The Way of Serum: Learn Serum | Mario Sculac | Skillshare

The Way of Serum: Learn Serum

Mario Sculac, Teacher/Influencer

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10 Lessons (1h 6m)
    • 1. 0 Introduction

      1:33
    • 2. 1 Oscillators

      8:29
    • 3. 2 Filters

      7:41
    • 4. 3 FX

      13:50
    • 5. 4 Envelopes and LFOS

      7:58
    • 6. 5 Modulation Matrix

      6:27
    • 7. 6 Voicing

      2:02
    • 8. 7 Global

      7:12
    • 9. 8 WaveTable Editor

      6:22
    • 10. 9 Tips and Tricks

      4:22

About This Class

In this Course You Will learn all the Fundamentals of the Plugin Xfer Serum!

This Course in organized in an easy to follow 10 lesson video lectures covering all the main features of Serum. 

Take Sound Design to the Next Level! Sign Up Today! 

Transcripts

1. 0 Introduction: Hey guys, welcome to the way of several course. My name is Mario and I am going to be your teacher for this online course, a bit about myself. I've played instruments for four years. I played the trumpet and some piano. After that I quit and I switch to electronic music, which I am still doing up until now, which has been six years now. And two of those years I've more specifically worked in sound design. So things like Sarah and now a little bit about this course. This course is designed to teach you the fundamentals of Sarah them into giving your first steps towards sound design in this course is more for beginners or people who have just picked up Sarum or people never got the opportunity to learn serum properly to make this course easy to follow and worth your time. I've organized it into nine episodes. The nine episodes are oscillators, filters, effects, envelopes and LFOs, a modulation matrix, voicing, the oval, the wave table editor, and tips and tricks. The total length of this course is about an hour long, so you should be able to complete it in no time. You have any questions. If you have any complaints, feel free to leave them. In the comments section below, see you guys around. 2. 1 Oscillators: Hey guys, welcome to episode one. In this section, we will focus our attention on the four oscillators of Sarah. We have oscillator a, oscillator b sub and the noise. So first off, we're going to focus on the two main oscillators. Since they are exactly the same, we only really need to learn one of them because the other one, everything that applies this oscillator also applies in this oscillator. So the first thing we see is it says oscillator a, that is the name. And we have this small little blue button here that you can turn it on and off. Do that for all the oscillators. That way you can manipulate if you want to have two oscillators playing at the same time or just one or none, then you have no sound. So for now we have the default selected. This is the preset menu. You can select different presets. Right now we're just going to focus on this present. You can always add more presets and a lot of presets that I have here. And first bar here is the pitch control. We can control if it is a higher octave, hopefully, you know, some music theory gets very annoying. Go very low. Then we have semi-tones, which is less than octaves, that we have the fine, which is even less. And then we have course. So these things can be manipulated, you can always change. You might even have two oscillators running at the same time. For One is an octave lower than it kinda sounds kinda cool or something, or maybe a semitone over you can always alternate. Then we have the actual image of the wave table right now it's just a regular sawtooth. It's nothing really interesting going on here. Can change from 2D to 3D. Later on when we have an interesting preset going in a very interesting 3D picture going on here. Turned into cool like valleys and mountains and whatever you want to call those, you have a small pencil tool. This is the wave table editor just going to be covered in a different episode. But for now we can just kind of see that it's there. When you click the pencil, you can edit it. You can change the different stuff. Yeah, going back, I'll switch it back to the default that's Rican change, initialize, preset default, everything is set to default. Now we can move on to the knobs. And the first knob we see it's on even an odd, but it's actually a, a number selector. You can select up to 16, and these are the voicing. So voicing is how many voices you have it yourself. Up to 16 voices. It sounds very crazy. Can always select the less sevens and nice number. And then that moves on right into our first snob, which is the detuned and controls how spaced out our different voices are. If we just have one voice, it doesn't do anything. There are no voices to compare with. If there's at least two. Sounds pretty bad. Three was I want to have at least a couple more voices than it sounds better than we have Blend. Blend controls. How the central. Leading voice is either a leading or vary with the other notes. If you have six, which is an even number, you have to leading, you have an odd number, it's just one. Then we have phase and random that kind of work well together. They are all about which notes are being played. It's kind of like you have your wave table and a certain note in that wave tables being played and random is the area that's being circulated. Then we have the wave table position. Here. This is one of the most powerful knobs, is used in a lot of presets and a lot of automation. So if we have a more interesting, Let's see. Let's take this one for example. We have table. We select different sections of the wave table to be played. Well, we haven't automation. We can do something like that. If we have something here. Here, the whole thing is just going through. That's what makes it very interesting. You can modulate and mess around with different sounds throughout the wave table. Next up we have the warp modes and the work modes. We have all of these different modes. And the main idea is these different modes deal with changing the sound in some way. Either you're making it more spaced out, were smooth, or blending and more. There's always different options. And here we have different for different remaps. The remaps are all about making your own custom effect. Maybe you wanna make your own wave mode, warp mode I'm in. And then you can mess around. If you see here you see messes with the existing sound that you have. And you can always add it in an envelope and an LFO to make it automated and do something, something fun there. That's what that is. Do I close that for now? Then we have the pan and level and is left, right? Maybe you want a slightly rise, slightly left. You can always change that are just in the middle. And then we have the level. So this controls the level of this oscillator. Every oscillator has its own level. And it's quite universal. So that's it for the main oscillators. We can also do something in the menu and we can copy oscillator a. So everything we did an a, we can put in B. That's what this does. The same thing. And this is quite useful if we want to create a sound or layer two sounds and maybe changed something, maybe make a couple more voices at some detail. That sounds very, very interesting right now. But you see how we can kinda alter using that. So we have everything set back the default. Now we can move on to the next section, which is the sub, could turn off the oscillator a for now. And it also has this on and off, just like all the other oscillators and even the filter. And, but it has this direct out. So direct outs also noise hazard. It determines if the sub is gonna go the filter or not. When it's on, it doesn't, when it's off, it's just a regular oscillator. It will go through the filter. The reason for this is a lot of times you want the sub to just be its own thing. It's not being manipulated by the filter. And that's why you have that feature. But other times you might just want to blend it and that's, it's quite useful to have. And we also have the octaves, so you can control. Ok, does I'm not sure why. You'd want to have a really high octave, but low is definitely the way to go with sub. You have a pan and then you have a level just like the other other oscillators. But for the sub, we have the small little shapes here. In a way. Here we have the saw here we have assigned a curved square, triangle, saw a square. And I believe this is a pulse. I think it says, yeah, if you hold your mouse on it, it tells you exactly what they are moving on. We have noise. And it also has direct out feature like the sub. But the difference between the noise and the sub is we have actually a menu here and we can select many different presets. So in a way, noise is just like another one of these with a little less features. It, that's why the noise can still be kinda like an add on to your existing sounds. So right now as like a static. And it's kind of like a sampler. And this button here, and one of the other ones haven't. It controls the looping of the selected preset because if it's not selected, it just repeats and repeats and repeats phi here, seven play once. Then we have keyboard tracking that's quite useful for sampling. And I hope all of these are kind of clear phase random, just like here. Pitch, pitch it up, pitch it down pan level. That's it for this video. I hope everything was clear. If something wasn't clear, feel free to ask. There's a comment section. That's where you should use it. And I'll see you guys in the next video. 3. 2 Filters: Hey guys, welcome to episode two. In this episode we're going to be covering the filter section. Before we actually activate our filter, I want to set up a different sound here. So we don't have just the default. Going to go into analog acid. If you have serum, you should have acid. It's a native, a native wave table. So we're turned up to Unison to three and sit the Detune a little bit lower, Get that cool sound gone. And then we're going to activate our filter. Or a filter can be activated, just select the oscillators, the blurb, and so that's the sound with the filter. Without. Right now we just have a default filter which is low 12th. And the first thing we're going to see is we have a pop-up menu here. We can use the arrows to go through the presets and we're just gonna do it this way. Here we have only serum native presets. There are no custom presets when it comes to filters. So we have normal, we have some low filters, some high, some bands, some peak and notch. We have multi, which is just a mixture of all the normal ones. And quickly actually go through some of these. Depends on your sound. It's going to have different effects. Should different effects on your whatever sound you have gone. If it's kind of more of a high sound or low sound. It's an interesting one. Will go through some of the Maltese, some of the interesting ones. Later on when we modulate the cutoff, we can throw in an envelope or a telephone due to things like this. That is for later video is go through some flanges here. Maybe a different one. Woo, these are interesting. So yeah, quickly go through. Maybe like a French LP. German LP is a very clean. So there's different filters. There's a lot of different ones you can go through. We'll just stick with the basic one just for simplicity. But yeah, you can mess around with all these different filters is a lot of different ones to pick from and depends on what sound you got going on here. And if it's a higher octave or lower. Different filters that can have different effects and maybe you want to throw in another one. We'll do it a little bit later. So the first thing I want to look at is these little buttons here. There's four of them. The fifth one is Kino tracking, but these fora here. So these Abundance, They are the AI oscillator, the B oscillator to noise oscillator and the sub-oscillator. So right now since we only have one oscillator activated, which is oscillator a. We see that a is being affected here, and that's the only oscillator there. So really if we turn on all these, nothing happens right now. So if we turn on, let's say oscillator b, get that really, really annoying sound because it's not going through the filter. If we turn on B here, it's gone through the filter. So that applies to all the different buttons here. So it's, it's nice to know that it's also kind of like a routing thing. And some of them do want different things not to go through the filter. But a lot of times you do want it to go through the filter because that's the reason you have a filter here. As I said before, there's also this fifth button, which is Kino tracking the noise. The noise oscillator also has the, and in this case, the Keno tracking is the cutoff of the filter following the pitch of the note being played. So if we're playing different notes, the cutoff is different for each note. Whereas if we just play like this, you'd see that the cut-off is staying consistent. Next up we have all the different knobs here. The firstname we have is obviously the cutoff. And it should be quite understandable what the cutoff is. The cutoff controls at which frequency, which point is being controlled? Let's say we want to cut off more frequency or less. But the high play don't let the high play. So that by default, then we have the resonance. And the resonance is how much of that filter cutoff point is being, let's say exaggerated. So if we wanna exaggerated alarm accentuate, it comes very picky. And I want to be very careful with this one because you can turn out to be very weird. Set that back to default. Then we have the pan, which should be self-explanatory. Left and right. Mess with that. Then we have the next 3. First, so we have drive. So dr is all about the input gain of the filter. If we turn that up, comes quite loud, then we also have the filter variation. It works similar to the drive and can work well together. So that the default ensure thing else as default. Then we have the mix. And the mix is all about the wet and dry. We want this to go through this 150% percent or not at all. That's what the mix does. Then we also have level. How much of the filter is there? Yeah. And for different filters, not, not this one. And find another one. We see that this one can change. The Sun has changed into a morph because there's a low pass, a peak and a high-pass. So the more, makes more sense to have here. And we also have level. So that is it for the filter. The filter is a addition to our existing oscillators. So a filter by itself does not create any sound. That's why we have oscillators, four of them. And the sound really comes from these oscillators. The filter is just an add-on. It comes on, usually after the sound that we create. So we create a sound and then we're like, let's throw a filter onto that. So it's an addition to the existing sounds recreated in the oscillators. Filter can also be found into Effects tab right here we have filter has more or less the same features that we see in the filter section here. But we're going to cover that in another video. That's it for this video. So I'll see you guys in the next one. 4. 3 FX: Hey guys, welcome to episode three. In this episode, we will be covering the effects tab. Before we do anything in this tab, we're going to sit right back to the oscillator window and select digital dirty, Sorry, how did selected so nothing changes. And turn out the innocence of three. And make sure that Detune is someone like that. Get their really cool digital sound go. And then we can go to effects by selecting this box up here and other RNA effects, we can see that all these different effects are listed on the left side and none of them are activated because they're all faded. So we can select them and turn them on like that. Right now we're just going to focus on hyper slash dimension, which is the first one. And we can see that there's two things going on here. There's hyper and there's dimensions. So the first one is hyper. Where hyper works, it's similar to Unison. It duplicates the audio and detune Xia apart from each other. A kinda creates like a relationship with the different details going on. So it creates a really cool kinda move, moving sensation between the different voices of the unison is first we need to turn to sun, of course, to be able to hear it. You turn up the rate, the rate controls the movement, makes a fast or slow. It can get pretty crazy from there. Then we have another detuned, which is very similar to the oscillator D2. And we'll hear that more detail, less detailed so that sounds okay, then we have reached trick. When it's off, it means that it's just random. And when it's on, it triggers all the voices of the same phase. Then we have unison here, of course, I hope we know a unison is by now with the oscillator video. But here just adds more, more units sensor, which kinda goes crazy. Then we have the mics and mixes all about the wet and dry if we want to have more of the effect or less. So you can go crazy with that. And finally, we have dimension is, so dimension is kind of like an expander really mix the atmosphere is space, see really big. And that's why we have size. Sounds really bad while you're moving. And of course we have mics as well. And Earlier I was clicking this to turn it on and off so you can always have this effect off and on. So maybe you want to save this effect. You can always save the effect settings. Save it for later, use it on a different preset is the next one is the source of this is quite interesting because we actually have a little menu here and we can see. There's all these different things to select from. We'll just stick with tube. You can always explore all these other ones. They'll just give out something different. Then here we have the off B and a post pre distortion. Post distortion, it controls whether the filter is happening before or after. So let's give it a little here. Right now, there's not that much of a difference because we're not really messing with the low-pass. High-pass. Oh, maybe because it should be on there. We oh, good one. I was wondering why it wasn't working. And then we have high-pass, band-pass, low-pass economies control with these different controls can always do something in the little menu here, little map. Then we have Dr. Moore, Dr. means more input game. So I this is changing and we have mics for wet and dry. Obviously we kind of chose a really weird one. Alright, that's it for distortion. Can turn it on and off here obviously, as I did before, and completely turn on or off here. Next up we have flanger. So flanger is a crazy one. We have right here controls how fast. It gets pretty crazy and obviously slower. Then we have BPN, which syncs with the DAW clock. So what do we have here? Which is quite exciting, then we have depth, which should be self-explanatory. And we want this effect to be more in depth or a kind of more surfaces. Then we have feedback, which is the amount of pronunciation by the resonance is going to more like a kind of you say, makes more of an effect, more of like a pronounciation, more accentuating the sound. Then we have phase, which is the same for left and right. So it creates kind of like a stereo effect. So if you have 0, it's mono. If we have 180, which is right above, let me see if I can. There we got 180 means it stereo and then can always go more for that. Flanger should be as kinda sparingly not too crazy. You might want to worry about them mix a bit. And we're going to move on. Next up we have phasor, which is very similar to, similar to flanger, has rate, BPM, depth, feed, phase, and frequency. So it's a little bit different, but it's quite similar to flanger. It's early digital kinda sounds coming from this one. Then we have the chorus, we have rate again and bpm again. So weird one right there, the way of delay one, delay two. And these are specific points that will be delayed in our effect. Right now it's the off, it's just. Then we have the depth was controls the amount of chorus. Maybe we want less. I think that's the reason our sound was so bad because of the depth was just way too high. Then we have the feedback which controls how much. And here we can switch between a low-pass filter and high-pass filter. Whether we want to get rid of those highs or those lows. And then we have a mix, of course, wet, dry control that then we have on and off. So cheer. So next up we have delay and we have feedback for the first one, it controls the length of the delay. So if we turn this up like crazy, it's gonna be quite long. Alright, well, we'll drill, will turn down, down a bit. Still a little bit crazy via the BPM feature here. So at the BPM feature, we can control the actual BPM of the delay, which is kind of crazy. But right now it's better just to have the half bar. And we can change left and right here. If you want to make sure that they're both the same, we have link can have them both be the same. Turned out down to 1 16th. Get a cool effect guy. Then we have a chart here, and we have these three different types of delays. We have normal ping pong and tapped delay. So normal is just a regular simple delay with left and right the same. Ping Pong is left and right are just kinda go crazy. And then we have tapped delay with a little special gap delay in there. And of course we can kinda mess with the map here. Get some crazy things go on. And of course we have the wet and dry with the mix and we could turn on, on, off. Next up we have the compressor. And the compressor, we have the threshold, which is more or less the compression. How much are we compressing? A lot or nothing. That's the threshold. Then we have the ratio. The ratio will limit the volume more. Alright, now we need to turn off her threshold and you can also do that. But by default. Now on by default, then we have attack and release controls how fast the compressor engages and releases the sound. So if we turn this threshold up, so we get from the attack and release, then we have the gain. Gain should be controlling the sound or the volume. Then we have multiband. We can control each individual demands the lows and the highs. So that's cool thing about multiband and kinda you can mess with each level individually. Then we have mics, wet, dry, more or less, and on off such. Next up we have reverb and there's two types of reverb. There's plate and all for self will go with plate. So plate is kind of like more timber controlled digital. It's more precise. Hall is more messy, kinda natural decay. It's kind of crazy. But we'll start off with plate. So first up, we have Size, controls the size of the reverb. Then we have the decay. How long it takes the reverb to die down. Then we have the low cut, which is the tale of the river. The high cut, which is the shape of the river that we have spent. And spend up hall kind of does this thing is a little bit differently. But it turned out that mixer can actually hear the difference. Hall sounds great, I like it. Yeah, that's a great sound. And of course, wet, dry on and off. Next up we have EQ. Eq works like any EQ out there, has a low-pass, high-pass peaks depths. Then we have frequency q gain on both sides. Control either side, or it can just mess with these. It a very interesting sound edited in here, but you can change the shapes and you can of course do these things. And so simple like EQ and IQ turned on and off here. So we have finally the last one, filter. So filter, if it looks kinda familiar, it's because we had it over here. It's more or less the same thing. It just has some features that are missing and doesn't have the map, doesn't have all these different selections for the different oscillators. And it does have a menu though, so you can still select the Mg3N2. And of course we have all the same concepts as discussed in the previous video just here. So we can actually throw on two filters. Just kinda crazy. Yeah, that's pretty much it. And of course you can move up all the different effects in different orders. This is very useful if you want to put a compressor then a delay or put the compressor at the end, they'll lay before. And they put a distortion and just control things because you will have a different things. If you put a compressor before a delay or delay before distortion, it's always going to be little bit different. There's going to be different things going on because you might want to compress a distortion and then delay. So That's that. And I believe that said for the effect section, if you have any other questions, make sure to leave them in the comments. And I'll see you guys in the next video. 5. 4 Envelopes and LFOS: Hey guys, will get depths. For in this episode we'll be covering the envelope section and LFOs. So before we do anything in either of these sections, I want to change the sound and the default oscillator. Good analog going to be the sign should be a default, should be in the native. Plug-ins of serum, turned up two units since it three. Sit there, detuned down to there. Just approximation. And then we can move on to the first section, which is going to be the envelopes. So here we have three envelopes. Right now they're not mapped to anything. Hence, that's why there's no one to three, there's no numbers because we need to map something. Start adding numbers to how many things you haven't mapped to run. Now we want to just remove all those destination. So it's just mapped to the regular volume by default. So if we play a note, we changed like let's say the attack. You see that the volume is very delayed. It's kind of like ambient. So down here we have very simple ADSR, attack, decay, sustain release with the addition of a whole. So real quick, how does it ADSR work at SAP controls? If it's a short, it's kinda Bucky. If it's long, we see that we get the ambient effect. When we have a decay. Decay controls how long does it take to go down. So we have a decay here. So overtime thing. Then we have a sustained. Sustain is the value that it drops too. So we have kind of an effect like that. Very plucky returned down the decay and the sustain. Then we can have a kind of more an ambient controller like that. And of course we also have the release. And the release is how long it takes to get to full silence. After we released the node. And we have another one which is the whole hold is how long it will stay until the decays. So this is like the max volume we see right here. So we've got that, set everything back to the default. And another feature is we can actually edit everything manually, make like a custom one. And while we're editing, we can also even change how rapid things change if it's more gradual or very linear or more like a hill. We also have a lock feature. So the lock feature, we lock it to a specific place and we're not really moving around, we're staying in place. That we have the zoom out and zoom in if we want to make it more over ten seconds less. Depends on what you're going for. That's it for the envelope section. We're going to move on to the LFOs. So the LFO section and LFOs, we see that there's actually four LFOs, not three like envelopes. And the difference between the LFO's is it is not mapped by default anything because the first envelope was mapped to the volume. Right now, there's nothing going on with LFOs. There's no effect on the sound that we have loaded up. So the cool thing about LFO's is we can actually load up presets. Right now I have some presets. You can even have custom presets from user. You can have many different presets, many different things going on. Well, that's some crazed Ryan had some mapped. If if you map it and get some cool stuff going. So I just loaded up on of the cool-looking assigns a link it to this level. So we can actually kinda cool effect going on right there. Here we have a grid feature. So you can actually make the grid more detailed solely for adding points. We can make it very intricate. As if you have a smaller grid, can make it as detailed as a larger grid. So down here we have three different modes. The first mode is the trigger mode, eerie triggers the envelope every time a note is played. Then we have the envelope one. So it only goes through the LFO once. And then we have off where it goes through the LFO multiple times like crazy. Then we have the BPM feature which syncs the LFO rate to the BPM of the track 0. It's varying sample that we have anchor. Anchor needs BPMN, so it starts on the right beat without anchor doesn't work with, doesn't. When BPM is not on, then we have triplets. And so these are all about the timings and they work well with the rate. So it's all about timing. Now we have the main functions of LFO, which is rate rise, delay and smooth. The first one is rate. Rate controls how fast the LFO moves, which can have a very fast or very slow. So it goes through the map that we created here in the LFO. Really depends on what you're going for. A defaults, whatever form that we have, rise and rise the attack for the LFO, How long will it take to fade in? So we can do that. Yep. So demo by default, then we have delay. So the delay is on and off. How long after you play a note the LFO activates. This is good for if you want to have the LFO come in a little bit later than just playing it right away. And then you have this smooth feature. And the best way to kinda show this smooth feature works is to load up different preset, something like this. We have a lot of jagged edges. Very abrupt stuff and smooth helps make it more gradual. Mix some more smooth. Here the little, yeah, that's smooth. We can also draw. We could do a lot of drawings, as I've showed in the envelope section. It's actually even crazier to draw on this one. Can make some crazy adjustments. You can make things gradual, abrupt. You have to hold the Shift key if you want to change different stuff, make things flat, make some crazy stuff, things like that. Maybe ramp ups, maybe ramped downs, and yep. Flip horizontal, do some crazy stuff. It's all of those crazy things. You get four of them so you can map it with different things. Later on. Gets pretty crazy. If you have two things going on. Right now, it's just whatever. So that's it for all envelopes and LFOs. If you guys have any questions, feel free to leave them in the comments section and I'll see you guys in the next one. 6. 5 Modulation Matrix: Hey guys, welcome to episode five. In this episode we'll be covering the modulation matrix. And the first thing we're gonna do is actually load up Juno. It's an analog wave table. Turn up the Unison to five, keep everything else about the same. And the feature we are going to be using is the modulation macros. So first thing we're gonna do some modulating here. We're gonna link to LFO one to the volume of the Juno oscillator will change it to something like this. It's something like that. And we're going to use LFO to, to mess with the determined sounds terrible. Fix it up real quick, do something similar and not see how the determiners. And you're, you're a little bit faster. And a little trans effect here. And now, since we've modulated modulation works, we see the LFO one is linked to the level elephants who is linked to detail. This is a very simple one to one relationship right now. So the one thing we can also do is add modulation macro. So we're going to add one to level and one to detune. So when we turn this up, it's going to be affecting both detuned and level. Later on, this can become very intricate. You can have four macros going with four different relationships with many different things. Oscillator subs, LFOs, LFOs, envelopes of LFOs, crazy things. He becomes the ultimate setting of settings. You change one thing here. It's actually not the best. We can do something other way around. So that's just the simple example of how the macro mod relation macros can work. It can get pretty crazy. Moving on. We have also velocity and note here. So velocity is of the notes that trigger the differences in sound. It also mapped out to different things. And we also have no, so changing the target node and see it's being changed right here. And then we have down here, we have the pitch pitch bend tool. So that by default, and we have the mod mod wheel. So the mod wheel can also be mapped to different things. And on the left-hand side we have the different octaves of the pitch. Control. If you want to control a crazy, we get pretty insane. Next up we gotta move into the matrix menu, which is peer effects matrix. And we can see that the different relationships of all the modulations we've created, the two LFOs. They'll affair with the level, which is the volume. And we have the LFO relationship with the D2 are year over year oven. So alpha_1 level, which is the volume elephants who, which is with the detail. And so we see here with the first two. And then we have the macro, macro one that we created here. We can actually rename it to one and call it actually macro one. It already was Macro one. But just to make it very clear, this is macro One. We have macro one and we send macro wants to different destinations, which is level in D2. So that's why here we have volume, which is level, and we have the detailed. So it's affecting both. So we can see here that the different sources, different curvature right now it's a linear relationship one-to-one. And we have the amount. We can see actually we free play a note. All the different effects. We can see all the effects happening. Then we have what is the effect affecting? So that destination. Then we have the types surrender to the types are all unipolar or modulating in one direction. You can change this and change it to a two-way. So if you go to LFO one volume, one volume, we see here it has been changed. And of course, if we want to change the relationship, we click Shift Alt. We could change just click can change it to a double relationship or just a one-sided. One-sided. I'll shift will keep it how it was. We can also change it here and the different types. But for now, it's okay if we have a unipolar, then here we have a whole bunch of other features. Right now none of these are enabled because we didn't mess with any audio sources are resources. This can be done through the mod wheel and other things. And of course, we also have curl relationships which are one-to-one here. And we can also have an output. So the output is currently set by default to a 100. This is like the dry wet. Here. 0 means 100% dry, a 100% wet. And that's it for the modulation matrix. Later on, it becomes a way more complicated when trying to create specific sounds are different effects. Right now we just have a simple thing going on here to turn out a modulation matrix. It gets pretty crazy. That's it for this video. So you guys in the next one. 7. 6 Voicing: Hey guys, welcome to episode six. This upsets all above the voicing section. It's going to be a really quick voicing section is quite small. So the first thing we're going to see here is we have the mono Been, so the mana been, mix, the whole effect of what we have loaded up here to be Mono. We can see here. And we can only have one voice. If we turn off Mono, we can have as many voices as we want. Depends on where we set the Pauli too. He controls the maximum amount of notes we can play it once. So right now it's set to a, so we can't play more than eight, but we can turn it up. Go to some crazy number like 32. There's a really low chance you're gonna be playing 32 notes at once. But that's why you have that there. You never know. So then you have mono and then you also have legato. So legato is start from sustained position creates a cool effect when you have it with mono. And after that, we have poured a mental down here. Ornamental is it allows the notes to slide between each other. So if you turn it up, it gets like a slide effect. Makes it very interesting that we have always. So even if you aren't holding down a note, it is an effect, then you have scaled. Scale does a different note, different slide. So for each note, if it's a low or no or a higher note, the ornamental will be different, the slide will be different. And you also have the just the curve relationship here. Can change that and make it 1% higher, lower. So yeah, that's everything we've got for voicing. 8. 7 Global: Hey guys, welcome to episode seven, this EPSRC grubby covering the Global section which can be accessed here on the fourth tab. And the Global section is really just more settings and extra features of existing options that we have in other oscillators are fx. The first thing we see here is chaos, wanting chaos too. So they're random modulations sources. Swan is more focused on being smooth and chaos to is more focused on being digital, jittery, kinda jagged. So thing we can do is we can choose Chaos won in the modulation matrix. And let's set it to oscillate or a do something like volume. And you can see there's a effect going on here. And we can turn it on. So currently it's doing that. And we could turn to rate up. And we also have three other features. Both of them have the same BPM sink. So BPM Sync makes the rate more in time with the current BPM. They you have selected in your DAW, then you have mano. Mano makes each modulation for each voice The same as opposed to Different. And then we have a sample and hold. So it keeps the cow's position based on rate and it makes, it controls whether it's going to be more smoother jackets. So in a way, kind of like chaos too, but it can make it more smooth. Suck you can even have chaos too and make her more smooth. That's it for cast 12. Next up we have unison. And if you remember unison, It also, we have unison here in oscillator a and also it or B. So it expands on this unison. If we go back to global, we have a whole bunch of more features. And here we have range with Warp, wave, table, position, stack and mode. We have these different values and we can change each value individually on either side. Or we can change both values by changing the middle one. So you can go up to something like 48, I believe. Yep. The first one, which is range, it's the MAX D2 range that will be select the spread of the unison. So we can have one side. You're very WAC, or we could just change both. Next up we have the width. The width is the spread out across the spectrum. So we can increase that by defaults at a 100. And then we have warp and warped changes the mode relationship, sort of the warped mode. And next up we have the wave table positions. So modulation effect of the de-tune of the wave table. So we can see the wave tail position here. Next up we have stack. And stack are the DTM pitches original or from somewhere else entirely so you can stack your current unison. And finally we have mode. So mode controls how the gap between the voices is calculated. So this one's actually really easy to see. Right now we have linear. If we go back to the oscillator and we look at unison, and we see currently to detune relationship right here. If we go to global and we switched to super, lets say both of them for now. We can see it's a little bit different. If we switch it to that. It's even more different. Such a to that. Different again, we can even do random. So that's it for unison. Next up we have preferences. So preferences, the way they work is it's just honor ofs extra settings. The first one is turning on or off. When you turn on Sarah, the wave tables in the oscillators are going to be 2D or they're going to be 3D. So here, when you turn on serum, whichever one you like, more, could you turn that on or off? The next one is that piano keys. So these piano keys down here, you can have them show or hide on default. Next up we have this one. And if you have the same No, it is being triggered by different sources. They won't be layered. You won't have three different sees playing from three different sources if you have like multiple keyboards. So that one's also nice to have to not overload the system or have multiple Si's playing or something like that. This one is about showing the Help tool tips. So if you put your cursor on something, you have a pop-up menu, you can turn that off. No pop-up menu. And you also have the Show Values when adjusting controls, we see the crazy numbers that it shows us. Its very useful and can turn that off. And then it just changes. Next up we have this one limit mod depth on drop. So the modulation when dragged aren't full value. This has to do with the knob down here. Next up we have silence note, this is very useful when you have a lot of LFO's are envelopes going when you press pause, they will stop playing, so that one's quite useful. Next up we have double-click for type Pubble values. This one should be self-explanatory. When you double click, you can type in a value. You can turn that on and off. Next up we have the double-click resets controls instead. This one that controls, if you double-click, you reset different controls. Next up we have the mod wheel and wave tail position. So this is a mod wheel for a wave table. We can turn that on and off the disable mouse wheel for parameters. So we can change values and parameters with the mouse wheel. And finally, we have MPV enabled by default. This is for specific controllers if you have one. Lastly, we have the oscillator settings, and here we have pitch tracking quality knows fine and the tuning file. So here we have pitched striking Frost's later a on and off, also it or be on and off. And we also have different quality. You can increase it, decrease. But for the most part you want to stick to two times and you also have this lock feature. We also have noise fine, which refers to here. And finally, we have the term tuning for the frequency for 40 is the most common for since. And we can also lock this. You can also load a tuning file, which right now is unnecessary because 440 is the most common for sense, you most likely will not be changing this. And of course here you have X for records, the build number. And yeah, that's it for Global. 9. 8 WaveTable Editor: Hey guys, welcome to epsilon and this observer recovering the wave table editor, which can be accessed through this pencil tool. Right now we see that we have a saw wave going. And we're just going to change our real quick go to the analog, change it to acid. If you already noticed, if you click on oscillator b also has a pencil tool. But since it's more or less the same thing, we can also go back between a and b here. We don't have to go over two of the same things. We're just gonna focus on oscillator a. So the first thing we see here is that we have two major windows. This one up here, which seems very empty right now, and the wave table view down here. So up here, this is the harmonics. We see that there's gray bars of each even harmonic in the top row and the bottom row. So the top row has to deal with the loudness of each harmonic, and the bottom row has to do with the phase of each harmonic. You can alter the sound. So that's it for the top. We can also zoom out. Zoom Indus becomes more useful when we actually have some information go. Down here we have the wave TableView. Currently we selected frame number one. Down here we see all the different frames go into 256. We can select many different frames and even drag a specific frame to move it. Right now let's select frame number 60. No reason, just select frame 60. And on the left-hand side we see that there's different tools. With these tools, we can edit the wave table. So if you select the first one, you can see it creates straight lines. You have the upper line, downward sign, Valley, peak, upward slope, smooth. Downward slope, smooth connector connects different Endpoints, makes a kind of a jagged effect. And we have this smooth connector over different endpoints or smooth. We also have the up and down and can drag things up and down. Very interesting that we have noise. Other area was it's like the right thing. And we also make this all straight again, there are some that we haven't the marital the mirror, whatever we do and once that happens on the other, you meet in the middle, do stuff like that. And we also have over here on the grid options. We can make it a more detailed grid with more boxes and then we can be more smaller stuff, something like that. We can turn off mirror. And whatever we did in here, we can make it go into the harmonics and then we can do some edits appear. The different harmonics. Next up we have the menus, and here we can see all the different menus, single-process morph, add, remove, sort, import, export. So the first one which is single, it allows us to edit the current frame selected. So it just does different effects for the current frame. All the other frames are unaltered. So you can go through all those different effects that could invert, do stuff like that. Then we have process and process edits all the frames, all 1256 frames. So we select something like remove that. We see everything has been altered a little bit. Next up we have more morph, combines two different frames together and causes an effect. Then we have the add or remove feature. And the first option we see is to make everything defaults. So we get a sawtooth again, and we see that all the frames are gone. So there's only one frame. And we can always add more frames down here. Or we can just press the plus button, minus button. Select something, copy, paste. There will have to undo option. And we can also select this little drop-down menu here. Sinewaves, square waves, whatever, stuff like that. And you also have remove options. Let's say you select a specific group. Groove all accept selected. It's very useful and there's other Remove options. Let's say we add some, some of these crazy stuff going on. Then we can sort them spectrum by peak amount, by average, but peak. And it re-sorts all of them. Now for the import or export, you can choose either one of these menus here. Or if you like visuals, you can always go back to the main view of oscillators. And if you have any sounds over here and you sample packs installed, you can find a cool sound alike. This hawk in, drag it over and you'll see there's a pop-up menu with seven different options. So FFTs, These are increasing inequality. And then you have the import normals and they do a different effects. So first let's try f, f 512. And we see in the 2D view there's not much in the 3D. We can focus on the beginning. We hear this sound. Interesting one. And if we drag it again, we can make it a normal and it's sounds better at least for this specific one. And we can also see it in the wave table editor. That's it for this video. See you guys in the next one. 10. 9 Tips and Tricks: Hey guys, will get up. So nine, this absorb recovering the tips and tricks of serum. The first thing we're looking at as the menu here, we see the first option is about just scrolls the about Sarah. That's always there. You can read the manual if you want to find out any extra information about anything about Sarah and the manual is the place to go. Then we have load preset, initialized preset initialized modulations and revert to saved. So load pre-sale, you just load a preset, initialized preset makes it all default. Initialize modulations makes all the modulations default. And then we have copy a to be, copy a to B without mods, copy beat a, copy beat a without mods. This is oscillator a and b. Whatever in a, you can put in b, whatever B you can put an a. And depends if you want. Modes are not modulations that we have render and re-sample. So the way render should give an example of work. Let's have you choose that one word. And we see we get this really cool effect going. Can also do that for the other one, for the other oscillator with the word mode. And we can also resample. So what resampled does is it does a crazy effects. You can just stack you're effects. So let's say we did something like this. Turn out that detune this modulate that's at a level. And let's do the resample oscillator a. We get a cool effect going. Then we have Show presets, folder, CRM presets. This is where our presets are saved, noises, shapes, and different tables. So it's nice to find that we can rescan the folders if we install new presets, This is useful. We can hide the piano keyboard. For you don't like that keyboard econo inside it. Then we can load midi maps and saved many maps and load tuning. This has to do with your midi controller. For mini controller connected. Then we have lock effect, brac and load effect chain and save effect chain. This has to do with the effects. If we select multiple effects, we like what we change, we do something crazy. And then we can lock it. And if we change the presets, nothing changes. We can also save or load effect chains. If you want to apply this effect chain to specific presets, then we have MPA enabled. This has to also do with the MediaController. So if you have a midi controller, you can change different Macros and Modules. Next up we have shortcuts. And very useful shortcut is the control-click. Let's say we change something under the detail. If we hold control and click and puts it back to default. And we can also right-click and click lock parameter on this detune. If we change the preset, detune doesn't change at all. And I think to edit the de-tune or different knobs, we can hold Shift and drag up and down, and it will do a fine tune. It's much easier to get those small numbers. If we release shift, it's more drastic. A cool feature for all envelopes and LFO's is that we can alt, drag. Lfo's are envelopes and copy and paste. And so let's see, we see LFO to an LFO three here. So if we hold Alt and drag it to elephant three, we see the LFO f3 is now exactly the same. Now the interesting thing is we can keep going up on LFOs all the way to aids. Another really cool feature of serum is the menu here. These are all the presets I have installed. And we see that it shows precent names, location, categories, dates, and also a rating system. So if you like a preset, you can rate it and later on you can find them based on rating. Well, that's the end of this course. If you have followed this course from beginning to end, you now have a fundamental knowledge of Sarah. You can test whether you've learned the ten question quiz that is provided. Now you are one step closer to the world of sound design. Good luck.