Sound Design: Huge Super Saw | Aaron Carstensen | Skillshare

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Sound Design: Huge Super Saw

teacher avatar Aaron Carstensen, Keep making music

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

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

6 Lessons (43m)
    • 1. Introduction

      2:16
    • 2. Saw 1

      10:00
    • 3. Saw 2

      8:31
    • 4. Saw 3

      8:36
    • 5. Bass

      6:24
    • 6. Lead

      7:05
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About This Class

In this class I show you how to create a modern and lush super saw sound using only Ableton stock instruments. The focus here creating with constraints which will force you to be creative and increase your skill as a producer/ sound designer. We will create two saw patches, a bass patch and a lead patch. I gloss over many specific topics so having an advanced knowledge of Ableton is a must.

Meet Your Teacher

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Aaron Carstensen

Keep making music

Teacher

Hi! my name is Aaron and I am an electronic music producer with 8 years of experience. I have completed my degree in electronic production from the Berklee School of Music and am currently working on my trap metal project Xstitch.

The most recent release here is my Quick Mix: Low End video tutorial. I am starting the Quick Mix series as a way to quickly showcase practical techniques so if you like the first one I'd be happy to make more.

If you've gotten any use from my lessons it would be super helpful to get a follow on Instagram, I'm most active there.

As always let me know if there is something you are stuck on or want me to cover I would be happy to make a tutorial on the topic.

Keep making music!

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Transcripts

1. Introduction: What's up, guys? Aaron here. Um, today I wanted to show you something I invented called the Super Saw Challenge. So basically what it is was I told myself to create a really lush, modern sounding super saw. Um, using Onley stock, Mableton plug are able to earn effects and instruments. So no massive, no serum, no outboard since no patches downloaded from someplace. Um, even drum samples, Um, they're all in inside a bilton. Um, so I'll play the salute for you real quick. So it's kind of this sounds kind of glitch Mabi. It kind of just turned out like that, but that fuzzy super sauce sound, um ah, the reason I'm making this is I wanted to prove a point to myself that it's it's not about the the plug ins you have. It's not about how much money you've dropped on gear studio time, that stuff. It's more important to practice your craft and be good as a producer, because then you can pretty much tackle any challenge any any situation. Um, so this tutorials gonna touch on a lot of different subjects, like I'm gonna show you basically, from where I started to the end so I'm not really gonna touch on things like how to make chord progressions. Um, how to make I don't know, drumbeats. I don't know. Stuff like that where sometimes I go, really in depth, I'm I'm just kind of showing you big picture and the process of trying to produce something like when you have constraints. You have like, you have. That's when you really like, get creative and push yourself as a producer. So if this sounds interesting and you're you're kind of on board with the whole able 10 you get how it works. Um, if you want to continue under the next video, I'm gonna start showing you how I made this super saw peace. 2. Saw 1: All right. Welcome to the video. The super saw challenge. Um, I'm gonna jump right in when creating this super saw, Um, I used two instances of able tins analog and one instance of able tunes. Operator. So these Anna logs, I group them up these air The body of the saw, the actual saw part this operators of base. But I'm gonna I'm in a refer to it as one entity. Eso The important thing when creating super saws is this? I knew that I wanted it wide sound. Um, I wanted it to be big. I don't know all those buzzwords. Ah, you want it to its ah saws A very harsh wave, and you want it to sound pleasing. And the my favorite super saws are very fuzzy. Um, they kind of have like this. Let's see, like, 2002 You know, 10-K Um, there's a lot of action going on there, and they're all kind of there's ah, but they're not stacked on top of each other. They're all a little bit de tune, and it gives us, like like hiss Kind of like, um, files. I just caught fuzz, but what I wanted to talk about first was kind of my thought present on creating this. Um, So first, when I created, um, the first sent, that's this one right here. I'll play for you. Um, at beginning. I just kind of wanted to make see, See how I could work this synth and see if I could make it wide like that. Um, this was kind of my for honest, because my one of my first time was really diving into this synth because it's I've always been using, you know, massive all that stuff. Um, but I was curious about like, is it even possible? Do they have the options to create something big And that kind of these, like, wave table since have or those the d tuned unison things. And it turns out it's It's all there. I think just people don't use it because the wave choices a little lacking. But, um, you know, it has the ability to create these kind of things. Um, So I wanna pull in a new instance, just kind of show you the thought process. Um, So first off, I built a chord progression, so I'm gonna gloss over that real quick Basically all I did was create a very simple, like, minor triad cord. And then when I did is I took some of these notes like these are all there all inverted in some way. It's like, this is just a triad. Just see minor that I'm productive and it sounds bigger. I added, Ah, bottom note, just to make it sound a little bigger, too. But I'm not gonna get into that too much. So I'm gonna play the chord progression with a new instance of analog. So it sounds harsh. It sounds mono. It sends, not Monnet. Just sounds very, um, centred. It doesn't sound big and sound stereo with doesn't have stereo with all that good stuff. So that my first thing was, how am I gonna make this sound wide? Um, and what I came to was in this routing, I went, um, to this kind of parallel routing. So this synth is to oscillators. So I knew from the beginning, like to oscillators is is good amount. But if I want to get a really, like fuzzy sounding saw him, I need to go either two or three instances of this. So I ended up with two. Um, I added a little noise. I wanna pull this down way far down. I know the in a lot of tutorials. They say at a bunch of noise to your saw, and it's really that's not the secret. Um, it does add that sweetness to the top, but it's not. You can't rely on it. Um, so let's play this super aggressive. I'm gonna pull this down, so I'm gonna pull these amps upper quick. I just want them to be just a wall of sound. And then first thing, um, the thing I didn't like about this synth was that kind of Faizi sound. Um, kind of the upper harmonics it is. Ah, sounds kind of average. But you know, it's what can you dio? Um, Let's see. Turn those. I honestly didn't really use the filters, but so let's see, Camp two. So what I did here? This is very important. I took the panning so because these are parallel, these air separate oscillator to is driven by this amp Also, it won't play if I have a d selected So nothing is playing. I'm I'm hitting the space bar, but nothing's playing. That's all slated to else later. One. Um so, like we did in another tutorial, if you have two signals that are very similar, but not exactly the same, and you hardpan them. So I hardpan this one, right? Hardpan. This one left. You get this really big stereo sound. That's why I like that. There's two amps in here. Um, so that was, honestly, a big part of the channel I thought was gonna be a big part of the challenge is kind of taking care right there. And then the other thing, Um, you'll notice this is kind of similar. In things like massive serum, all that stuff, you have a unison option. Um, so I turned up the like, Ah, the computer allowed. I'm turning up the allowance to 32 voices. And then I turned each the voicing up to four. So that means each note here, um, each note 1234 is gonna play, um, four voices. Um, and that's getting to give it a bigger sound and then detain them. Um, what's there? So that's pretty big. Um, what I did want to mention was the importance of doing this panning. Um, I want to bring in another instance and then changed. Sorry, I'm actually just gonna duplicate this. So the unison is very handy and it gives it this extra like fuzz. Like I said, um, but it's not get enough to rely on as I'll show you right now that panning this panning method is very useful. Uh, shoot. Here it is. So if I remove the amp to and then play this so I play this one, listen to that. Even with the unison on the D tune, it sounds pretty rough because it's off jammed into the center. Um, so that, like I said, the unison here isn't enough to rely on. That's really big. That's yet doesn't sound very good. Um, so this was in my mind after I created this, I said, this is going to be my like, big stereo, um, saw, but I knew just kind of listening to it. Let me listen to this real quick, E. I listened to it and I said, This isn't gonna be enough. It's not big enough. Um, it's not. Yes. So that's when I said Okay, I want to move forward and use another saw. Um, but before we go to the next. So I wanted to show you this week You that I did. So I cut, um, up to did a hard ah, high pass up Teoh 109 hurts. Um, real quick. I wanna play this CQ on and off to to like, just that when you're soloing something. This is when this is so load to me. It sounds better with the eq You off? Um, I think that's not really like it's not a huge debate. Um, as far as just listening to it on its own, it sounds better with the eq you off? The reason I had this EQ you on is because I knew a few things. Um, I knew that I'm gonna make a base, and so that's going to sit down there. And then I wanted to have this area. That's my fuzzy area. This is not my fuzzy area. That area, um it does add like it helps, but you're not going to get the thickness and the character out of the sound that you want . Um, so my videos about to cut, but I'm gonna continue this in the next one 3. Saw 2: All right, um, just to finish up this first saw that we're gonna jump to the 2nd 1 we talked about this week. You and then what I put on was this limiter. I'm gonna turn this whole thing down. I noticed it was a little loud, but so what I did with this limiter, this able to limiter, um, it come in. I'm not trying to crush it. You know, you started to store that sounded like what I wanted to do is just kind of, like, pushed down, pushed down those those little the frequencies that stick up. Um, and honestly, usually a limiter is an aggressive move. Um, you shouldn't really rely on limiters, but I did it in this one. Just cause I was kind of, you know, once you learn the rules, you but you could break him. I was doing this two because I just wanted to push this whole set up. Um, so this one right here, I want to talk about this stereo when it's green. It's a stereo when it's oranges, says L R, which is left and right. And so there's a different type of limiting. So I picked um So it's limiting the left in the right channels separately instead of them limiting it in the stereo field. Um, so the reason I did the left and right one is because I knew this was gonna be my sides. The sides of my, um, super saw like this is the outside part of it. Um, and this left and right is going. I wanted to kind of squish him down so that they're more even. I didn't really want it to have this to me. Sounds like there's a heavier focus on the center, and this feels like it's kind of, um, evening out the whole thing on the left and rights. Um, so let's see, Yeah, I'm definitely getting, like, ah, stronger feel of the stereo field with the left and right limiting. Um, and then so that's what I have on this saw right here. Um, so for the second saw, this one is more centered. I'll pull this reverb real quick. Um, so I'm just gonna gloss over this. I didn't do the hard panning on this one on the hard left right panting cause I thought this was good enough as faras um you know my stereo field. I wanted something down the center. Um, sometimes I hear since, um, like, even this isn't more of an issue with leads, but a sense that has no focus, meaning it's so wide and like big that there's no central point. Um, And when you have no focus in your lead, especially, I just it doesn't sound get it tends to lose itself in the background. So let's see, real quick, um, de tuned these. I did, uh yep. De tuned boom. One filter and a little bit of tag. Little bit. Yes. So this one I did, I put a little bit of a broad. Oh, just to try Teoh dance around those colliding, um, you know, harmonics. And then same thing in unison De tune. Um, so now I want to talk about the effects because we can already went over how to create the sauce. So I pulled this. I pulled the ah, some of the mid range out on this one. Just cause it when you scoop out mid range. It kind of sounds gets its hi fi sound. It's super easy to overdo it, though, Um, like if I went like this like, Whoa, that sounds. Maybe you go. Well, it sounds super like shiny. And, you know, um, mid range is important. It's important part of the whole thing. Um, so this is kind of cute. Game it just to do a little bit. I I did saturate this, um I did this wave shaping. Um, I'm not gonna go too much into the like what each knob does, but I did do this parallel, So half of it is, um, half the signal is saturated. The other half is not. I just wanted to beat this center up a little bit. Um, not sure why, That's pan. Um, you know, the saturate. Er, you got to be careful with this, though. Like I said, with distortion on these de tuned things, they start Teoh. That happens A soon as you push it too much, it starts to scream at you, and it does not sound good. So the I had you got to be really careful with distorting these cups of things. Distortion is important and creating big sounds, though. So that's where it's kind of, you know, dance with the devil a little bit. But, Excellency, so this I also limited this, but I used this stereo limiting. I ended up not using this chorus. I didn't like this. Uh, the thing about this chorus, um it's almost like you start to hear frequencies pop out and you don't want anything popping out. You want this to be a very like I'm actually not gonna delete. That was an aggressive move. I'm you want it to everything to kind of just like mesh. This is a very like, this type of synth is very, um, just even and it's really like it's good practice of getting a really even sound. Um, so I did throw a reverb on the this center. A pretty big one. Um, let's see. 50% yet of 50% dry, wet this size, small size, small pre delay, pretty dense and then turned on the scale. So that made it more like an obvious reverb. I did this just because I wanted it to be a little softer, you know, this is because it's so centered. I just feel that felt a little too aggressive to me. This is felt better. So now, um, So that's the second saw. So I want to explain real quick that this this is the central sauce, and that is our stereo saw. Um, so I have some other things on here. I'm gonna go over in the next video. Um, but that was kind of the creating the initial saw, and you'll notice it doesn't sound. I get sounds pretty full, and it sounds pretty cool. It doesn't sound amazing, though, Um, and that's why I really wanted to go over this super sauce stuff because it's more about the stack. Um, then you know any anyone magical, since that's like making it amazing sounding, Um, once we have all the other parts in play, you'll start to hear why i e que things the way I did and why. You know, um, these things are where they are, how they're playing, what they're playing. Um, so the next video I want to go over this. The group, This group right here. Um, for just over all this synth part of the super this higher saw part, not the bass part, that's this part. And there's still a little bit to go, so continue on 4. Saw 3: all right. Um, one thing I wanted to mention I didn't mention in the last one. This is a quick note to the courting structure. Um, I switched up the cords a little bit for each one, so these, like, Ah, see, there's that, um They look, it's kind of just look and see, it is different. I changed some some of their octaves. I change some of their, um, yet some of the notes, some of the like, third stuff like that. But, um, what that does is once again creating slightly slight variations, and things will make it sound a little bit different a little bit bigger. Um, and that's really important for this. So going into this group, um, I'm gonna pull this open. All right? So first I did a saturate. Er sorry. Keep doing that. I'm gonna meet these Drowned real quick, Teoh. So what? This saturate is doing this digital clip when you start pushing it. It has a very it sounds like noise. Pretty much here. I'll do it real quick. You know, it sounds it's it sounds a little different than some of these other ones. Like the sign for fold. That's more of like you can hear this kind of like the space in the distortion. This is almost like it just becomes noise when you push it too far, which I kind of want for a superstar because the superstars fuzzy and noise is a part of it . So that's the reason I'll and I did this very little bit. 21%. Not sure exactly why I had it, but it's fine. Um, so that was that's That's kind of like this is a good moment, Teoh. Stop and notice what? Like why I picked what I picked. You know, it's easy to just throw something down and turn knobs, but, like once you really start practicing and if you push each one of these types of distortion , um, it's you'll hear differences. And then once you know what they sound like pushed, you can ease back and kind of like use the right. The Ram air quotes, Right? One. Um, obviously there's no right answer. But for me, I was like, I like a fuzzy super saw. I know this digital clipping when you push it, it gets that that fuzzy sound. So is the right type of distortion for me, and that's why I picked it. Um, So I pulled a little more out of the low end, a tiny bump it 2.25 And then I did boost this Ah, a boost at 18. 18 kilohertz. Because so that, like I said, that this area is not the centre of attention for the fuzziness, but it does have an effect. So I added it in at the end because I felt like it wasn't there enough. Um, so that's where, but I was very I was very careful. I checked. I tried to make sure I wasn't, um, just pumping this up. Going s on super fuzzy. It's like, right around there is where it starts to meet. Like, to me, it sounds too flat like this, and it's audible. Um, you know, it's not that hard to just add in a little bit at the end. Um, and I'm I'm glad I kept it pretty liberal. All right. I did a pretty liberal cuts at the beginning. Um, let's see. So that's the CQ symbol. Delay. This one's kind of tough to hear if I turn this dry wet up. What is this I'm doing that switch these two time instead of sink. So instead of, like, a like, beat driven, it's milliseconds. Um, and then what? So I pulled that this is only around around 15% because this is going to give the whole thing size, which I wanted a little more size. Um, but if you start pushing this too much like I said, you're gonna lose focus. It's going to start sounding week that you don't want it to sound weak. You know, you want your sin, think you're making a sense that is like, it's a very, um, it has a distinctive sound. You don't want to just faded all the way to the back. You know, that's not what you want to dio. Um, so this simple delay is it's a common technique. You can use it to beef up like guitars. Um, really, Anything just kind of gives it a little bit of ah boost. But that's like I said in another story, A, like each small step makes it, you know, makes it sound better at the end. You know, you're not, you're not. There's nothing here. That's night and day. You're just inching it in the right direction. Eso then reverb um, this river bye. Have a good amount of pre delay get amount of sizes. Kind of increase the pre delay. Um, and then the density I have low. And then the scale I have high. So what these air doing this reverb is designed to, um, come in a little later s so I don't wash out my sound, but it gives it that it softens it in a nice way. Um, so let's see. So this let's just throw this on once we pull in the drums real quick with I'd put a super hard side chain on this, So that's kind of where we're sitting. Um, And like it sounds, it sounds pretty big. Like I was I was pretty impressed. Um, what I want to do real quick is stress this point again. If we boosted the high end too much, we wouldn't hear any of the drums like the textures of the drums. Let's see how they would start to overtake. And we don't want our super saw, too. We wanted to complement the area, not just dominate like we have those nice will like metal metallic sounding hits, um, in the Drumline. You know, now that in this way, this way it's it's still full, it still fuzzy, but you need to listen to things in the mix That's your like, That's the final place is going to be nothing's ever gonna be played just so load. You always need to check with the mix. Um, so that is the the saw part. Next video. I want to talk about the base I made and then the lead. Um, But like I said, it's very important to know that this super saw, um, is many parts. And while it doesn't and it's the layering that makes it sound the way it sounds, it sounds like one sent. You know, when you hear a supersonic sound you like, Whoa, that since sounds really cool. And it's probably, like three or four. Yeah, um, this is like the layering part. Um, so you continue on and we'll talk about the base 5. Bass: are you guys? We're gonna talk about the super Saw the base section of it. Now, Um, I think to me, the base is the most important part of the super saw. Um, if you listen to someone like seven lines, um, there's many artists using it, But the reason I think about seven lines always is because his sounds air so lush and so big. Um, but what really gives them that, like, super that sound that is that high quality, Like, to me, it literally makes my my hair stand on end. Is that the base underneath it is very well made. It's very, It's distorted in a pleasing way. It's not crushed. Um, and it's almost like the saw is there to make the environment like it makes that it gives it a context. And then that what? This this base, kind of like sitting underneath and and cutting through a little bit just gives it that texture that makes it makes all the difference. Um, so we have this side chainsaw. So I made this basin operator. Um, so the reason I used operator, I'm not going to go into additive synthesis, But the reason I used operator is because I wanted control over the like texture of my base . I didn't want to just use a either. Let's see what? Let's open this a saw, you know, a square or sine wave. Um, I wanted to create something different that complemented the superstar because we already have enough sauce going. If we just used a sob base, um, it would have us like it would have the effect we're going for kind of that big sound. But it wouldn't be. It wouldn't sound, um, you know, when it wouldn't sound as as good. So the first thing I do this synth, um, was I took out all this high end. Um, So what I was going for with this base was like, I want to even, um I cut left here like this. I don't want this sticking out. There's many overtones that that I kind of eq you'd out because I didn't want them. Teoh, Um, distract. I put a super hard saturate on this, so that's with it all the way. This I used the cyanide fold. So this is the other time, um, so that I used the I would didn't want to use the digital, the digital clipper on this one or way of shape or anything I wanted to sign and fooled because the sign it fooled when you push it, it has texture to it has, um, it's hard to describe. Um, it doesn't just turn into noise because I already have enough noise going. I want a A base with character, and I want a base with, um, body and and have these kind of interesting things that will complement the rest of the stack. So this CQ. I was right here to k this area. So here this let me turn this compressor offer that kind of like buzzy like growl sound. It's That's what I'm talking about by texture. It doesn't sound just destroyed. It's distorted. It's kind of like loud, but it's not. It's not destroyed, and this is perfect. This is exactly what we want. So I'm gonna put these together. Um, I even bring down. I'm gonna do this to show you bring it. So that's see how much it adds. That is where, like the Super Soft starts becoming big. Um, that body, it's almost it's almost like this. The saws are obviously important. But this is this base, like, if you create ah, well made base with texture. And, you know, listen again to this. This area right there. You know, that's a good textures point, because it's right in that area we want we want, like, one K to 10 You know, around eight k. Um, So you could really This is this is where you really become, like a good producer. Meaning? Meaning you You get to be creative. You could you could if you design a really cool bass. Um, it's gonna it's gonna sound sweet layered with these super size. Um, and that's I think the most fun part is creating your own flavor in here. Um, I don't play it once again. That's without it with it, you know, just it adds so much. It's It's so important that it blows my mind that that, uh, people leave out the base aspect of it. Another tutorials, um, so short of section, but but very important. So practice creating bases if you get if you get a cool, um ah. Saw going and you want to really take it to the next level, create your own base don't download some contralto. Try to make something yourself. Um, so last video we're gonna move on to I just want to talk about the lead that goes over the whole thing. Um, so yet continuing. 6. Lead: All right, guys. We made our super saw. We made our base, and we have a little drum loop. So the last part we have is this lead right here. Um, and this really brings the whole thing together. Um, the reason I wanted to talk about this lead and kind of what it what it's doing for the track is because, um, as a producer, when you're creating things, creating each piece of the puzzle by yourself, Um, something that at least I did was I would say to myself I'd say why I made this base. I made this saw. I mean, to saws. I stacked them together. I did all the effects on wanted all the effects on the base. Um, it's I did a lot and I think it sounds cool. And you kind of you don't you start to lose sight of what the situation calls for because you're swayed by the amount of work you've done when technical, you've made an instrument and said that the amount of work seems like you made a ton of different instruments. But in as faras in this song, this loop I've made an instrument, and that's the cord the court hit. Um, so also, because this this lead, it needs a lead. If you listen to it as a you know, as a musician, you say, Well, it would be more interesting with a lead. Um, And what this lead does is this It takes up this kind of, um, it's, you know, it's fundamental. Is Maurin in a higher range? Let me pull in this spectrum real quick. It's, um you know, it sits. It sits in this area that we actually we like having, um you know, this this this area this, like 1000 around and above little bit below, Um, where this this saw is definitely hitting those sections. But if you look at its down here and kind of focuses down here, it's more of a lower texture based instruments. So this is where this lead. It gives it that to me, that fuzz it takes it to that level of fuzz. Um, where the whole thing it goes like, uh, when it hits. You know, goes, um, on this. This lead is really bringing bringing home the bacon on that one. Um, so I'll go over this real quick. I did hard pans. Yeah, I did too hard pans on this one because I wanted it to sound big. Um, I used the sink mode is not super important. Ah, the sink mode changes the tambor a little bit here that you can go all the way up there? Not really. Um, advised. But I use these filters a little bit. Um, detained them. Put a lot of voicings, actually, interestingly enough, this it doesn't sound as big, but it's almost the same amount of processing used to create this lead. That kind of sits on top of everything. Um, and then I pulled out a bunch kind of those lower down here. It kind of resonates down there. I want it I want when you start taking out those frequencies, it starts to sound like it pulls farther back. And I want this to sound really big and airy, and I want it to be like, sit on top of everything here. Let's play it with this to me, it's That's too much like it overtook everything else. And it sounded like the lead was sitting on top, um, or like standing on top of everything instead of like, nestled in with them. Um, I did a similar. I did. Ah, you know, you probably not necessary, actually, because we hard panda earlier, and it's up to you. I basically did that hardpan thing again. Um, and I put an amp on it. This amp is a good way to make it super aggressive. But it's a good way to vary your sound. Just, um yeah, it goes pretty hard, but let's see the loud. The other thing I did is I put a phaser on just to kind of and then if we look at it, it's at three. The frequency is set at, um, you know, three kilohertz, um, and then I have it driveway at 50%. And what this does is kind of just bumps up those frequencies and makes that area a bigger focus. Um, honestly, not a huge difference. I think at this point, I was just kind of playing around, um, and then a river. I wanted this reverb to be big because, um, this lead I didn't want the lead sticking out. Like I said before, I want it to, um at another dimension to the whole thing. Um, so that pretty much, guys. That's the super sauce stack. Um, we have I'd say the super saw is the two saws that we created and then the base. And then this lead is Ah, it kind of just ties little thing together. Once you get that, you build that wall of sound up. It's a new side chain everything and get it flowing in and out. It gives that that fuzzy sound. Um, so I think Ah, I think it worked out, you know, all all native able to in stuff. Um, Like I said, guys, it's more important to just, like practice creating practice producing Make your own patches, make your own sounds, learn every knob and dial in a bilton. If you start there, you're gonna have such a une zier time moving forward. Like when you pick up serum or you pick up massive, you pick up all these other sounds are since, ah, you're just gonna know exactly is going on. And you're gonna be able to hear you want to be able to hear what you need to create and then know how to execute that eso. I hope you guys enjoyed watching keep making music. Guys peace out