Learn Omnisphere 2.5 - The Power Synth | Mikael Baggström | Skillshare
Play Speed
  • 0.5x
  • 1x (Normal)
  • 1.25x
  • 1.5x
  • 2x
15 Lessons (2h 21m)
    • 1. Omnisphere - Introduction

      1:24
    • 2. Omnisphere - The King of Instruments

      1:28
    • 3. Live - The Sound of Omnisphere

      2:34
    • 4. The Great Sum of All Parts

      9:21
    • 5. The Amazing Browser

      14:09
    • 6. The Marvelous Waveforms

      11:47
    • 7. The Dramatic Waveform Effects

      19:46
    • 8. The Awesome Filters

      11:02
    • 9. The Powerful Effect Rack

      13:54
    • 10. The Wonderful Envelopes

      19:00
    • 11. The Incredible Arpeggiator

      14:42
    • 12. The Deep Modulation

      8:30
    • 13. The Mighty Stack Mode

      6:22
    • 14. Quick Power Tips in Omnisphere

      6:32
    • 15. Congratulations

      0:46
  • --
  • Beginner level
  • Intermediate level
  • Advanced level
  • All levels
  • Beg/Int level
  • Int/Adv level

Community Generated

The level is determined by a majority opinion of students who have reviewed this class. The teacher's recommendation is shown until at least 5 student responses are collected.

215

Students

--

Projects

About This Class

Your Journey in Omnisphere

Welcome, and congratulations for choosing to dive into Omnisphere. You are about to learn and master the foundations of one of the greatest and most powerful software instruments of all time. The version used in this course is Omnisphere 2.5.

Master the Power of Omnisphere

Imagine if you had the power and knowledge to use Omnisphere to its full potential. To find, to create, to shape, to design and to control the sounds in Omnisphere.

Are you ready to:

  1. Master the Foundations of Omnisphere

  2. Learn my Best Power Tips & Tricks

  3. Become a Power User of Omnisphere

After this course you will be able to use Omnisphere more creatively, efficiently and with a huge boost in your knowledge and practical skills. You will be well on your way to becoming a power user of Omnisphere.

Now take Action

Let’s start your adventure in Omnisphere, right now! =)

Meet Your Teacher

Teacher Profile Image

Mikael Baggström

Music Composer | Sound Designer | Video Producer

Teacher

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. =)

MY PASSION

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 professionalcomposers.com

See full profile

Class Ratings

Expectations Met?
  • Exceeded!
    0%
  • Yes
    0%
  • Somewhat
    0%
  • Not really
    0%
Reviews Archive

In October 2018, we updated our review system to improve the way we collect feedback. Below are the reviews written before that update.

Your creative journey starts here.

  • Unlimited access to every class
  • Supportive online creative community
  • Learn offline with Skillshare’s app

Why Join Skillshare?

Take award-winning Skillshare Original Classes

Each class has short lessons, hands-on projects

Your membership supports Skillshare teachers

Learn From Anywhere

Take classes on the go with the Skillshare app. Stream or download to watch on the plane, the subway, or wherever you learn best.

phone

Transcripts

1. Omnisphere - Introduction: welcome and congratulations for choosing to dive into ominous fear. You are about to learn and master the foundations off one off the greatest and most powerful software instruments off all time. Imagine if you had the power and knowledge to use all nous fear to its full potential to find, to create, to shape, to design and to control the sounds off illness fear Are you ready to master the foundations off illness fear to learn my best power tips and tricks to become a power user off all miss fear? Well, after this course, you will be able to use all nous fear more creatively, efficiently and with a huge boost in your creative and practical skills. Hello. My name is Mike and I am a composer just like you. I have composed and produced music since 1998 and I teach my knowledge and experience because I love to motivate, inspire and educate creative people like yourself. Now take action. Let's start your adventure in all Miss Fear right now. 2. Omnisphere - The King of Instruments: all nous fear is truly the king off software instruments. In my opinion, I have used it since 2000 and nine on. It has only got better over the years. The version I will be showing you in this course is only sphere 2.5. If you have an older version, I strongly encourage you to upgrade because the new features are amazing. Now I have some tips for you to maximize your learning power. In this course one. Make sure to have illness. Fear lorded in your D A W. As you watched this course so that you can instantly try out everything you learn in each video. Listen to do practice sessions enormous fear every week simply to try out and dive deeper into a specific feature. Inside atmosphere. Be intentional with your learning and three use Ole Miss Fear every time you work in your DW on a new track on sound design on patch creation etcetera. Because learning by doing is the most powerful way to learn and master anything. So go ahead, start up your DW laundry track with all Miss fear and let's kickstart your learning adventure right now. 3. Live - The Sound of Omnisphere: Now I will show you live the true power off illness fair. I will play two examples with completely different style and moved and in both examples are in using the mighty stack mode enormous fear with advanced automation and modulation to create movement and variation in the final sound. So lean back and listen to the sound off illness fear. - Now let's play another multi patch with a bit more power and a darker tone. Okay, - now I hope that you are full of motivation and inspiration to learn these amazing instrument that you are truly ready to dive into the depths off illness fear if you're let's continue in the next video right now. 4. The Great Sum of All Parts: all nous. Fear is not only one single instrument, it is actually eight instruments in one plug in. So you can use anything from one up to all eight ports as individual instruments inside illness fear. And then either route those eight instruments to eight different channels inside your DW or used the ports in stacking mood, which can create incredibly powerful sounds. You even have a built in mixer for all the eight ports. Enormous fear, including levels panning and four separate send effect nerves purport. Basically, I can say this about Ole Miss Fear. The sum is four greater than all ports, so let's check out how to manage the multiple ports off illness fear. Right now, I will also give you a power tip. In the end of this video, let me first break down how the ominous fear layout works. For all the sounds, you basically have three different categories off the sound layout, multi ports and layers, so let's break down each of them. On the top level, you have multi ease, which are basically a saved multi, which can have anything from one up to all the eight ports and each of these ports is a different instrument. So if you go to the multi view here, you can actually exchange all these individual parts into a new multi, which will be Newport's. So if you remember these ones now, if I click on this one, it will caution me. Click OK. And I will vote up that multi, which will load up all the individual ports that will was saved with that multi. So in this case, it was a part one and two which has these patches loaded. So the next level below multi is, of course, all the ports from one 28 and you use these to vote a different patch on each port. So if I am on Port One, I can click on this and go into the browser and find a sound patch. I like Click on that. And now I have loaded that to port number one and then I can do that for the next port and the next one and so on. So you can consider these ports to be individual instruments inside the overrule Multi. So here you have instrument one instrument to instrument three and so on and the final level or the layers and the layers, or what makes up each instrument here or port. So for port one, here we have this patch voted, which uses there a only. But you can have up to four layers in one patch inside illness fear, at least from version 2.5, which I'm showing you right here. So if you want to exchange this port this instrument, you can go to the browser here or here and finding you sound. But if you want to simply add or shape a layer inside it, you go to one of these letters. So here you can add either a sample based layer inside the sample categories or a synth way form, which you have many ones to choose from here. So now I have actually added layer. Be here to the first part, the first instrument in the atmosphere. Then you can also mute the individual layers on a port if you click this little blue light here. So now I have stacked two layers that makes up this sound. Let's mute the B layer, so this is only the a layer Theun. If I add this again, these are both players thing you can add layer, see and layer D if you want to create it and even richer and more complex sound. And by the way, you don't have to use all the layers on any one part. It's enough using all the layer one if you want to, and you don't have to use all the ports to create a multi. In some cases, it will be enough to only use port number one as one instrument on this one track in your D W. And then when you want to add another one, you can add another track at all. Miss Fear as a plug in and use poured number one on that to create the sound for that trick . The point is that the choice is always yours, so you can choose to have only one port or use all eight ports and route them to individual outputs in your DW, or even used the powerful stack mold, which I will show you as the power tip in the end of this video. So let's make a quick summary here. The four layers from a two D here is what he used to make a single instrument patch enormous fear and those single instrument patches or then voted on any off these eight different ports is which you can see up here. And finally, there is the multi level where he can vote or save complete multi patches which can have anything from 1 to 8 different instruments loaded. So now if we get back to the multi view here, this is actually where you access the mixer section, where you can mix all the eight individual ports or instruments in your atmosphere. Plug in so to the left Here, you can actually send these individual ports to separate outputs in your DW. So here you have output. A. You can choose this one on B, this one on C and so on for all the eight different ports. Then you can also change the level for each port, the panning here and finally, four separate send effects for each instrument. So the send effects or here in the FX section for the Maltese. These are shared between all these eight different instruments. So first you set up, for example, a reverb on oaks one a delay almost two and so on. Then back in the mix of you. If I play a sound here, I can now dial up the orcs one to add some river or folks to to add some delay. And you can also add a separate effect on Orcs three and walks forward in this way. Now get ready for my power tip. So my great power tip for you is called the stack mode, and this is actually one off my favorite features inside illness fear. So, as you already learned, you can have eight different instruments voted here, which are eight different presets. And then you can actually use multiple outputs and assign them to different tracks inside your D. W. So you can basically have eight instruments as eight fax here in your DW, corresponding into the eight different ports. But you can also use the stack mode to only use one track inside your DW and lay year every instrument inside the mixer here that you have added on each preset and then go to multi stack and turn on the stack mode. And this means that you can now play this entire stack as one huge sound, which you can also Meeks by choosing individual levels for all the ports, different panning positions and even walks sends here. So I have actually panned the second part to the left. The third part of the right applied some reverb here to the mandolin port. Individually, they sound like this meddle in and then the pad here, a soft next one on the ambient channel. But together you get this huge sound. Now you will learn more about this stack mode and how to use the powerful deep features of it in another video. But now you have learned the foundations of it, which basically is to create one huge sound by stacking individual instruments on top of each other. Congratulations. You have now learned what I call the great some off all ports off ominous fear. So let's continue your journey of learning and mastering these amazing instrument in the next video. 5. The Amazing Browser: calmness. Fear has one off the most amazing browsers I have ever seen in a software instrument. Of course, it gives you access to all of the thousands of Patrick's, but any very categorized and structured way, and at the same time, it gives you as a user a lot of flexibility and control over how you search and find the songs. You need it even have some unique features that stand out and give you even more power. So let's check out the amazing browser in calmness Fair. Right now, I will also give you a power tip in the end of this video. All right, so when you first start up ominous fear owning you track, you get this default patch. Uh ah. Now, to change this patch here on any part that you want to use inside almost here. So let's start with the port one. You either click here on the patch name in this big black books and you bring up the full browser or you open up the mini browser with this bottom here. This arrow here and you can close it with the same arrow appear. And when you are in this view, you can browse for patches while at the same time having full view and axes off what's happening with the sound here on all the layers and so on. And if you want to bring up the full browser, you can click this plus magnifying glass here or again, the name here. And when you have found a sound, you light would say this one, huh? You simply close the browser view with these X, and you're back in the main view. So the categorization off all sounds and preset enormous fear starts up here at the directory level because you can actually access several of Spectra Sonics products inside. Ominous Fair if you own them. So I have, for example, key Escape, which is there keyboard and piano product and trillion, which is their base product. And you can also access other libraries from other third party developers that you buy and also your own use of directors that you have created. So let's say you are searching for all the sounds within the key escape library will then choose key escape and then the browser. Changes to Onley include the patches inside the key escape product, but personally I most often keep the directory level at either all Spectra Sonics, which will give me access to all the sounds and patches in the Spectra, Sonics products or even all, which gives me access to all sounds I can access inside all Miss Fear. So let's open up the full brows. Review again by clicking this plus sign or the patch name, because here is where the True Magic Ace. So here you can actually search for sounds by category type gender for vocals and technique . And also you can access further search options by clicking any of these down arrows here. So let's say you want to switch technique to, for example, Shah Aunger. Well, then use concerts for basically dance music sounds or pope sounds or whatever you want. But most often you will find yourself starting here to the left by searching for a category of sounds. For example, accessing a seemed short sound and then you can ski people these columns and go straight to the browser. Find one sound that you want here, and then you can close the patch browser and continues scalping the sound as you wish inside the main view or if we go back to the browser again. If you think these are too many sounds still in the browser for the category since short, you can go into type and further narrow down the search. So let's say you want sent short. But the only thing sins. Well, now you only get these selections. I can choose one of those. Or let's say you don't know what category of sound you want, but you do know the type well, click all on category and then browse in the types here. Let's say you want an epic pad. Well, choose one here, huh? Let's say you know the kind of moved you boned, but not really the type. Well, then you can switch this section here from Type two moved and choose a mood you really won't like. For example, let's go for mystical. Choose one of these. So as you can see, you have lots of control over the browser for how you search and find your sounds with these different sections, off categories, mood types of sounds and so one. Now let's check out the actual precent browser, which you find to the right here or in the mini browser here at the bottom, so you actually have really cool features here as well. The 1st 1 is that you can change how the presence or sorted, either by featured ratings. For example, let's check out these. If you have ratings, the priests that you have added a store T will show up at the top so you can actually rate sounds. So if you check out this one, I say you want Teoh. Remember that one instead? The rating for it. I like that one. I give it a four star rating, and now you can access it by going to the ratings and browsing to the top. You can also more a particular preset as you can see a shift click on patches and I can mark them. So let's say I really like that one shift click and left. Click with your mouse, and now it's marked. So if you find the mark sounds, then alphabetically from ages, said or said to a and finally consort on recent user presets and meaty learned presents. But the next one I personally use a lot, which is the shuffle feature, basically random izing the order off the patches. So if I click here now, I get a random Ah, selection. Awful the presets. And if I click this one, it randomize is again. So now we are at the top of the end of the sonic place Click again and it randomized. So now at the top, we have dive mask, blurred vibrations and so on Click again on we have yet again randomized. But it always goes to the selected preset, which isn't. This case is a major gramophone. Now, if you don't want to switch presets with your mouth like this, if you have window, focus here, right so we can use the arrow keys on your computer keyboard or these ones here to go up or down. So now I switched to squared Rulers. I can click on my computer keyboard, and it also browses like this, and it can also check the sounds by clicking on this arrow here, which can sometimes be faster. But I generally used my midi keyboards who seem to trigger a sound, and finally you have the info bottom here so you can read a bit about the actual patch. Now you also have some advanced features down here in the browser, like editing the tags off a specific patch you have selected here. The browser also some advanced settings for all to play. How the patches, Lord, and so one here, which you can read more about in the manual. I recommend keeping them at their default settings for now. And then you can actually switch any patch to a light version to save some CPU or M. So if I switch this zone exactly now, playing the light version of this sound now get ready for my power tip. So I actually have to power tips for you on the Amazing Browser in Calmness. Fear. The 1st 1 is called Sound Match, and you can find it in the mini browser view up here where you can switch between attributes, which he already learned how to fill their own category type songer and so one. And if you switch to sound match, the browser will show Onley sounds that are similar to the one you already selected. But let's get into the full browser view for a more clear view on this. So here I have selected a sound in pad strings evolving motion, and it shows this present called Angelo tube strings, which sounds like this. So let's say you like that sound, but you want to find similar sounds to this one. Well, if you click on sound match up here, look what happens. Sound match, match current selection. And you get at least off sounds that or that almost hear things or believes is similar to the one you have selected, which is this one. And the ones closest to this one is the most similar. And the further down you go, you see, this little board here is getting smaller. So those or less similar. But if I If I play this one and then I switched to this one, it has also that angelic pad sounds. So it's quite similar on the next one. Also a warm, soft pad kind sound. But the further you go from this, right, so this is kind of angelic, but not really a pad. So using sound match can be a great way to find Ah, sounds that are similar to the one you found in the priest's it browser. Now, the second power tip I have for you is called sound look, and in my opinion, this is probably one off the most powerful feature in the entire illness. Fear. Plug in. You will find the sound look feature in the mini browser up here where you see this little look icon or in the full browser. You find it up here and it even says sound, look. So what is sound? Look well, basically, whenever you find or create or shape a patch that you like, let's say Let's say we go to seemed short And then let's say you add an arpeggio pattern to this. Let's say you create something like random. All right, so let's say you like that. Let's speed up the gating a bit. Let's say you like this specific or pidio pattern, but you want to apply it to a different sound. Well, if you switch the priest, it the ORP idiot or here will be gone. And this is basically the common way that all plug ins work, switching presets. You will get ALS. The aspects of that sound lorded, but if you get back to this now like so so you want to look this or page aviator with these sound look feature, so if we go up here, you can see our pay. Gator is an option that you can look. So if I look this now that is turned on, this means that every precinct you switch to will have these or page aviator pattern that you have looked too. So if I switch to this one or this one or this one, they all will have this or page aged pattern because you have used the sound. Look on this. So anything I do now inside the AARP aviator will follow along when I switch presets. So let's say I add and you step here and perhaps make a change in the volume sets change this one or this one. It will follow along because it is sound looked here. And as you can see, there are lots off aspect inside all miss fear that you can use sound. Look on. My favorites are probably the ORP aviator and the effects as well as the envelopes. So let's say you look effects Onda. Let's make this really apparent by putting on a like a metal distortion now the effects or looked so a Z can see here the effects are looked on the sound look. So if I switch to let's say this preset, it has the same effect. Shame that I set up already on any change I make now will follow along on every priest that I changed to. Now, Any time you want to change which aspects you sound look, you simply go up here and you can turn off the effects. Turn off the AARP aviator and choose other ones, or even use the look All which will look all the aspects here or clear all which will remove all the sound. Look, features. Congratulations. You have just learned the foundations off the Amazing browser in illness Fair. Now let's continue your journey in the next video. 6. The Marvelous Waveforms: many people think that illness fear is simply a high quality sample player. And indeed all Miss Fear has thousands of samples, sounds and instruments to choose from to build and shape your final sound. But that is only one port off this great instrument, because only Sphere also has the most powerful sent engine off all software instruments. I have tried, and I have made music on my computer since 1998 so that says a lot. A standard synthesizer, for example, has around a handful of way forms to use as the base off the scene sound. You create the classic way forms or sine wave triangle wave. So wave on and square wave on this fear, however, is not your average synth Indian. It actually comes with several hundreds of way forms classic way forms from hundreds of vintage synthesizers, analog way forms with all kinds of Tom bers and sounds and even digital wave tables. Basically, all Miss fear is the perfect blend off high quality, sampled way forms with a deep and amazing since engine off hundreds of way forms. So let's check out the marvelous way forms off ominous fear. Right now, I will also give you a power tip in the end of this video. So let's take a look up here when you go to any port that you lured an instrument patch on enormous fear. That part can consist off up to four different layers from a to D, and every layer can either be a sampled way, form or a sink way form. In this case, it is a synth way form called Sore Square Bright. Now, if you go into the instrument library in the browser, let's say you choose this sound here in since Long S. So let's check out how that sound is made up. That's X this out, and you see here that this particular patch is made up from two layers A and B so in Layer A, it is using a synth way form called Mechanic, which looks like this, and Layer B is another synth way form, which is a noise generator. Now let's say you want to add 1/3. Also later. Well, you can either choose to go with a sample or a sink way form. If you're quick will sample. This one is now empty. We can now click here to open up the sampled way form library, and here you can find all kinds of particular styles off samples. So let's go with synthesizers. Analog tones. Let's find something here. Let's use that one. So if we pick on that one, load it up. X this out and you can see we have now 1/3 layer, which is based on a sample, and it happens to be a classic synthesizer called JP eight. I believe that is a Roland Facey pad. If I close these, I commute these layers. Now we have only this particular sampled way form. No, you might want to use a synth oscillator instead, or a synth way form, because even if you have, I don't know how many hundreds off sampled way forms here to choose from. Sometimes you want to have even more power with the synth way forms, and here you can find, of course, the classic way forms. But let's look at this. You have classic way forms, and if you go to classic pals way forms, you can recognize, you know J p. O. B. Nor lead. So lots of classic synthesizers have their way forms modeled in here so you can first look for Do you want a pulse kind of way for me so tooth kind of way form and so warm? Then you can also choose from the analog tone. Burst libraries of way forms can search for different Chalmers or styles away forms. Let's say you want to go with a warm Anil away form from a J P eight. And finally we have the third, which is digital wave tables, which is, um, or short, edgy digital tone. Here you can see it works great for Bill type sounds. The true power comes when you mix and blend with between these different kinds of way forms . So let's choose this bell types in play form here in the digital wait tables for the layer . See, let's go back to be. Let's exchange this noise to a analog deep DRI sub base way form, and this one was a mechanic. Let's go to sample and use one of these would see. Let's go with that one. Now you have a mix between three different layers to create this sport. One is a sampled waveform. Another is a synth way form from the analog numbers library, and the third is a digital wave table. So together you get a more complex, rich and powerful sound. So if we go to the multi, you can see that all of these layers or on one port port one. But you can dial in the amount per layer by adjusting, for example, the AMP here, So have more of this layer. Less of this layer in someone on uneven panned them differently here on the layers. So it's they want this pan left in this pan. Hold right. Basically, you get all kinds of sound design possibilities on either sampled way forms or seen way forms hundreds off them and on each individual layer off the particular part you're creating. Now get ready for my power tip. Now, one of my favorite ways to really get a huge sound is to use the various layers in ominous fair and not only panned them differently, but more importantly, used a transposed to to let se have layer a on Syria, which means the actual pitch off the note you hit on the your Medicaid board be could be, for example, one octave above and see could be one octave below. These will extend the range, depth and power off the final sound. So if you are using the Patch browser, all those layers will be pre created. Some sounds will only use their one some will use to, and some will over even use all four layers. But you can, of course, go from scratch by. If I clear this patch, which is number one now, I will get nothing. So if I play my meeting cable now, there's nothing there so I can go to lay you a and start from scratch by, for example, going into this scene way forms, starting with a classic Let's say, sub oscillator. Let's put a filter on that, but I can extend it with a layer be Let's use a sampled way form here. Let's see that one sounds cool. So let's go with that one. So now we have both these layers. This one is very deep and patty, and you can also use, for example, the amp and panning and even the transpose. So let's say you we transpose this up to a full octave. Now the layer A will play at one octave and be an octave above which will extend the range and depth of the sound. Ah, and you can use these further by adding, that's 1/3 layer. Let's go with a saint way form. Let's go with a classic square, you know, 60 and let's shape it some here, let's in fact, so it will know Use all kinds off synthesize design here to shape this particular way, form and layer. And let's now add the two layers from before was in fact used ace on ah octave below. So we have three different octaves as he can hear super powerful, super wide and deep and rich sound by using the different layers with various way forms in various sound design here and even transposing them in pitch. Now, instead of using the AMP to mix the level of each layer you can in fact use. The fader is down here where you can see I'm using Layer A. You can also do the Lakers down here and set the levels per layer or go to the main view where you also can see all three different way forms and makes the levels here. Congratulations. Now you have learned the foundation off the true power off atmosphere, which I believe lies in its great way form library off both sampled way forms. And it's amazingly deep synth engine with hundreds of way forms to choose from and, most importantly, that it can shape and design these way forms with calmness fears Amazing seems engine on a layer by layer basis to build truly powerful sounds. 7. The Dramatic Waveform Effects: Not only does all miss fear give you hundreds of way forms to choose from, compared to the handful classic way forms that most standard synthesizers have all miss Fear also gives you access to many different way form effects that you can use to further shape the sound per layer. Anything from subtle variations to making your sounds fatter and warmer to add depth and range all the way up to crazy effect modulation on your way forms You really get tremendous power over your final sound when you control these effects. So let's check out the dramatic way form effects in ominous fair right now. So how do you access the way form effects? Well, you simply first either load a sound or start from scratch, as I have done here, which is to clear the patch. So now I get nothing when I play my medic keyboard. Then you go here to the oscillator section, and also later is simply another word for way form so you can go to the sinks here and choose one off the Let's say the analog to numbers, which use a warm yea P eight, which sounds like this. Ah, right Now let's go into the way Form effects and you will find them. If you click this little plus magnifying laws here, this opens up the oscillator. Assume which is the oscillator or the wave form effects section. And here you can select main FM, ring, wave shaper, unison harmonizer and granny remote. These are all the sections for the way form effects. So the first section in the way form effects is the main section here, and these are actually the same favors and dial's you can access in the main view if you go back here, shape, symmetry, heart sink, analog face and so on. If you go back, you can see that you have the same ones here here and also fine adjustments to tuning and so on. So if we start with this sound Ah, look at the way form. I can now shape it a bit, and I can actually play that the same times. Do you hear what will happen? Ah ah right. And you can also increase the animal character, which means the pitch will drift a bit. So it's not super static on the exact perfect tuning. If I have these on zero on. If I have known Max, you will hear the difference. Ah, shifts slightly in tuning. Ah, uh, so this is actually too much. It sounds basically out of June. Somewhere in the middle middle is usually okay. That will give you some classic vintage, uh, analog vibes. You can also adjust the tuning here incense. Ah, And by the way, if you right click on any parameter, you can reset it to the default value course shift. Right. So that was the main page. Then we get to the FM section frequency modulation, and here you can actually go really crazy if you want to. So let's turn these on. You might have noticed that this is always on all the other ones. You have to manually turn on with the bottle up here. So now you can see the light is on here, and you can also on frequency modulation choose the modulator wave. Now, if you really want to know how frequency modulations in thes works, here is the definition from Wikipedia, and it's very technical. So if you want to read more simply go to Google and search for frequency modulations in thesis, but basically you Ah, effect the regional way form within modulator way form. So let's choose another one here like this one and without now way you can hear some movement in the original way from that wasn't there before. And then you can also use the frequency and depth off the frequency modulation. So here you get brighter movement in the lower frequency. Also the depth so you can go really crazy if you Max this ah frequency modulation is grateful, adding that digital edgy and short character to the sound ah can also shape it further. Here the frequency modulation shape you can see the way form. It's actually changing without again and with the next way form effect is called ring modulation and if you look at layout here, you can see that it is very similar to the frequency modulation. You have the modulator way, form, frequency and depth. Here shape symmetry in sync shapes in between sink. It's the exact same layout. Here is the definition offering modulation from Wikipedia. But basically it is multiplying two signals together to create a new, more complex away form with variation in the sound. Now the easiest way to demonstrate the difference in sound you get from the rainy modulation compared to the frequency modulation is if I have the same sittings on the same more dilator way for on both. So I have shows in a simple sine wave, as you can see here and the same on the ring modulation now with the frequency modulation that you will always add kind of a digital shorter and a jeer character to the sound. So if I play something here without first with ah, now the ring modulation with the same setting will trigger different results in the multiplied way forms depending on where I am in the way form when I trigger the note. So listen carefully. As I turned on the ring modulator the ah uh with a sine wave form, it actually creates a softer and more mellow sound, as you can hear compared to frequency modulation which adds a shore per character with this same settings as the ring motivation. And also, if you listen carefully as I trigger new notes, you will hear that the final sound really is very different depending on where in the way form I am. So listen now if I play one note at a time. Ah, some notes or sharper and some notes are softer, and that is the result off the ring modulation effect. Now, of course, you can go asi can with any of the way form effects, really, But now you have learned the difference and the foundation for frequency modulation and ring modulation. But both of these way form effects or based on a modulator way form to effect the orginal way form and create a new final sound. Now let's move on to the wave, shape or effect page. This is where you can truly crush your sounds into a retro character and even so far as a low fi and eight bit sound if you won't. So let's turn on this. So here you have crusher shaper and reduce. Er the crusher is on the beat rate and the reducer is on the sample rate, and then you can use this shaper with frequency in the middle. So if I play a sound now, ah, now if I increase the crush, you will get less bits in the sound, you know, like going from 24 p to 16 bit too low eight bit if you want. Ah, also the crushed force. Uh, then you also have a producer in sample rate. And this is really crazy. So But you can only use slightly also have some animation in the sample. And also the frequency shaper in the middle basically changed the Tomur off the sound. So the big crusher is the bit depth. Here is the full DVD, full, broad cost quality. And this is really going crazy with the old eight bit, or even even low, where I'm not sure exactly how much the big crusher girls and then the reducer is the sample rate from full broadcast quality to really a bad telephone line from decades ago. And if you're not sure, you can always go to the presets here. So let's try out the mad crush and without thought. Finally, you can add wave shaper crushing effects in parallel mode within mix slider down here. So on zero, it's basically the real So does nothing on full. It's, of course, the full force of the bit crusher effects of Let's Go Crazy here, But in the middle, you will actually blend equal dry signal with the beat crushed signal or anything in between. Now, the next wave form effect is actually the one I used the most. It is the unison mode. Basically, it adds more voices or duplicates of the way forms with slight variations. You can think of the unison mode as going from one single violin in an orchestra to a full violin section. Unison will add a rich, deep and really powerful character to any sound. So let's listen to how it sounds without now, with ah, a huge difference. Here you can adjust the depth on also the spread in thes stereo field. This'll fully spread out through the right. Here you can adjust how much de tuning differences between the way forms as well as the analog and drift mode, which can add a slight tuning variations in time. Too much of any of these will make the sow sound out of tune. But adding slight and low drift and D to difference is actually what creates the big, rich and powerful sound to begin with. Now, the next way former effect is called Harmonia, and if you go back to the unison mode, this creates duplicates of your way form. But all playing the same note, however, with variations in the tuning spread and depth to make this sound fuller and richer. However, with the Harmonia, this goes even further because you can actually dial in the actual notes off those duplicates. So if I turned the zone and then I turn off the voices, you can actually add up to four different harmonium voices. So this is the sound without any extra voices, which is basically like having the Harmonia turned off. You need to add extra voices now if I select the first voice, so as you can see, it is defaulting to seven Seminoles above the original note. You can set this to whatever you want, So if you set it to zero and d tuned this slightly, it is basically similar to the unison mode, but with only two voices. So not without reason. Here, a unison effect, however. It was set this through the default value and go back here and said these 27 notes, 77 notes above the original is a perfect fifth harmony, which is basically a power chord on the guitar. So much thicker sound from the extra harmony. So then you can perhaps add another one as you have this one here on minus 12 that is actually full octave below the original pitch, which sounds like this now without Harmonia Ah, When I turned his own, I will add a duplicate off the way form 77 notes above and 12 7 outs full octave below the further bore. You can set the level of these duplicates. Here you can pan them in hysteria, field de tuned them slightly and even used individual shapes, symmetry and sink effects per extra voice. And if I do this, I will end up with a much more complex variation in the final sound. So without on with super super powerful now it's time for the final way form effect in calmness fear, which is called the granular mode. And this is both one of the most powerful and the deepest sound design tools, enormous fear. This is the definition off granular synthesis from Wikipedia, but basically it breaks up the sound on way form in tiny greens, those grains or then played back with variation and random ization, ingrained location, speed, face and other parameters. All in all, this creates lots of movement and complexity in the final sound granular synth eases works especially well for peds and ambience focused sounds. So let's check out how the granular mode sounds. So before I apply this effect on, this is the simple way form. Now listen to what happens and especially look at the tiny lines that will show where the grains or drawn from now, if I play course with the granular mode, you will hear how great this can work to add ambient movement and complexity to pads, for example, Uh, compared Teoh. Now let's quickly go through the settings here on the granular Bold. First, you have these big slider here, and if you have the the lowest setting, the sample start immediately off the trigger. It's on your medical board or in your sequencer. But if you have it higher E. I don't know if you can hear about when I trigger the nose through, Say short like like in a slower attack on the way form. Now the next one is great in depth. If you check here, it will use more grains from the way the lines compared to the little sitting on the lowest setting since it uses so few rains will sound mawr raggy adore almost like a restaurant. Next one is intensity, which increases the intensity. Burning seizes on higher standing is kind of treat really cool ambient kinds of sounds. And if you put some reverb on that sound, it will sound truly magical. Then you have a smoothing algorithm without smoothing will hear almost like it's static, even due to their high intensity smoothing algorithm. Woo well, smooth that out spreading hysteria feel the greats mano full with de churning of the grains too much, and it sounds like, well swarming bees, basically. Then you have the pitch off the grains, which can also create some cool sounds on just interest of those pictures. Here, Theo seven Sima tones and we can have gliding between the intervals. Thank you can set the direction of the grains up a zey hire Tom Burr down. Same notes Lower Tom Burr and then two versions with more variation in the sound booth. And again I played the same knows there, and finally, if you want to go really crazy, you can switch to the vile mode. Congratulations. You have now learned how to use the dramatic wave form effects in illness Fair. Have fun shaping yourselves with these effects and use your powers wisely, my friend. 8. The Awesome Filters: filters has always been one of the main ways to shape the final sound of a synthesizer. The filter cut off and the residence probably the two most powerful and most used parameters on any synth on a standard synthesizer, you get a couple of different filter modes to choose from the three most common modes being the low post filter, the high post filter and the band pause Filter. A low post fielder makes the sound warmer by cutting the higher frequencies. A high post filter makes your sound brighter by cutting the lower frequencies and a band post fielder cuts from both directions, leaving the middle between the lows and the highs intact. However, calmness fear shows yet again that this is a true power, since it gives you access to a wide range of these three classic filter modes, all with various sound characteristics and filter slope curves. And it even has a special D fielders category, so let's check out the awesome filters in all Miss Fair. Right now, you can use the filters enormous fear on any sound, whether it is sample based or synth based, and you also get a different filter on the individual layers. So let's say you have a filter on here, set it on these settings. Then you can see that this filter has completely different settings. Again, these shows the true power off illness, fear using the layers purport. So I have lauded this scene. The way form called Mini Moog powers wide from the classic way form pals, presets, which sounds like this. Let's go ahead and use a way form effect to make it is even fatter. I'm gonna apply some unison to this. Some depth range is okay. And I think these are okay too. All right, so let's apply the filter now. So in order to use the field through, you need to turn it on first, which you do on this bottom here, which now lights up blue. And then you need to choose what feels remote you wanted use. So he re conceded three classic filter modes, low pass filters, hypos filters and ban polls filters, and you get lots of options in each one. So let's focus on the primary value of all filters first, which is the cut off value. So basically the cut off values since the frequency where the filter will be applied for low post filters. These frequency sets where you should cut off the high frequency. So if I said this on the high setting, it basically will not do much on the lower I turn this down, the more off the bright, higher frequencies will be reduced. The high pulse field from old works in the opposite way, at a low setting. It will not do that much, but the higher I increases the thinner and brighter The sound will be because I reduced the lower frequencies. Finally, the band pulse filter, which reduces both the highs and the lows, leaving the middle so you can use this basic here at with a filter off. It sounds like this with the filter own. I set the frequency, which I want to remain. So let's say two killers and the residents again applies E short for boosting the restaurant frequency off these cattle value. And the final main aspect off the sound of a filter is the filter slope. So let's go to the low post filters. Here you can see these values 12 db 24 db and someone. Well, those values correspond to the decibel per octave, meaning the higher the value, the shorter and steeper the slope. This means 48 decibel reduction on one octave in pitch. So if I use a lower value and said it, let's say on three killers here I thought I changed it to 48. Visible. Yeah, that that sound is more mellow ones off. The main aspect of this is the slope how steep the filter is applied. But the true power off the illness Fear Filter section is that you get lots off different variations off all these three filter modes so you can have one low pass filter on 12 db another one. The same field sloping disability poked a but a slight difference in the characteristics off the sound. Check again. And only Sphere also comes with modeled fielders like these. Reach and Moody. I wonder which seems those can be more loved her, and also one of the most powerful ways to use the filters is not on static. Values are actually automating them, either with an l A fel on envelope or even with your sequence or automation, and all filters have very different sound characteristics. When you move these failures now on This fear also has a full filter mode category called specialty filters, which are basically very interesting experimental filters types. So let's check out this one, for example. Way now, let me quickly show you the most common way to automate a filter, especially a low possibility like this one set on a lower setting. Ah, but if you think of, for example, when you pluck a string on a guitar or you get a distinct shore per high frequent attack in the sound which then turns into the fundamental tone more or less so you can use the envelope automation for this. So this envelope nope, here controls how much the cut off value will move in range. So on full setting, it could potentially go all the way up from its original position and the timing off, how it will go up like, Will it go up slowly raising the attack like this again? Or will it go up very, very fast and then go down like a plucky title sound? Or will it go up a bit? Those settings, all controlled with the filter envelope and you will learn more about the envelope section in a later video. But let me quickly show you one of the most common ways to use the filter envelope, and that is to add that short attack almost like the pluck on a guitar string. So basically, the attacks lighter controls the timing off how fast the filter cattle value will go from its original state to the range off, which you have controlled here on the maximum setting. It will go from the original state to the maximum setting, and if you decrease this, the field might go from here to here. But essentially it is. The timing wouldn't go like this. Or will it go super fast faster than I even can move my mouse here the next three sliders decay sustained time and release time basically controls what will happen when the cut off residence has achieved the full state, which you have controlled by this. Will it go sharply and quickly down to the original state? Well, it's slowly fade back. Or will it fade back a bit, controlled by the decay and sustain, and then have it released, which slow slowly fades into the original state. Now, creating that pluck type of sound with the fielder envelope is actually quite easy. You want to have a minimal or very short attack, which means that the cut off will go rapidly up to the value set with the envelope depth and then you want a short, decayed and sustained and minimal or short release. Then it will quickly move down, which is controlled by the timing of the decay to the sustained value which is controlled by this slider here. If I put this on Max, I don't get that clack sound. I want to put it low. So it goes back to the almost original state and the release controls the timing from the sustained value toothy old regional state. So let's use about 300 hertz as the original state off the filter, which sounds like this thief filter and with the envelope dialed completed down, which means this doesn't do anything. It will sound like this field Now. The more I increased the envelope amount here, the more this envelope filter will be applied to the cut off. So listen, There you have it. The plucky envelope filter. Congratulations. You have now learned the foundations off the filter section. Enormous fear. So have fun shaping your sounds with the awesome filters. And I will see you in the next video 9. The Powerful Effect Rack: using effect units can be an extremely powerful and flexible way to shape your sounds with reverb, delay, cores, distortion, compression amps. Those are some commonly used effects in music production. All nous fear comes with many variations of these effects as well as other kinds of effects , even a couple of unique ones. In fact, illness fear has over 50 effect units to choose from, and you can have up to four effects per layer, plus up to four shared effects and even an extra four effects as send effects shared by all layers in your instrument. That is what I called powerful. So let's check out the powerful effect wreck in calmness Fair. Right now, I will also give you a power tip in the end of this video. All right, so let's start with a simple sound and then used the effects to shape it further. I am using Onley Layer A for this and a synth way form called Monster Fatty in the Analog Chambers Deep category, which sounds like this. So let's start with the send effects, which are shared by all eight ports. So to go to the mixer, send effect wreck, you click on multi here, and then you can see mixer here, and this is the FX rack for the send effects in the mixer. As you can see here, folks. 123 and four And these correspond to the oaks effects here and by default, it has actually loaded a reverb on X one and a delay on talks to So these are almost like using the Seine effects in your d A w When you go into the mixer and we have this sound here, I can't up the reverb which was on walks one on the delay or looks to So those are the four send effects. Now, if you're in the multi and mixer view here, you can access those when clicking on FX. Here, here you can see the oaks from 1 to 4, and here you can see the reverb. And you can apply, for example, a different reverb here and make adjustments to the specific reverb sound as well as the same on the delay. You can, for example, change this delay to another DeLay unit, and then you might want to add something on Orcs three and four as well. But look here you also have a master effect rack, which is basically insert effects on the master output. So, on the master output effects, in case you use it, you probably want to use effects like dynamics, compressors, limiters, perhaps some e queuing, filtering and light distortion and stuff like that and off really putting it reverb or delay here. So I recommend for depth and space effects like that to use these sand effects or the insert effects purport. All right, so those were the mixer effects that are shared by all pours enormous fear and you access them by going to multi Mickster to dial in. How much you want a walks sends to be and set up the effects here multi FX before sen effects on the master output in certificates. Now let's move on to the individual effect racks purport enormous fear. So I'm only using port one If you remember this sound here and it has no effect right now. So let's add some effects Well, on the individual ports, these or independent from each other, so I can have a whole effect. Shane here. And if I switch, let me show you if I add effect in effect here. Now, if I switch too poor to that is gone. Well, no, it's not going. It's still here. But this effect rack or all these effect tracks here or completely independent from all other parts. Enormous fear. And that is one off the true powerful features off the effects. Enormous fear. Now, how do you set up the effects in the individual effect, Rex? Well, as you can see here you have a, B, C and D, and again in almost here you have four layers purport. So I'm only using later a one. Well, these effect, Rex, actually correspond to these four layers in the particular part. So if I add in effect here on layer B which I've already done a river well, you cannot hear the river because it doesn't do anything to later a only layer b, which doesn't have a sound on it right now. So let's get back to the effect rack on layer A here. So here you can put effects like you put insert effects on instruments in your DW. So let's say you want to use well, let's start with a compressor and you turn it off with this little light here, Turn it on and you can add another effect. Let's do an EQ U two and make some radical adjustments to make it really obvious again. The light always it turns it on and off. Let's add another effect that has a slider on it, like this chorus echo, because some effects enormous fear. You can dial in the mix from the completed drive, which means no echo to fool a We hear the echo, not even the original sound. So here it can Darling try to read ratio on this particular effect. All right, so now I have added another sound on layer Be. And if I want to add effects to this layer, I simply go to FX while on Port One here and then to the B effect track, because again they're a corresponds to the layer. A insert effect track. The your B corresponds to the layer. Be effect rack here and so one, and you also have a common effect crack, which basically is the master insert effects on the sport. If I add a let's say, very high wattage ampere, let's do really insane. You hear? That makes an effect on later. Be buddy makes an effect on all layers, which I can show you by activating this, I have muted. Be no. And if I used this common insert effect right as you can hear defects layer A and it also effects the year be, uh, so if I turn this one off now, one of the true powerful ways to use the effect track is to actually have independent effects on the layers. So let's say if I activate both of these now without any effects as implicated two layers combined, let's say I want to add an amplifier to this one. But on this one I want might want to add a completely other effect. Let's say a delay here. This'll A is not applied to layer a Onley layer B, and you can use these layering mindset on your effect Rex as well, combined with all the layers on this particular port. Now, finally, you also have these orcs effect track, which basically or send effects that are independent from the mixer sent effects. So these send effects are only used on this particular report on the different layers. So let's say I add a reverb here or let's do delay, in fact, and then you adjust the settings on, and then you go to the individual ports here. A. It says Alexis sent no effect right now because the orcs end is at zero, so you can apply some river. What was it? Some echo here to layer B. All the and you can adjust these independently. As you can see, you have the slider independent off the other effect wreck or the other layer, perhaps some more reverb on layer. Be or echo on Larry and less on layer A and, he says, making it even more powerful because this means that you have four independent sen defects per layer. Four independent effect Rex one purred layer as well as four insert effects on the master. Shared by a lot. These four layers the possibilities off sound shaping with the effect Rex is simply infinite. Now get ready for my power tip. I have a couple of power tips for you, actually, the 1st 1 being If you have added some inserted fix here in the a effect track like this, you can reorder them by either quaking here on the left side off the effect, or here on the right side, where you can see these small little lines and simply hold your mouse and drag it like so perhaps, move these one down here and now this is empty and move them around. As you wish. The next power tip is that you can actually access presets on the individual effects by cleaning this little arrow sign here. So they just use that one. And then you get other presets for this particular effect and so on. And you can also switch if effect creases with these bottoms here, as you can see and also if you're not satisfied and want to start from scratch, you can go up here to the Presets browser, and this is super powerful. So now on Iraq A. I can go to presets empty the wreck, which makes it completely empty, and then you can also access lots off independent, complete effect. Rex. So let's say you want some over driven sounds. Let's try out panning come fuss, and it laws these particular effects on that precept. You can try out how these different effect rack sound, and you can also save the rack present. If you wish to your computer. So let's say you make some really cool changes and want to save the entire wreck. Well, this is where you do it. Another power tip is that most of these effects units actually has more parameters that you can adjust than fit the main view here, which you access by clicking this little arrow sign to the four right bottom corner off the particular effect unit. So I click here and you access other parameters and then click the left arrow here to get back to the main view. And you can see it here as well on this power filter. Click here to access more features and go back to the main view. Finally, I want to finish off with a super advanced tip for you power users out there. And that is that you can or toe mate the parameters on the effect units. So one way to do these is actually two Duce media learn, which you can do here. If you right, click with your mouse on any parameter. Use me DCC learn and then use a no Boer slider on your media key border controller to automate that. But an even more powerful way is to go to the actual part here into the modulation matrix, which we will learn more about in a later video. But I just want to show you that you can ask a target use layer effects and, for example, flame distortion mix here on layer one, which was this one here. And this is actually the mixing job so you can actually automate this slider with the modulation matrix, either only anel fo an envelope, a on expression pedal or whatever you want to. Congratulations. Now you have learned the foundations off the effect. Wrecks in illness fear the port effects per layer. The common insert effects purport the orcs sends purport as well as the mixer effects. We shall therefore send effects shared by all eight porcine atmosphere, as well as the master insert effect chain. Have fun with sound design and experimenting with the effects and used the incredible power off the ominous fear effect. Rex wisely, my friend 10. The Wonderful Envelopes: envelopes and filters, or the two most powerful and instant ways to shape your sounds with only synthesizer. The filters shape the frequency curve and response in your sounds, while the envelopes shapes the response off specific parameters over time, the king off envelopes is the AMP. Envelope, which controls how the volume changes over time. This means that you can create anything from short plucky sounds too long sustaining pads by adjusting the AMP. Envelope. Now the queen or envelopes is the filter envelope, which shapes how the filter changes over time, for example, adding a short, plucky attack in the sound by opening and closing the fielder rapidly using the filter envelope or perhaps slowly opening the filter to make the sound grow in intensity and focus . Now, in some sense, you also get a modulation envelope, which you then can map to any parameter inside your synthesizer. Well, of course, all Miss Fear will show its power here again because you actually get four unique modulation envelopes purport with full mapping flexibility to basically control any parameter you want. So let's check out the wonderful envelopes in all Miss fear right now. Now, let me explain how an envelope control really works because it doesn't matter if it's an AMP. Envelope, a filter envelope or a mod envelope. They all work in the same way, which is what you see here. A D is, or those are the four controls that shape the envelope. So those stands for attack time, decay, time sustained time and release time. So again, an envelope controls a parameter over time from the start, when the envelope kicks in to the end state off their the release time. So these four sliders on any envelope controls the timing, basically the curve off how the envelope shape that particular parameter it is assigned to . In the case of an AMP envelope. It is, of course, the level or AMP. In the Fielder case. It is the cut off frequency here and the mode envelope you can assign to basically any parameter. Let's say these shapes lighter here. Now I have actually drawn a visual representation here to show you how on eight years or envelope works, and again it works the same way. Whether it is an AMP envelope, a filter envelope or a mod envelope on eighties or envelope controls, a parameter value over time with four separate sliders a D as or which is short for attack time, decay, time sustained time and release time on the parameter value is shaped by the envelope over these time axes, as is represented here by the Yellow Line. Now, the initial state where the parameter starts does not have to be on zero, and the maximum state off their the attack time does not have to be max. The initial state is simply what value the specific parameter has before the envelope is applied and the max state off through the attack. Time is controlled by the envelope amount or depth setting. The envelope seems a sound must have a zero level. Starting point is, of course, starting at zero, and the attack time sets how long it takes for the sound to reach the maximum AMP. Level, which you have set on your synthesizer. Let's compare this to the filter envelope, where the initial state before the filter envelope is applied is set by the setting off the cut off frequency and how much the filter is opened. Its set by the envelope, amount or depth on the fielder settings. So if we take a look at this specific envelope curve and let's say this is the EMP ideas or envelope, then the A. Here is the attack time, meaning the time it takes for the sound to go from zero to the maximum level. Then the D, which is the decay time, controls how fast the level dives down after its peak value to this sustained level, which you control with the sustained slider. The lower the sustains lighter, the more steep the full in level will be off through the decay time. Then, when he released the note on your keyboard, the final or slider controls the release time, meaning how long it takes for the sound to ring out. For example, you can think of these as the ringing sound of a guitar string until it fades out completely. All right, so now I will actually demonstrate how to use the AMP envelope while I play my midi keyboards so you can see what happens to the sound. So the first slider is when I hit a key here. It's basically a fade in until the sound reaches its top state. The camp level here from zero and the releases after I released the key. How long the sound continues to ring out before it has faded completely. Then we have the sustained level here, which is the level when I hold down the key and the decay Time is how long it takes from after the attack time until it reaches this this sustained level from the top value. So let's say I have all on Ciro except the decay time On three seconds as I hit the key, it will instantly reach its full level. And then it will fade out from three seconds until it reaches. See a row in level. When I released a key, it will instantly cut off because I have no release time. So listen to this. It hits their full volume instantly, and then it takes three seconds for it to go to the sustaining value, which is zero. So it's basically quiet. If I have this own fool, it actually doesn't matter what the decay Ah time is Ah, the decay time is simply how long it takes for the maximum value to drop to the sustained level. But if the sustained level is on Max, you cannot rope from one value to the same value. So if I take this decay level very briefly like this on the sustain level here, that means the sound will now reach its maximum value instantly with fast attack setting and then very briefly in 0.19 seconds dropped to this value. And this will create a plucky type of sound. And as you can hear, it has a short protect. But it actually holds every time this sustained level is over, Ciro. It means that as long as I hold the key, the level will be now at 13% of maximum value. So I get an initial attack at the top level. It drops very Sharpie after only point Ah, 0.19 seconds to 13% of max value. If I make it like so it ropes to completely quiet. It doesn't matter how long I hold the key for it's completely quiet. And the higher I said this, the less steep the drop is. The timing is still the same, but it ropes lesson level. Eso The initial plaque is not as high contrast to the level off the words and finally, the release slider is after I released a key. So now it instantly, A soon as I released a key. If I increase this to, let's say one second, it will continue to ring for about one second after I released the key and you can hear it fakes out. I can fade it out even more if I wish. Ah, rings like a guitar string. So for pads, it works well to have a slower attack value and a slower or longer release value. Because then you can get, I think, themselves that fades in and fades out. And if you want to pluck sound, you basically want to have minimal attack, minimal release, short DK value and a lower or even completely cereal sustained level, which means if you have a lonely using the decay it basically it means how long it takes for the level to drop down to zero. If you have this slight bob zero, when I hold the key, it will be a pluck, but it will also hold the note, so that depends on what you want. Now let's move on to the filter envelope, which controls the cut off frequency on the filter. So of course you need to activate the filter first, so the initial state before the envelope kicks in is controlled by the initial value of the cut off. Nope. Here and then how much they feel through envelope opens up. The filter like this is controlled by the envelope amount or envelope depth setting here. So if you have the envelope amount on maximum here, that means the filter envelope will actually open up the fielder completely and then go back again. And the timing and curve off. How it opens up and closes is controlled by the 80 as our settings on the filter envelope. So let me give you a practical example of using the filter envelope first. I'm starting with this sound here on its soft, because I have used a low cut off frequency and the envelope filter is now not activated because the envelope amount is on zero. It doesn't matter how much I move these numbers at the moment. Now, if I increase this to maximum and let's say I want to add kind of a plucky character justice idea with the AMP. Envelope, it is basically the same kind of settings. I want to open up the filter to maximum very fast, and that is the attack level here and then drop down to the sustained very briefly like a short, distinct pluck. And let's use very short to sustain on a minimal Cyril release time. And that will mean that at Sierra amount, the field of does nothing them over. I increased the envelope amount, the more the fields or envelope will go up and then down. So on maximum setting, you will definitely hear the pluck. Now what's extra special about the envelope section? Enormous fear is that you not only get an AMP envelope, which controls the level over time, so I have dialed in kind of a pad sound that fades in and face out like this. You also get the fielder envelope controlling how the filter cut off frequency moves over time. Basically, open it up briefly on how much is controlled by the envelope amount here. But you also get full independent mode envelopes that you can assign to any perimeter, the EMP envelope, infielder envelope or basically standard features in every synthesizer but the mode envelope. Here you can assign each of these four envelopes to any parameter inside illness fear, basically, and I recommend that you go into the envelopes advanced mode here. But first, let's check how the amp Sliders or now Theo, go into the advanced note. You can actually see the AMP Sliders how it is represented over time by this graph here. So you can see that the EMP level, which is the attack setting here, takes some time to reach its full state than it holds there for a while de case until the sustain level. And then afterwards it releases slowly at the fade out here. So if I move these, for example, to there, it means that as soon as I released the keys there will be no fade out. So it's, um, it instantly abrupt. And if I move this to the fore left, it means the sound will start at its full setting instantly. So no faded on both here. It's instantly full value, and after I released the case instantly back down to zero, and of course, this were as well how long it holds. Ah, as I called the case for. So let's put this at zero. So if I pressed the case now and then, hold them it will instantly drop to zero. So I've moved this further down now, and this means it will decay the sound after the initial full volume to this sustained level. When I hold the case, Theo, as you can hear it, faded out like so here on. As long as I hold the case, it will keep at this point this level. Now, if I release the case, it will instantly die. So I hope that makes it even more clear how the envelope actually works. Now get ready for my power tip. Now, I actually have a couple of power tips for you on using the envelopes. Enormous fear. The 1st 1 is when you are in the advanced mode again clicking this plus sign here You can actually access presets for the envelope curves. So let's say on the amp setting here you can go. This little plus sign here opens up the priest that menu, the fall tedious or which is what this sitting is here. And then you can go super crazy by choosing, for example, complex and Lopes here. Let's try off this one on. That is really interesting because these move upwards before the release is actually nothing you could ever do with its standard eighties or envelope. And again, you can always go back to the value that's represented here by clicking here on the fold eighties, or which brings it to this setting here. Furthermore, what is really cool is that when you're in the advanced mode, you can actually control not only the timing off their sliders, which is the basic of the Samos out here. By moving the dots, you can also control the curve in between them. So with the decay, fade here until the sustained little be like this curve. Or if you left, click with your mouse and drag this. You can shape the curve off how it will move from the decay sitting to the sustained level . How the release curve would look like Answer one. And finally, one of the coolest features off all is that you can actually draw your own envelope curves . If you right click anywhere here on the line, you can add points. If I had one here at another one here at another one here, then you can control the levels off them again. You can control the curve between them and shape the curve. However you wish. Let's say something like this. Let's have some more to make it really crazy. Move here and you can even use these chaos bottom here with these spiders on the curves and levels to basically randomize a new envelope curve like this. Each time I click this it randomize is a new curve for the AMP envelope, and you could do the same for each of these envelopes. Congratulations, my friend. You have now learned the foundations off how a standard a D s are envelope works to control the sound level over time with the EMP envelope the cut off frequency in the filter over time with the filter envelope or using the mod envelopes to control any parameter over time that you assign it to. But you have also learned some off the deep features off the advanced envelope mode in homeless fear. Have fun experimenting with envelopes to shape your sounds and I will see you in the next video 11. The Incredible Arpeggiator: ORP aviators or amazing for quickly adding rhythmic drive to any sound on the or page aviator. In all nous, fear is truly incredible. It gives you a huge amount of options and flexibility to shape your or PDO patterns, pattern, length and rhythm, speed, timing, groove direction and modes swing. And you can even use it as a really mitigate device on course and harmonists if you wish. Also, if you use the note transposing function when creating your pattern, you're basically using the ORP aviator as a step sequencer. So let's check out the incredible or page aviator. Enormous fear right now, now on or pidio pattern is, of course, something you can record manually on your meeting keyboard or writing it in into your sequences in your DW and an or pidio simply means a broken chord. That's the standard way of using in or Paju. So instead of playing the court like this, all notes at once you play them one by one in a rhythmic pattern like this, for example, going up, up, down, down or any type of random pattern switching between the notes. Those are all or pidio patterns. Now, using an arpeggio effect can be much quicker and easier to get the pattern you want and enormous fear. You get to the ORP aviator here, to the right of the effects section on the or pidio is unique for each port. So let's go to Port one. This is the sound. Now open up the arpeggio later on. Here we have a preset lorded you need to turn the RPG ater own. And then as soon as I hold down a chord or any notes or my medic keyboard, or write in some chords in the sequencer and press play, then this or pidio pattern will start playing like this compared to just holding down the notes without the op radiator. So it's all about rhythm and drive. All right, so let's check out the features off the onus fair or page aviator. So the first thing you want to think about when you create a new or pidio pattern is how long will the pattern B And that is what this slider at the bottom is? Four. Here you decide by left clicking with your mouse and dragging to the right and left. How long the pattern will be until it starts over from the beginning when you trigger the notes and the next thing is of course, which steps in the pattern will be triggered. So I have made a pattern here with five notes and then I want to control which notes are going to be triggered. Let's skip this one. So we have 1345 north to to You can also control the velocity per note. Just make sure that if you programme the velocity levels here in the ORP aviator, drag the slider which is here by the full to the far left. So the or page aviator controls the velocity and not your media keyboard or the media velocity off the notes, which is if you drive this letter to the right, you can have a mix in between. But I prefer to use the ORP aviator for this. So if I hold down a chord now, the or pediatric will start to place Patton. So let's in fact, at this no too. But I want to reduce the velocity levels on these three middle knows well, simply drag your left click with your mouse and drag these knows below and now these will be more like accents with the softer knows in between. Like this. Let's increase in slightly so we can hear them. As you can hear, you get a more variation in the pattern by having the velocity values different per no triggered. And by the way, I'm actually only triggering one note on my MIDI keyboard now, so you don't have to use it as an or paid E eight every the courts. You can play whatever knows you want in the ORP aviator to create a rhythmic drive. Now the next thing is, of course, how you want the pattern to be played because you have chosen the length you have chosen to steps. By the way, let's in fact reduce this to three steps to make it more apparent as I change. Change the mode if you play an arpeggio manually on your keyboard or write it into your sequence. Or you can, for example, play like this going upwards and then starting from scratch starting from the bottom like this, we're going downwards with the top note first or any combination really off the notes in the court that you trigger so you can actually set these here on the mode in the or page aviator in illness were, for example, going up. If I now treat record on my mini keyboard, let's in fact, increase days to the maximum value again. So you hear each note that's going up when you have. Don't you have up, down and variations of these also random mode, which will jump around between the court notes on You have also asked played, which means if you trigger the coordinates with tiny variations, let's say you start with this scene out here and then continue with the G and E. That is the order. The Europe editor will play that pattern, but you have to trigger it really tied to get the pattern you want. So that's probably better if you programme the pattern or the chord parent in the sequencer . All right, so I often use up, up, down or up, down. Basically, up down is one of my favorites. The next most important feature off the rhythm, in my opinion, is the clock, the note values of these or 16th notes. If I changed 2/8 notes, that will be a slower uh, arpeggio. I can go really fast and so one. Then you have a speed. Know that you can control basically manually the timing. So 16th note. You can actually, for example, automate this to go higher and higher and speed for effect like this, which starts to sound like retro eight bit music. Then you have these length. No, which is really important because, as you can see, there's a thickness to these notes. And that's what this length no adjusts. So on the maximum setting, there will be less gap between the notes way and the more attorneys to lift the shorter and snappier the AARP idea will become. Then you can also add swing to the oh, now what is slightly hidden in the AARP. Aviator All these numbers here because if I hold down the notes here, those play the exact knows I hold down with my MIDI keyboard, but I can actually transpose each value. So let's say I do. Ah, an octave on this one knocks it down on this note. Now let's extend these wrecking do further things, even adding a plus seven here. So in this way you can actually use the RPG Attar as kind of a step sequence or to program a patron. Now I can simply hold down one note, which will jump around and create a almost melo dick driving. Of course, you need to make sure that the pattern makes sense in which knows you trigger here. Now you can also use this arrow either to load up presets or pager presets or go back to a blank setting to start from scratch, which I personally use mostly. So let's start with a new pattern again like this. Turned down the velocity there. I also want to show you this. The octaves meaning the range. The AARP radiator plays the pattern. So if I hold down a chord now that is only one octave. You can increase the range here three over or whatever you want. Another select Lee hidden feature is that you can actually extend the note in the pattern to the next step. And let's say you click this note ones well. That will only add that step, but if you double click it when it's empty, that is actually now extending. The notes of this note will be longer. Uh, you can extend it further if you wish. Let's say we have an eight note pattern. Simply double click the next step double click the next step, and you can make this as long as you wish. You can also get more control over the exact length of the extension you make if you hold down the old or option key while lift clicking here to the site and dragging like this to lift their right. So if I drag you tea or now it's basically 1.5 step. Now get ready for my power tip and once again I actually have a couple of power tips for you. The 1st 1 is using the trigger mode to tell the AARP aviator how it should deal with the chord changes and when you change notes on your medic e border in the sequencer. So only goto if I start playing a chord here and then switched the cord somewhere in the middle of the sequence, the court will change, but the or period will keep the pattern running. If I changes to note every time I do a change on the notes, it was start over from scratch. Check this out. So in llegado, if I play from Let's I C to f uh, As you heard, I changed the court, but it continued the pattern where it waas in note mode. If I go from C to f again, uh, it starts from scratch every time I changed the cord. The next power tip is to use your pay aviator as a rhythmic gate effect by choosing the cored mode. So now these steps will not play the individual notes in the courts, but basically gating the cords. So if I just hold on to see like this, if I now use their pay viator, it will create a rhythmic pals on these notes but playing the food chords on each now the next power tip is to actually used or paid e a term or as a Powell's engine to creative rhythmic drive on one note at the time, I have to say that I personally used or paid Viator more for creating rhythmic palaces, meaning I've Onley hold down one note, for example, in the base to make a bouncy bass line like this. Now, if you would like to spice up a rhythmic pulse pattern like this when trigger and the only one note at the time on your media keyboard. You could, for example, use the transposing options per step. As I have done here, made this 12 Seminoles higher and this 17 you could add different velocity levels, as I have done here, the first and these last one is higher than these, and you can also decrease and increase some steps in the length in the pattern. So the 1st 1 is longer here than these ones are shorter. And there's this medium. So now you get a pattern like this by Onley holding down one key on your meeting keyboard or playing one note at a time in your sequencer. Now my final power tip is my personal favorite, and that is using these sound look, featuring all miss fear to look the or PDO patterns you just created. So let's say you created this pattern and you truly enjoy it, but you want to change the actual sound and keep the pattern. So we have this pattern l holding down only one note on my keyboard. Well, you can look this if you simply go up here to this little look icon and click on the ORP aviator Now the ORP aviator pattern is looked. So then you seem to search for another sound. Let's say a baritone guitar and the same or pay deviated pattern will be applied to the sound, and you can browse for more patches. And this ORP aviator is still looked on the pattern you just created. So let's try out a completely different sound like a seems short like this one, as you can see these sound look, Fisher, that I just used on the ORP aviator is a truly powerful feature that lets you create something that you enjoy and try it out on other sounds. Congratulations. You have now learned the foundations, plus some advanced deep features off the or page aviator. Enormous fear. Have fun creating patterns like or pay deviated cords, rhythmic gate effects and houses, and I will see you in the next video. 12. The Deep Modulation: modulating parameters on synthesizers over time is one off the most powerful ways to shape your sounds, and especially your performances in your music and all nous. Fear has a super deep modulation matrix where you can map basically any source to any target. Like, for example, mapping your model on your media keyboard to control 10 different parameters at the same time, if you want, or using any off the eight independent Ella foes to add movement to any parameter you want . So let's check out the deep modulation, enormous fear Right now. Now, the most used way to add modulation to a parameter on a synthesizer is using an L. F O, which stands for low frequency oscillator, a way form on a lower frequency that you automate a parameter with. So the LFO is the source off the modulation on the parameter you map it to is the target and enormous fear. You have eight different ella falls that can be mapped to any parameter, and you even have an advanced modulation metrics if you click here where you can access several pages off automation Now, to demonstrate this, I will show you a modulation. I have already added Here I have chosen as the source. If you click this arrow, you can choose any source. So I chose Ella for one and then as a target I choose a reverb mixed slider which I already set up here. So first I added the reverb and went back here shows that at his target And make sure this slider is of the middle. And this means that the LFO the way form which goes like this the one you see If I go out from the modulation metrics this one the sign way Well ah automate the parameter in the background and all this fear actually shows you this up and down. So basically what the LFO does is automating this up and down and up and down in the pattern off this sine wave. So it goes from completely dry to full reverb. And if I play a note, you will clearly here what it does. So let's get back to the modulation metrics and watch this here it will be full reverb here it will be completely dry. Ah, uh, Now let me quickly explain the most fundamental lfl sittings. The 1st 1 being the way for me to choose. So the most common one is the sine wave, which will move smoothly back and forth like this. But you can change to another kind of wave, like I say, square Web, which will jump as you can see from the top value to the bottom value. And you could see these here. So the next one is the Sync button, which means you can actually sink the rate to a note value so it sinks to the temple of your project, which is the most common way. And then, if you have the sink active, you can adjust the rate here in either a full bore half four and they see it. The false try. Change this to the false rate moves here and even two bars. So it's very slow for three boards, four boards and someone, and then also the depth, which is how far it moves to the left and right so you can move this down and it will move closer to the middle and no to the edges. Now, to map this LFO one to, let's say the filter well, you can do that either. Here in the main view under modulation. Simple. Choose a new one because LFO one here is all of the map. So click here. New modulation routing Now Then choose LFO one, which is this one to the filter cut off. So let's go fielder cut off. No, the cut off value you don't see you hear about in the background in the sound engine. It moves like this, as you can hear. Ah, however, I recommend and personally used the modulation matrix because here you need to go into this mode and shift around. It's much easier when you get a full overview by clicking the plus sign here to get to the modulation matrix. Now you can see both modulation. We have added here. LF 412 the river makes everyone to the cut off, and you can add pretty much any modulations you've wanted. Your sound simplifies choosing the source. First, let's say you want to map your mode, real etc. Wheel to, let's say the fielder or no, let's do the AMP patents weaken true here what it does in the stereo field now, before we do, I want to explain these two important sliders, the amount and the target parameter. So the target parameter simple sets which is the center position off the LFO. So this slider here, the target parameter indicates the middle position the X axes that the LFO evolves around. Now remember this parameter D depth knob on the LFO? Well, it controls how much the LFO controls the parameter. The less I push this number two the closer to the middle position the X axis the LFO will be But you can have these on Max and still control the amount by using this slider the amount spider on the source. So let's say the LFO here on the reverb you want to reduce it well, simply reduced How much this LFO is controlling, you can even see The color bar here is reducing coming closer to the center position. Now I have turned off this effective the reverb so we can more clearly here. But this new modulation does the more real controlling the pan Now a mod wheel, of course, doesn't work like an LFO and LFO is an automatic modulation over parameter and you can see that by this little white dot moving around This is static. Unless I move the mode real now. These slider target parameter controls the position, the starting positions. So when this slider is in the middle position with the mode will down, the sound will now be in the center. Ah, if I move it to the lift though, the starting position meaning that mode will turned all the way down, is going to be in the left speaker. Ah, so I can modulate the with the mobile. If I increase the mobile by holding the sound, it will go slowly towards the middle. And if I have a tear, it will go from the middle to the right. And again you can, of course, use the amount slider here to reduce how much the maximum setting will do for this parameter. So if I reduce it, the planning will now go society to the right at the top settings Amore, Tiny variations s. So I hope you're starting to see the incredible power off the modulation. Matri's in homos fear because he can map any source. Ella falls the mode real. The after tops the expression controller. If you have one, the pedal and so on to all kinds of parameters in the atmosphere in the oscillator section in the filter section, the AARP aviator and even the layer effects that you added modulation is how you can add variation, movement and complexity to your sounds and even add things like your mod wheel and your sliders to automate your performances. Read the sound Congratulations. Now make sure that you practice adding modulation, using the L A foes and any kind of parameter you want in the modulation metrics off illness , fear, Have fun and I will see you in the next video. 13. The Mighty Stack Mode: layering has always bean the greatest and most powerful technique off sound design and enormous fear. You get four layers purport to shape and create your sounds with, However, atmosphere also has this amazing feature called stack mold, which basically lets you layer and mix several ports together into a super rich, complex and powerful final sound. For example, layering a rich and warm pad with a simmering rhythm in the high end. A plucky wide guitar sound, a soft, delicate piano and a deep, powerful base. In fact, that is exactly what I did in this stack. Let me demonstrate how it sounds like this is by for my favorite feature, enormous fear. It is truly a sound designers dream. So let's check out the mighty stack mode Enormous fear right now. So setting up stack mode is actually really easy. You seem to go to multi Mixer, and here you have all the aid parts, which is all the eight individual instruments, enormous fear. And then you simply click here to go to the browser and find the sound you want, or go to the porter self number one and at a synth or example, or whatever to simply find a sound you want for this particular port. Then you add the next part and the next part and as many as you like. And then you go to the stack mode here and turn it on. Now these represent the different layers, but as you can see, they are not complete ranges for each port. And that is because you can actually move where the range is. For every port you simply click, they left. Click with your mouse and drag it like so. So I simply want the base to be played on the lower range, and you can even left click up here to make fades in the end of the range. This means that if I play, let's solo the bass. Now. If I play, let's say C C three here I get to sound. But if I go above, there's no longer a sound, and I've down that a swell to the high year rhythm here on layer, to which is this one good. So I simply grab it and drag it over to the right side, and then I two hoops. Then I took the upper edge here, left click and dragged in to make it fade. So now let's make it better there. Here it is, lower volume, then here because of the fade here. But down here there is no volume. It old on this particular sound. So in this way you can actually shape the overall stacking off a with these parts. So that's how you apply and turn on the stack mode enormous fear and customize how the different parts responded to the performance over the full range of your keyboard. Now the power does not end there, because if we get back to the mixer, you can actually set the levels for each layer here report in the stack as well as the panning. So, for example, I panned the acoustic guitar slightly to the left and the piano to the right, which you can hear more if I saw this like so to get a wider stereo image of the complete sound. And you can also dial in different amounts off send effects here on each part. So let's say I think I have a sound effect here on this. Let's do it on the guitar. In fact, so there are here. Have a delay now on the guitar, or only so this is another way to actually shape the overall sound, using the mixer in on this fair to shape your overall stack. Now the default mode when you turn on the stack is to only use the 1st 4 layers, so you have to right click in here to add an extra port. So let's add poured six. Now we can add a instrument to Port six as a layer in this deck, so that's the found the mental. Set up a stack mode. Go to multi mixer, add all the ports with sounds you want and then go to stack Mo. Turn it on right click. If you want to add more than the 1st 4 reports, and then if you won't go to the mixer page pan, the parts differently said the levels apply. Some orcs sense on an individual port basis, and if you want to go really inception style with the depth, you go to the individual ports than like, let's say this guitar here is import three and apply sound design with, for example, the insert effects per layer on Onley. This port. This way you can go as deep as you want with the stack mode to make completely unique and powerful sounds. Congratulations. You have now learned my absolute favorite feature. Enormous fear, the mighty stack mode. So go ahead and experiment with this to create your own stacks and make custom changes in the mixer, as well as sound design on each port to create your own unique and powerful stacks. 14. Quick Power Tips in Omnisphere: in this video, I'm going to show you some of my favorite quick tips and hidden gems. Enormous fear and I will do so pretty fast. So you can either pause between the tips or go back and rewatched the video later. Here we go. Tip one Reese ice. The u I. So from version 2.5 off illness fear you can actually resize the graphical user interface, which is great. If you have a high resolution screen like I do it simply right, click anywhere here on the interface, choose magnify window, and then instead of one x, which is the default, you can, for example, use of 1.5 X and now you have a much bigger user interface tip, too. Audio import. You can actually import your own audio files into atmosphere and use its amazing sound Indian to design and shape the sounds further, you simply go up to utility user audio, which opens up the file browser where you want to find this sound audio file you want to import. So I want to import this short hit sound here, simply open, and now it has been added, and you can even hear the sound there as an audience source you can use. So instead of using the sing sound, I now have this user audiophile, but I hit my media keyboard to play it. And if you want to access any of your use of audio files, you can click here to go to the file browser, which usually is on all Spectra Sonics. But if you change the use of directories user, you will see all the sound sources you have added Tip three solo and glide mold. So let's say you have voted two layers like this, but you want to play a solo melodies with expression. Well, if you go to the main view here, you have the solar mode, which means you can only play one note at a time like this. I try to play to, uh, it doesn't work, and then you can also said they go to here, which make sure that the envelopes are not re triggered. Uh, and then we have glide mode, which means that the notes will glide between each other. I can use this even on coarse like this. Ah, but usually you want to have the solar mode on when you use the glide mode like this. Ah, uh, and the slider sets the glide length between the notes and down here, you can control which layers will glide. You can have, For example, layer be not glide, but layer a will glide like this. Ah, uh, tip four velocity curves settings. Here in the main view to the right, you can set the velocity response, which means how the sound responds to how hard depressed the keys or which of the lawsuit you have on the media nodes. For example, if you set a straight line, it doesn't matter how soft or hard I hit the key. The sound will be triggered the same. Uh uh huh. And you can also go into the advanced mode and even draw in the velocity curve. Or use the presets that comes with it from lots of different synthesizers. Tip. Five default parameter settings. So let's say you have adjusted the pan like this, but want to go back to the middle again. Well, simply right. Quick reset to default Value Tip. Six. Master filter. So let's say you have loaded a sound with several layers, but you want to adjust the filter on all of them simultaneously. Well, go to the main page and here you find a master filter which will be applied to them all. Like this tip seven pitch bend range. So if he used the pitch bend on your midi keyboard, the default setting is to Sem. It'll up and two senators dulled like this. The ah, But you can change that in the main view down here bend so you could go, for example, a full octave in both direction. If you wish like this Tip eight chick and download updates, they have actually made these super easy, enormous fear. You simply click on the logo up here and you get to this page where it says that now all my instruments are up to date, and if they weren't, I would get a get updates Bottom here, which would take me to the page where I can download the updates instantly on the Spectra Sonics website tape. Nine multi patches. So only Sphere is actually eight instruments in one. All these different numbers or individual ports awfulness fear, but he can use them as a multi patch. If you go to the multi view here you access the multi browser, which will lord one or several instruments at once. Tip 10. The orb. You can actually add random but musical movement and variations in a sound by using the orb which you get you here. So now the sound is so you simply turn on the orb, and then you can use the record button here and simply drag around this little dot credibly . And then, if I trigger a note now, look what happens. Ah, you can even use the dice to change the sound shaping the old replies wishes completely random but very musical on useful. And then you can use these advanced features to control the emotion on these little great Now you have learned some quick power tips. Enormous fear that I recommend you to try out right now. Then I'm waiting for you in the next video 15. Congratulations: congratulations, you or amazing because you have completed my entire course. Now make sure to take action to actually practice everything you learned in this course. Because learning by doing is always the best way to remember what you learn. I also have a small request. I would like to kindly Oscar view to please leave a review on my course because it truly helps me a lot. And I get very motivated reading reviews from great students like you students who complete my course. My name is Mike, and I wish you good luck and great success as a professional composer and producer.