The Complete Synthesizer and Sound Design Course - Beginner to Advance | Vishal Vira | Skillshare

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The Complete Synthesizer and Sound Design Course - Beginner to Advance

teacher avatar Vishal Vira, Music Producer, Investor & Entrepreneur

Watch this class and thousands more

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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

18 Lessons (1h 5m)
    • 1. Introduction

      1:11
    • 2. What are Synthesizers

      0:50
    • 3. Types of Synths

      1:25
    • 4. Synth Terminologies You Need to Know

      1:23
    • 5. An Important Overview

      1:17
    • 6. This Control Helps Get the Right Sound

      4:35
    • 7. A Visual Representation of Our Control

      3:31
    • 8. How to Shape the Sound

      5:37
    • 9. The Third Fundamental Control

      6:58
    • 10. How to Work With the Third Control

      6:35
    • 11. How to fix Static Sounds

      6:39
    • 12. The Fifth Fundamental Control

      3:42
    • 13. Creating a Sound from Scratch

      5:50
    • 14. How I Plan on Shaping the Sound

      1:21
    • 15. Shaping the Sound

      5:20
    • 16. Giving Character to Our Sound

      3:43
    • 17. Adding Some Movement to the Sound

      3:58
    • 18. A few Final Words

      0:43
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About This Class

Welcome to the Multiband Compressor Masterclass.

Use any synth such as Serum,Massive, Arturia, Sylenth with these basal principles.

Sound design from day 1 right after taking this class.

Hi, my name is Vishal. I have been producing music for the past 4 years and I am really excited to share my sound design skills with you.

Use any synth like a professional!

Meet Your Teacher

Teacher Profile Image

Vishal Vira

Music Producer, Investor & Entrepreneur

Teacher

Vishal Vira

 

Vishal Vira has been in the music business for about 4 years. His favorite genres are Hip-Hop, Trap and EDM.

 

Owing to his obsession with passive income, he has vigorously studied and invested in asset classes that have helped him achieve his financial goals, while pursuing his passion for music and generating revenue off of his hobby-turned-business.

 

He's passionate about teaching beginner producers all that he has learned through years of patience and hard work.

See full profile

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Transcripts

1. Introduction: Welcome to the synthesizer sound design course for beginners. In this course, you will learn how to use synthesizers in and out. Hi, my name is Michelle, and I have been producing music for the past three years. I will be teaching you everything I've learned about synthesis would easier. By the end of this course, you will be able to use any synthesizer with ease. It doesn't matter how complex listen to is or how easy it is. The fundamentals that I will teach you in this course. It will help you understand any synthesizer. I repeat you all the concepts of synthesis, and then given design as sound together from scratch. This course is perfect for you. If you're a beginner, you're using synthesizers and you find synthesizes and sound design confusing and overwhelming. Thanks for checking out my class, and I'll see you there. 2. What are Synthesizers: In this lecture, I will tell you what synthesisers are. So synthesisers are nothing different than the other instruments that you use except synthesizes, use electricity to produce sound. Now inside a synthesizer. And there are several controls that can be used to shape the sound in any way that you like. These controls are referred to as nubs and they can change several aspects of the sound. Synthesizers are mainly used in techno, EDM, hip hop, pop, and trap. So that was a little above, since in the next lecture, we will go over the types of synthesisers. 3. Types of Synths: In this lecture, I'm going to talk to you about the types of synthesizers. Synthesizers, when they were first designed, were only available as physical instruments, as opposed to the VSD form that is widely used these days. Now synthesisers were modelled N2 software because it makes it really easy to use. If you have it as a VSD, you can just add it as a trach inside your dough. And you're good to go. These software-based synthesizers or VSDs, can be further divided into two types. The first is monophonic, and the second is polyphonic. The monophonic stent can only play one note at a time. On the other hand, a polyphonic synth can please several nodes at a time. Now, there are also several other types of sense, such as FM, additive, subtractive, and modular. But we will not be going over these types in this class because that will be a lot of information and you might end up confused. So that was all about the types of sensor sizes. In the next lecture, we will go over the terminologies data commonly used Venn working with synthesizers. 4. Synth Terminologies You Need to Know: In this lecture, we will go over terminologies that are often used to define things. Insight synthesizes. The first term is volume. And volume is also referred to as amplitude or level. All three of these terms mean the same thing. So this particular control will only make this synthesizer output louder or softer. The second term that is often used is pitch. And this refers to the pitch of the sound that is being produced. And the third term is LFO, which is another major control. Inside any scent. We will get into the details of what LFOs to later down the line. And the last term that I want to be talking to you about is a DSR. Now, ADSR is short for pho important controls inside a cent. Adsr stands for attack, decay, sustain, and release. Now just like the LFO or low frequency oscillator, we will save the details of ADSR for later. In the next lecture, I will give you an overview of something really important. 5. An Important Overview: So now I briefly want to discuss what we will be learning from this lecture on. Like you already know in this course, we're not going over a particular synthesizer. However, what we are covering all the basics that will help you use any synthesizer with ease. Whether the scent of your choice is really complex or really easy, it won't really matter once you take this class. So from now on, what we will be going over are five fundamental controls that are present in every synthesizer that you can think of. Once you master these five fundamental controls, you will be able to use any synthesizer that you want. The fifth fundamental control, however, can be an exception sometimes, and it might not be available on every single cent, but that's not a problem. I will show you a very easy workaround that you can use if you don't have this control on your scent. So from the next lecture on, we'll start going over these fundamental controls. And in the next lecture, we will go over the first controlled. 6. This Control Helps Get the Right Sound: In this lecture, we will be going over the first fundamental control that is present in oil synthesizers. And this control is called the oscillator. You can think of an oscillator as the bubble house of dissent because it is responsible for producing all the sounds that you will every year from the output of the synthesizer oscillator is able to produce sounds with the help of electronic waves. This sheep of this V is the primary factor that determines that character of the sound that is being produced. And just to give you an example, I have opened up a very basic, simple synthesizer called locomotive. This one is available for free so you can download it and practice whatever you learn in this lecture. If you take a look at the oscillator section of locomotive, you will see all these V's and that are present on the oscillator. Wbs that are generally present inside all oscillators are the sine wave and the Soviets, or the pulse wave. Now we will get into the details of what these v's actually do and say Does synthesizer. But before that, let us go over the oscillator section in say, different synthesizes so that you can get accustomed to finding the oscillator section within different synthesizers server just clues locomotive and I will open up another synthesizers. And this one is called dal noisemaker select. You can see that our two oscillators, president and say data noisemaker. So it does not necessarily direct ascent will have just one oscillator. It can have many oscillators, and depending on what you're using. Moving on, let us now discuss another synthesizer. And this one is a fairly complex one. Dissent is called vital and insane vital to. There are many oscillators and you can select different types of leaves from your. Now, let us talk about these v's. So if you change their type of V From Yo, and you select the sine wave, and the synthesizer will produce a very smooth sound. So let us see what kind of astounded produces. Select you could hear the sound is really smooth and it is easy on the year. Now, if I change this v du, let us see brown, nice. You can see that the shape of this v is really rugged and that is exactly how it will sound. So if I play this for you, so the shape of the wave that you select on the oscillator will directly affect the nature of the sound that the oscillator producers. If you lake, you can also mix up two oscillators. So if I activate the second oscillator, you'll see that we have a soul. We will, yeah. So let me just change this to sign. And now if I bleed us, the output sound will be a mixture of something smooth and something that all good. Now, vital is a very feature-rich synthesizer. And that's the reason why you see all these fancy viz and say that leg brown noise and white noise. But the most basic weaves that you will find an NSAID, all synthesizers would be the sine wave, the Salovey, and the pulse wave. So that was a little about the first fundamental control and say it's synthesizers. In the next lecture, we will go over the second fundamental control that will help you shape the sound that the oscillator produces. 7. A Visual Representation of Our Control: In this lecture, we are going to discuss the second fundamental control. And this control is actually an envelope or a set of controls that will help you shape the sound that the oscillators produce. Now, to help you understand ADSR better, I have created this visual representation of the ADSR envelope. Now, let me tell you what this is exactly. Now, like I told you before, these lines visually represent what they do to the sound being produced by the oscillator. Let us begin by talking about the attack. Select. You can see this length slowly comes in and reaches this point at the top. So these two points, the beginning and the end, represent the volume level coming out of the synthesiser. So the attack is nothing but the time it takes for the sound to reach to its maximum set volume on the synthesiser. So as soon as you hit a node in the output volume will grow gradually and reach the maximum set level. So to summarize, if you set the attack level to a higher value, the volume will take a longer time to reach its maximum set potential. On the other hand, if you said tag to a lower value, does volume will go to its maximum level immediately. Now let us move on and talk about the next two controls, which are the dk and the sustain. These two values are completely dependent on each other. You can think of the cysteine as the secondary low volume of the synthesizer output. That dk is the time it takes for the volume output of the synth to reach From the maximum set level to this secondary level. So as soon as the output level reaches the maximum set level, it will start dropping to the secondary level. And the dk is the time that it will take for the output to drop to the sustain level. Now, let us move on and talk about the last control that we have, which is that at least now you can think of the release as the gradual fade out of the sound. So once the level of the synthesizer has dropped to the sustain level, it will gradually start fading out once you release the note. And this fade-out will completely depend on the value. You set your release now P2. So if you said that release knob to a larger value, the sound will take a longer time to fade out. And if you said that release knob to a low value, it will fade out relatively faster. Okay, so that was a little about ADSR. In the next lecture, I will show you everything that we have learned so far with the help of a cent. I will also repeat a few points that are made in this lecture. Just to help you consolidate your learning. 8. How to Shape the Sound: In this lecture, I will show you all that we have learned in the previous lecture in action. In order to show you how the ADSR on we love books, I will first select a preset. So these are the ADSR settings and dark this particular preset inside locomotive has. So let us now play a note and see what it sounds like with these settings. Okay? So after listening to that sound and data, three things that I can see. The first is that the sound has a really long attack. Second, it has a bit of 16, and finally, it has a really long release. Now, if you take a closer look at the ADSR envelope, that is exactly what it represents. Let us now begin by evoking that the attack knob. So like you see, the attack knob has a really high value. And that is the reason why does sound came in really gradually. Now, if at reduced the value of the attack to let us say 0, you will hear that the sound comes in almost immediately. Here we go. All right. So like you could hear the sound came in immediately. It says steam for a bit, and then it had a really long release. Now, let us work that this became, if you remember, in the previous lecture, I explained to you that dk is the time it takes for the scent output to drop from the maximum set volume to the sustain level. By the way, if you're wondering, the maximum level can be set using this particular knob. And this knob can be referred to as level of volume or amplitude, like we have discussed before. Okay, now back to the DQ and out. So like you can see, I BK level is set to a really low value. And that's the reason why it took really little time for the send output to drop from the maximum level to the sustain level. However, if I were to turn that dk knob all the way up, it will take a lot of time for the scent output to drop to the sustain level. Let's play a note. Okay. So that took a really long time to drop to the sustain level. Talking of the sustain level, like we have studied before, it is the secondary volume level that the scent output drops to once it reaches the maximum set level after the attack. Right now, as a spin is somewhere in between. And if I turn this down, you will hear that secondary volume level drops quite a lot. So you could go dark. The scent output reached a very high volume level, which was our task level. And then a drop to a really low level, which was the sustain level. Let's now move on to the last knob and the ADSR envelope, which is released knob, like we've seen in the previous lecture. Release, is the gradual fade out of sound once the sustain level has been achieved. So right now, our release knob is set to a really high value. And that is a reason why a sound has a really long feed out. However, if I reduce the release value and turn this knob all the way down. Here, we'll hear that the sound fades out really fast this time. So that deal of the sound was really, really short this time. Alright, so we just took a look at ADSR and action. In the next lecture, we will go with the third fundamental control and say since. And this control will help you add character to your overall sound output. 9. The Third Fundamental Control: In this lecture, we will go over the third fundamental control. Insight synthesizes. This control is really important because it allows you to add character to the sound. So in our previous lectures, we saw that the oscillator is responsible for generating the sound, the ADSR, and gives a cheap. And this third control that we're going to talk about, we'll add character to that sound. Under control that I'm talking to you about is the filter control. If you have any experience using EQs, you will find the filter control really easy to use because these two are quite similar. So the filter control allows you to get rid of certain unwanted frequencies and your sound. So dass enough of the theory, let us now focus on the filter block. So in a majority of since you will get these controls inside the filter block, the first control will be the type of filter that you want to use. If you said the filter type to low-pass, it will allow all the low frequencies to pass, and it will cut out all the high frequencies. On the other hand, if you set it to high-pass, it will cut out all the low frequencies and let the high frequencies pass. The third type that we have over here is the band pass filter. And this type will allow only a certain band of frequencies to pass while cutting out all the other frequencies. Alright? So those are the three types of filters that you will get insight, all synthesizers. So this entire block has only three controls that you need to learn in order to master the filter block. The first knob is the cut-off knob. This now will allow you to cut off certain frequencies from the sound being produced on the basis of the type of filter that you select from the top. The second knob that you need to know about is the resonance knob. This null, we'll add some gain the right before the cutoff frequency, and thus creating a new kind of an effect, making the sound a little different. Finally, the third knob that you should know about is the envelope. This particular knob might be referred to as intensity or level on some other synthesizers. But the function of this control would remain the scene. So this knob is basically just like the queue or the bandwidth that you would have inside a regular EQ. So envelope just allows you to select the bandwidth or the range of frequencies that you are cutting out. Just to give you a visual representation, let me pull up an EQ so that you can see what I'm talking about. So let us first discuss the types of filters that we went over earlier in this lecture. So if you're using the high pass filter, it will be the equivalent of cutting out all the low frequencies with the EQ like this. So if you're using the high pass filter on any sent, this would be the visual equivalent of that affect surface headings on the scent was similar to what we have done on this EQ. It would just mean that you're cutting out frequencies under 99 hertz. Of course, 99 hertz is just an example. Now, if you were to change the cut-off knob on the scent that we spoke about. It would just mean that you're altering the high-pass filter like this. Alright, let me change the EQ back to their default settings. Now let's assume that we were using a low-pass filter. The low-pass filter would look something like this. And this just means that you're cutting out all the high frequencies above 11 thousand hertz. Again, 11 thousand is just an example, just like we saw for the high pass filter. If you change the cutoff on the scent, and this time, it will still mean that you are changing the frequencies that you're cutting out. However, because now your synthesizer is set to a low pass filter, you would be cutting out high frequencies instead. The band-pass filter, on the other hand, would look something like this. And this setting simply means that you're cutting out low frequencies. And you're cutting out high frequencies. But you're also allowing certain frequencies in-between to pass. Which in this case would mean 91 hertz, 29,417 hertz. Let us now try to understand what the envelope knob on the synthesizer would represent on the EQ representation that we're using. So like I told you before, adjusting the envelope knob would mean that you are changing the queue or the slope, or the bandwidth inside the EQ. By changing the envelope, you're just trying to select how wide you want the filter to be. Now, we also went over the resonance knob. And like I told you, the resonance just adds gain right before the frequencies that are being cut out. If I were to give you a visual representation of diet, it would look something like this. So there would be a resonance bump right before the frequencies being cut out. And then the frequencies would be cut out. Like you can see over here. If our filter type was a high pass filter, the resonance bump would be. In the next lecture, I will show you just how you can use all of these nubs that we saw inside the filter block. 10. How to Work With the Third Control: In this lecture, I will show you just how to use all of the filter block knobs that we saw in the previous lecture. In order to show you how to use them, I have selected a preset inside mustn't. And the second thing that I have done is that I have drawn in a few notes. This is just something simple, just to show you how things work inside the filter block. Finally, I have just looped this entire section so that it keeps playing and repeat. Now, let me open up locomotive. And like you can see, I have set the filter type 2 lowpass. So now what I will do is that I will play the sound for you and I will slowly change this cutoff knob. And you can hear the character of the sound changing in accordance. All right. A few things that you must have taken a note of write-off was that as soon as I turned the cut-off knob up, the sound became more intense. And it wasn't all that pleasing to the ear. That is because that the low-pass selected, in fact Dylan, the cutoff up. It starts including all the high frequencies and high frequencies by Nietzsche, intense. On the other hand, Vanek turn the cut-off knob down. Those high frequencies will cut off by the low-pass filter. And the only frequencies that remained in the output of the sind wir low frequencies. And does the sound was move on. And it was not that harsh. Now, let us turn this cutoff knob a bit higher because the sound was kind of muffled. And here's what it sounds like right now. Okay. Now, let us start working with the resonance knob. So like I told you previously, that isn't in snob as a little gain or a little bump right before the frequencies are cut off. So this whole thing should add a cool effect to the sound. And now what we will do is that we will play the sound and I will gradually turn the resonance knob up. And I want you to observe how the sound changes. So like you could yell, because our resonance knob as adding a little bit of keen to the frequencies right before their cutoff and desolate l transformation going on, on the sound. And it wasn't really obvious at first. But as we turn that resonance knob up, it added a cool effect to sound. Okay, let us now move on and start working that envelope knob. Like you already know the envelope as just the bandwidth of the anti filter. And this knob will decide how intense our filter is. So again, we will do just the same thing. I will plead a sound and gradually tweak the setting of this particular knob so that you can yell for yourself how it affects the overall sound. Okay? So you must have observed how the envelope not held to add a little more credit to the sound. And Venice was turned down. It also helped us sound get a little more warm. On the basis of the sound that you're trying to achieve. You can tweak this particular knob and get the desired effect any sound. So I showed you how the low-pass filter works. And the V, the other two filters will work, is pretty much the same. However, the mean difference here would be the frequencies that you're actually filtering out. And hence, it will have a huge impact on the kind of sound that you get as the output. As a rule of thumb, if you're trying to design a sound that is move warm in nature, you would use a low-pass filter. On the other hand, if you're trying to design sounds that are MOOC, gritty and more intense. You would use a high pass filter. You would use a band-pass filter only when you have certain frequencies in mind that you want on your final output. So that is how you use the controls inside that third fundamental control. In the next lecture, we will go over the food fundamental control. 11. How to fix Static Sounds: In this lecture, we will be going over the foot fundamental control inside synthesizers. And this control is really important when it comes to sound design. This particular controller, you can add movement to your entire sound and it can make a regular sound a lot more different and interesting. The control that I'm talking to you about is LFO or low frequency oscillator. The LFO is nothing but an automated control for any pedometer inside a synth. So basically, an LFO will control any parameter of your choice inside the ascent with the help of a wave. For the purposes of this lecture, let us assume that you have set your LFO to assign vive. So like you can see, a sine wave is nothing but a rising and falling curve. So if your LFO is set to a sine wave, what that will do is that any aspect of the scent and that is tied to the LFO will be changed in accordance with the sine wave. So if you set the waveform to sign on your LFO and you tie it to the filter. By setting the LFO destination to the filter. The LFO will now control the filter in accordance to the waveform that it is set to. Right now, since our LFO has the sine waveform, it will change the filter in accordance to a sine wave. So you will hear a change in the filtered out frequencies over time as the sine wave progresses. So when the sine wave is at its peak, the filter will also be at its peak. And as the sine wave drops, the values of the filter will also drop. And all of this creates a really interesting movement in your overall sound. Like now, if I play the sound for you, you will be able to hear how the sound is changing over time. So you could hear how that sounds got intense. And then it got a little bomb and then it got intense again. So definitely there was some movement going on and our sound. Now, if I change the destination from filter to pitch, the LFO will now control the pitch of the oscillator. So let's play this and see how the sinewave alters the pitch of the scent output. Did you hear how that changed the entire sound altogether? What you can also do with the LFO is that you can change the waveform from sine to ramp. All maybe so depending on the type of cement that you're using. Now, there are two more important controls inside the LFO that you need to know about. The first one is the speed, and the second one is the amount. Now these two controls may be referred to as something as in some other cent. But again, functionality of these two knobs would remain the scene. The speed may sometimes be referred to as frequency. The amount might be called depth or maybe intensity, but their function will remain the scene, like I said before. So what the speed control will do is that it will change the speed of the wave alteration. Like I told you earlier. In this particular example, the sine wave will change any aspect of it is tied to over time. So what the speed knob is essentially doing is that it is changing that particular time. So now if I increase the speed and play the sound, you will hear the pitch changing faster in accordance with the sign. We've let us now move on to the amount. The amount now we'll change the depth of the sine wave, thus making the movement of the sound shallower or depot. So if you want the curves of the sine wave to be deeper, you can increase this particular setting. Whereas if you want them to be shallower, you can reduce the setting. And in accordance, the variation in pitch will be higher or lower. So now that I have increased the amount setting, let us give this a listen. So the variation and pitch was higher this time. So like you can tell the v's in which you can shape your sound with the help of an LFO. Endless. Okay, so that was our food fundamental control. In the next lecture, we will be going over a fifth fundamental control. Like we have discussed earlier. This fifth fundamental control might not be present on each and every cent. However, does a simple workaround to that problem. And in the next lecture, we will cover that too. You can use this workaround right from within the convenience of your dough. So I'll see you in the next one. 12. The Fifth Fundamental Control: Alright, let's now go ahead and take a look at the fifth and final fundamental control. Insight synthesizes leg. You already know this particular control is not available on every single cent. So that's the reason why I will go ahead and switch the synthesizer. And for the sake of this lecture, we will be using a scent called vital. In a previous lecture, I told you that if your synthesizer of choice is feature-rich, you can expect it to have this fifth fundamental control. And vital is loaded with features. And that's the reason why it has this fifth fundamental control to under control that I'm talking to you about is effects. Effects can make a sound a whole lot better. If you take a look at the effects section of vital, you can see a variety of effects present and say that we have distortion. Theory is a chorus reverb, delay and a whole bunch of other effects. And quite obviously, we have all the controls related to that effect. Now, if I turn off all the effects that are played to this particular preset, except for the filter. Given here, that the sound is really dry. And all of a sudden it doesn't sound all that interesting. Let's give that a listen. I mean, it's all great. But then I add and quotas. And reverb. Just do effects. And now let us see what this sounds like. So just to effects and sounds way better than the dry signal. So that is what effects can do to your sound. And now let me turn on all the effects. And now it will sound a whole lot better. Let's give it a listen. So that was about the fifth fundamental control, which is effects. But what if the sin that you're using doesn't have this particular control, all you have to do is use the effects that are built-in inside there DO. And that will do the exact same job as all of these effects built-in inside your synthesizer leg. For example, if I weren't reverb on the sound, I can just look for a reverb inside my dough. And are there on that particular track. And then what you can also do is that you can see all of these presets as a preset gene so that your work is a whole lot easier than next time you want to use effects. So now that we know all of our fundamental controls inside the synthesizer, from the next lecture on, we will start building a sound from scratch. 13. Creating a Sound from Scratch: Welcome back. From this lecture on, we will start designing a sound from scratch. In order to design a sound from scratch, you will first have to initialize your preset. This is the most important step because if you have some preset selected for you, you basically have your sound design for you already. But when you're pretty set as a default, it means that your sound is not designed and you're just getting the raw sound from your synthesizer. Like you can see here, ADSR is set to 0, which means the scent is initialized. For the purposes of this lecture, we will focus only on the oscillator. Our primary focus is to get the sound right to begin with, and then we will focus on shaping it. I intend to design a pad sound in this lecture. So this sound is supposed to be for the background of the track, and it will be used to fill up space in the background. So to begin, I will turn all the ADSR knobs almost halfway up, just so we can get a sound out of the synth. These are just random values. And we are just focusing on getting a sound out of the synth, like I told you. So let me just open up the piano roll inside my DAW. And with the settings. This is the sound that we have. So this is a really gritty and intense sound. And you cannot imagine this being the part of the background of the track because this is a very in-your-face kind of a sound. It's really present. So in order to generate the sound, I will use a mixture of pulse and a sine wave because I do not want the sound to be entirely gritty needed. Do I want it to be completely warm? I want a nice mixture of both of them. So a mixture of both of these waves will be a good combination. So the first thing that I will do is that I will turn the stove IV all the way down from the oscillator mix because we will not be using the saw at all, because we will be using a pulse. In this lecture. I will turn the pulse up to somewhere above 50 percent. And now let us see what kind of a sound we've been able to produce with the settings we have so far. So like you again, yeah. Because we turned the saw all the way down as sound has become a lot less intense in comparison to the earlier version. Because the Soviets is a really good wave and it produces a very rugged sound. Next, I want to mix in a little bit of sine wave, and that will help make the sound a bit more smooth. So in order to achieve that, I will add a few sub frequencies to a sound as assigned v. And now let us listen to what this sounds like. So as you hear, the sound has become a whole lot smoother just by adding and a sine wave. But the problem that we are now facing is that the sound is now really be heavy because all those sign frequencies are actually added in as sub frequencies. So in order to eliminate that problem, what I will do is that I will turn the sub-oscillator knob a little lower to somewhere below 50 percent. And now let us give it a listen. Okay. It's better than before, but I still feel like the sound is a little bass heavy. So we will turn the sub-oscillator knob down by a bit more. And I will add in only a little bit of sub frequencies. And that should give us a good mix of the pulse and the sine wave. So let's play this now. Okay, that sounds alright. Now, just to give it a little more texture, what I will do is that I will add an tiny bit of noise to the Santana sound. See how I'm not adding a lot of nice. I'm adding in just a tiny bit. Be sure not to overdo this. Otherwise, it will ruin the entire sound. Let's give this a listen. Perfect. I can totally imagine processing this sound further to produce a pad sound. In the next lecture, we will give the sound sheep by using the ADSR envelope. 14. How I Plan on Shaping the Sound: So before we start shaping the sound, I just wanted to tell you how I'm trying to shape it so that you can understand why I'm changing the nub to a particular value in order to give shape to the sound. So there are a few things I have in mind about the sound that I'm trying to shape. So the first thing is that I want my son to rise gradually. And once it has achieved the attack level volume, it should decay slowly. Now even though I see slowly, I do not want it to be really slow, and neither do I want it to be really fast. I want a nice value that is somewhere in between, too fast and too slow. Also, I wanted to sustain more than the attack because that is how I feel the pad sounds best. And once the sustain level volume has been achieved, I wanted to feed out somewhat fast. Again, when I say somewhat fast, I do not mean extremely fast. And I do not want it to fade out extremely slow as well. I want to value somewhere in between. So now I will demonstrate that in the next lecture. 15. Shaping the Sound: Welcome back. In the last lecture, we produced a sound with the help of oscillators so that we could give it shape and process it further. This is the sound that we've been able to produce so far. If you remember, in the previous lecture, we had set our ADSR envelope to random values. We just pleased those knobs out about 50 percent, just to get a sound out of the synthesizer. In this lecture though, we will be tweaking these knobs. But this time we'll do it with a specific purpose in mind. Let's first talk about the attack knob. Since we are designing a bad sound, I do not want a sound that comes in immediately. Instead, I would like a sound that gradually comes in and fills up this piece in the track. In other words, we do not want a really fast attack. We want the volume to be increasing slowly over time until it reaches the maximum set level. So let's increase the attack just a tiny bit. And let us see what this sounds like. Let's reduce this a little bit. Okay, so this seems to be working. So please man knob a little above 50 percent. And this is generating the kind of sound that I have in my head. Let's now move on to the decane up. Since this is a sound that I would like to feed a baby in the background. I do not want a decay in data's too fast or too slow. I want a value that is somewhere in between. Several. Experiment with this thing a little bit. Let us just place this above 50 percent. Let's try reducing this a little less. Plead us. Okay. That sounds about right to me. Let us now talk about the sustained knob. Typically, for a batch sound, you would have a longer sustain. So because we want the volume to increase gradually over time. And that is how I'm shaping the sound. The sound that we have so far has some sustain to it. But usually for bad sounds, having a cysteine that is longer dandy attack works best according to me. So now I'm going to increase a sustain knob just a tiny bit and let us see how that goes. So like you heard, this Justine has been increased just by a tiny bit. I think increasing at a level mole will help shape the sound even better. Do you out a sound feels like it has now made for the background. And that's exactly where we wanted to go with this particular sound. The last and the most important knob is released knob. For this type of a sound, I do not want a release. Data is too short. So what I will do is that I will increase this release knob. Although I feel like the sound is almost there. I will experiment with this release knob a little bit and try and make it a little better. Let's play this now. Okay. That seems like a really long fade out. And I don't feel it will be appropriate for the sound. So I will try reducing the release knob a little. And now let us give this a listen. Even that release is too long. So I'll try reducing a 250% or maybe even lower. And now let us play this. Perfect. Now, I think dark sound as appropriately shaped to be used as about sound. And the next one, we will give us some character using the filter block. 16. Giving Character to Our Sound: Alright, so in a previous lectures, regenerated the sound using the oscillator. Leto Ve gave a cheap using our ADSR envelope. And in this lecture, we will focus on giving us sound the bad character. Now before we dive into changing the knobs on a filter block, I just wanted to give you a quick overview of what I'm thinking so that you understand via, via setting certain knobs to a certain value. So since we are generating a bad sound, it is important for you to know that bad sounds have a warm characteristic. 95% of the times. We do not need sounds that are too intense or too present and attract these type of sounds I'm mode to build the vibe of the track and to fill up the space in the background. If you remember, in one of our previous lecture, we use the filter block to cut out unwanted frequencies from the sound. Like I've told you before. All of a gritty president and intense sounds are present in the highest spectrum of frequencies. So what we want to do right now is that we want to preserve all of us sounds dark in the low frequency range and cut out those data in the high frequency range to give us sound of one characteristic. So in order to cut out the high frequencies, we need to set a filter to a low-pass filter. As you can see, I already have my filter set to low-pass. The next thing that we're supposed to do in order to cut out frequencies is to adjust the cut-off knob. To make this easier, I have already written in a few notes, and I have loop them so that it keeps playing in the background. And in this way, we can give, gotta go to a sound by listening to it all the while. So what we will do now is that I will press B on my DAW so that the sound keeps playing. And while the sound is playing, we will adjust the cutoff knob until we get a warm sound. So now I will play it. And vivir doing that, I want you to observe what is happening to the sound as I change the cutoff knob. Alright, so right about day, it sounds perfect. For this type of a sound. V do not need a resonance because that is just not the nature of the sound. And we do not want to change our envelope as well. So for this sound, we will leave it at that. And we will only change the cutoff knob. And the next one, we will add some movement to a sound using LFO modulation. 17. Adding Some Movement to the Sound: Okay, so now that we have generated the sound using all so Alito, given a cheap and filtered out the unwanted high frequencies. In this lecture, we will add some movement to the sound so that it doesn't sound. All this started. So we can achieve this modulation with the help of our LFO. Right now, I LFO is set to a sine wave and it is assigned to pitch. And this is the sound that we're getting. So before I change any of the LFO settings, I will tell you what am trying to achieve with it. So now what I'm trying to do is that I'm trying to design my sound in such a way that it doesn't have just the warm frequencies all along. I've wanted to move from the von frequencies too intense. Very occasionally. Not this effect can be achieved with the help of a filter. However, right now, I'll filter is set to a certain value, like we have seen in one of our previous lectures. It is possible to change the filter settings with the help of an LFO. Now that I'm trying to change the frequencies from warm to intense, whatever will do is that I will change the destination of the LFO from pitch to filter. And now let us listen to what this sounds like. As you heard, the filter is not changing all that much. And that is because we have the amount set to 0 on LFO settings. Several change the amount knob anticlockwise to somewhere about here. And now, let us give this a listen. So now we have a good moment of warm, too intense. And then back to Guam. And all of this change is being controlled by the sine wave that we have over. Yeah. If you don't want the changes to be really smooth, you can change the waveform from sine to ramp. So as you, you, the movement isn't all that smooth. And I will turn this back to sign because I think that produces a better sound. If you want. You can also experiment with the speed to see what it does. Split us. Now, I think that this setting is making the sound more present. Server turn this back to where it was. Great. So we have successfully designed a sound with a synthesizer. 18. A few Final Words: So that concludes the class. I hope you like the class and learned a lot from it. I hope you had the opportunity to download the sense that I showed you in this class and practice what we've learned. If you like the class, be sure to give me your feedback in the form of a review. If you have any questions, you can drop those two and I will get back to you as early as I can. You can also follow my channel on Skillshare and YouTube because I will keep dropping new content, everything that is music-related. Thank you so much for taking this class, and I wish you success.