the emotional dimension. Layering textures and everything is automating the field through. So, by the way, what I like to do is have the filter start low, and I like to use the band pass filter for this because it's more narrow as the bush goes through. But if you want to, you could use a low pass filter that opens up. Let's do this instead, Theo. Then you will get more of the low frequencies in it as well. So I prefer in most cases to use a band pass filter, then play with the residence to make it thinner, the curve, the frequency or wider. And you can also, if you want to have it, fade in with the attack on the envelope like this if you want to now. Ah, but I also like to do is to add a filter to it. So now we get Teoh this here the in start effect. Shane. So what I mean by this is ah often you want your bush effects to be a background element that as energy into transitions. So I usually cut a lot of the low end actually. So if he listened before on author become, it becomes even more narrow. And I also chosen in this case to cut many of the high frequency it because I felt it was too piercing. That is up to you. In some cases, impact even want to increase it. But more importantly, I would recommend cutting the low one to get rid of the rumble. Now take number six is to add movement and rhythm effects. So you already noticed this? Ah, I added it as a layer here on the B layer as an analog facer that opens up like this. So if I play like that Oh, I have it on both layers, actually. So I have it like this. So it opens up way the motive eel, as I just showed you. I also like to use tremolo. You can use it on the individual layers or in this case, I'm using it here on ah, on the master on gone, the whole sound its depth dry. What makes zero now? So it doesn't do anything. If I have this on 100% it will get very rhythmic, which would be really cool for these kinds of sounds. What if you want automated? Well, that is even cooler because then you can let's say start here and then automated So he goes down and it finishes or no sustain. And that is what I have done here in ah, in my d w. I automated the tremolo depth and you can see the automation here. This is the lane and this is the curve. So it will start in 100% and then you can use again automation. Kurt Tool set. How you want this curve to look like right? So let's see, he wanted to be start fast and then, Ah, go down like this. And that will mean that the tremolo will hold here slowly and then quickly go back to Ciro . So now, before it sounds like this, right, But with it on really cool effect and you can go the opposite way if you want to automate it from zero to 100. All right, so let's leave it at that for the tremolo now, of course. And most guesses, you want to add some reverb to push it back in the mix to make it more of a background element. So I went with quiet a short decay here dens room, and I focused on the mid frequencies like this. In fact, let's I think it's too much with 100% here, So if I can just try this down, let's go with 50 to start like that and then, ah, final put mix polish is where I usually add some saturation to have some great to the sound , some compression as a character if you want to Yuri queuing to scalp or polish the sound. So finally you get this. So, of course it doesn't really matter, but no juice, no known tonal. But some in some cases, the textures used or actually times or stretched in pitched, stable sound different up here. Ah, or in here and also a final tapir is that you can actually time stretch this if you think it's too long or Bush. In fact, let's go in. I want to change this again So it actually goes like this here again. But I think it's too long. Zaken time. Stretch it, and this is also a good way. Why? I prefer using the much modulation mapping here because it's only one thing tied to the clip so you can hover your mouse here, press down old or option on Mac, and you see this time stretch its basically the same in any D W and then just left leaking . Drug it. Let's say we make it short like that, right? And finally, if you don't want Teoh, use a synthesizer annoys also later like this, which I prefer. In most cases, there are actually some extra twos out there that are specific to creating wish effects such as this one, which is even cold Bush effects. Ah, and that it could be another way. Just use a to like this and learn the settings here. But it's basically the same. It's noise and textures that does the same as an envelope curve like this. We'll see like that. So in this case, it sounded mawr beefy and had more low end compared to what I have here, which is, uh, let's see. You can get it to do the like this instead, and I actually want to have it lower so you can actually experiment with different textures and come up with anything the upside with using his scenes like Oh, Miss Fear, for example, which is my preferences, that you can actually import your own samples in here so you can record textures yourself or use any textures U boat from sound packs. And then, um, add them inside here. So you just go and drag your user audio inside and use that as part of the bush. So let me play the final sound that I created here for the Bush effects I chose as a bonus deep here, by the way, to add 1/3 texture. So I have these noise. I have this African rain stick and then I have this cave water and the reason I chose to add it because because these two together didn't have enough of a no and into it like that Warm picture added that to think it feeding it up. So I have all these three layers. I also chose to change the curves. It gradually changes up here slightly exponentially and then dies down here at the end. So the final Bush sound sounds like this also. Now go ahead and create your own Bush sound effects. 24. How to Sound Design Cinematic Clicks: In this video, you will learn how to sound design cinematic clicks. Now, of course, there are plenty of ways to make these cinematic clicking, pausing sounds. But I like to start with either a kind of stick it or some kind of click sound. And I like to recall those myself. So I actually went out with a drumstick, and then, ah, well hit certain objects that I recorded. And then I have imported the samples here. So I use this particular assemble right here as the main, the main stick sound, and then this one another state care, and I'll order. They added some filters and modulations, so it might be hard here. This is without the filter and, um, this one as well without the filter. So it's just a stick. It all right? Ah, so sticks and clicks right The next ISS. I also like to sometimes include a pluck sound on. For this, I simply used any kind off oscillators over a synth engine and then just supers short decay here, attack and decay. Um, so this is actually sounding like this. If I have these on maximum sitting so I have a band Pasfield I just want to thin sound here somewhere around one kilohertz or so I think. And then, yes, minimum attack, sustain and super super short decay like 40 50 milliseconds like that. That is how you get that. Ah, super clicky pluck, sound right. And then finally, Also optional, of course, is to use a noise. Also later. So many synthesizers have this. You might have to layer synthesizers. Atmosphere it already have four different later. So as the fourth layer, I'm using a noise oscillator when I use a band pest fielder to make it really things. So noise also later and prepare for really annoying sound. Let's say it with the amp like it it's just noise again. Super fast attack, Super short decay. So this is actually just noise. So it doesn't matter where a plate it's static noise, but with supers short decay here. So the envelope and with the filter I just focus in with the band post on whatever frequents I want and narrow it with the residence here. So that takes us to tip number four, which is what I already showed a bit here. The super snappy envelopes. So again, check this out the stake. Kerry. The most important is the minimum short attack sustained and very short. Okay, so this is how quickly you want it. Well, this particular stick I wanted slightly longer this this well on da I mean, I showed you this on the plaque. Guess well, Super important little park, of course. And the noise. All of them have super snappy envelopes you can use to filter envelope the open up the field through if you want Teoh with my body, I recommend using is short setting for those as well, if you do. And of course, you need Teoh. Use a velocity setting on all of this for the AMP so that the air ample meaning the level the output of the oscillator or way form becomes louder. The harder you press your key so you can actually play. So this is ah, they setting here The velocity to amp. I would probably put it to the max. In fact, in all of this, because that way I can create playing something and make accents to make an actual groove dynamic groove off the pattern, Then we get to movement effects. So you already heard these because I forgot to turn love. I'm I like to use gradual curves for movement on here. I'm using it on the B layer. This is the retro facer. Let's listen to it without first. So we have this, But with the retro facer and tremolo gets like let's remove the field for a second. Here it Yes, just mono. I can hear you get movement in the stereo field and with the face on Ah, also. So I put it on this layer you can choose which later use whatever movement effects on. Just add some variation every time you have a hit in this click sound and that takes us to the actual insert effects on the overall channel, where I also use a movement affect. This is tremolo my favorite gradual movement effect, and I'm just using a specific rate. I went with this here 1/4 note and then I use maximum depth. But I mean before and offer you get way more movement like this, you don't have to go full on. But that's what I did for this particular sound. So that is movement effect, then another thing, because I really want this to have on Lee the high range click spectrum. So I went with e que and filter out everything below one kilohertz. So before we had you really get rate of all that below one kilohertz, you can do whatever you prefer. But since I'm going to go for this background kind off cinematic click solved, I feel that that out next seven here is filtered stereo delay. So whatever I mean by this well, I like to use stereo delays on any type of ah, rhythmic sounds like this because it s movement, interest, and push it is pushes it out in the stereo field. So you get the core sound in the center and then I like to use. So I use the ping Pong effect to get the stereo delay so it bounces from left to right with a ping pong setting and fielded. What do I mean by this? Oh, by the way, I'm using in an allo. We can use tape delay, anything that has that and the little character filter out all of the low end and a lot of the high end. So actually the delay bounces or know that prominent in the mix not too much, um, feedback, by the way, because if you use fast patterns, it will blow up. Um, then I like to use also peril compression, which means I compressed the sound at some situation here as well, and so that you get because when you use the compressor in peril of mode, it makes us between the dry and the compressed sound and that depending on how hard I hit this, you can see here that it compress harder and harder and when you compress, really hold that blend changes. So it actually asked Very subtle movement in the sound you to the compressor working here as well. Ah, which adds variation. Then finally, I like to push it back in the mix with a reverb, Really get that background cinematic sound. So before and after and finally, I mean, you could program this yourself this background patterns for this cinematically. But what I like to do is use an AARP radiator. You can use one in your DW here as an insert effect on the meaty, but almost here has a great or potato built in. So just you state. I went for the 16th pattern here made this groove with various dynamics per note. That is really important for this cinematic click background patterns policies because it adds variation in the group. So now I have this final sound right, and I mean, you could use a final compressor or limiter maximize her to bring the level up, but basically you're not going to use it upfront in any case. And I mean, with these pattern here, you can also finally choose where, ah, the center frequency should be because first of all, I'm using one tonal elements This but also these samples are recorded. I think that the core soundless sea for the middle here. But, I mean, I could play the stick it for and it transposed is the frequency here stretches it so you can actually play this cinematic like It will sound the best up here in the high range. But, I mean, you could do C five. You seasick or G here, and you can even follow if you have. If you use a total element, you can follow the core note off the Ford to sequence. So let's say G e or C ah, and really follow your chord progression with the back around cinematic squeaking pulse 25. Congratulations: Congratulations, my friend. You have now learned the cool foundations, my top guidelines and tips and tricks on sound design. Plus a lot of practical demonstrations so that you can get started with your own sound design. So what are you waiting for? Start creating your own sounds right now. My name is Mike, and I wish you great success on your journey in music.