Vital Synthesis | Ben Dudding | Skillshare

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

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

Lessons in This Class

32 Lessons (2h 52m)
    • 1. 00 Promotional Video

      0:48
    • 2. 01 Introduction to Vital

      1:46
    • 3. 02 Tour of the Interface

      1:53
    • 4. 03 Wavetable Oscillators

      6:27
    • 5. 04 Unison and Phase

      3:28
    • 6. 05 Wave Morph

      6:35
    • 7. 06 Spectral Morph

      5:00
    • 8. 07 Wavetables from Audio

      4:03
    • 9. 08 Text to Wavetable

      1:53
    • 10. 09 Wavetable Editor

      8:32
    • 11. 10 Adding Wavetables

      1:36
    • 12. 11 Sample Oscillator

      3:20
    • 13. 12 Oscillator Pitch Snap

      2:46
    • 14. 13 Filters Overview

      12:22
    • 15. 14 Filter Routing

      4:58
    • 16. 15 Modulation Overview

      3:43
    • 17. 16 Low Frequency Oscillator

      10:20
    • 18. 17 Envelopes

      5:34
    • 19. 18 Random Modulation

      3:36
    • 20. 19 Other Modulators

      4:55
    • 21. 20 Modulation Matrix

      5:36
    • 22. 21 Macros

      3:48
    • 23. 22 Global setting & Glide

      7:17
    • 24. 23 Advanced Unison Settings

      4:47
    • 25. 24 Other Advanced Settings

      4:10
    • 26. 25 Effects

      8:31
    • 27. 26 Texture Pad

      8:48
    • 28. 27 Dubstep Bass

      9:05
    • 29. 28 Deep House Bass

      8:55
    • 30. 29 Techno Chord

      7:50
    • 31. 30 Sequence Lead

      8:48
    • 32. 31 Thanks and Bye Skillshare

      0:48
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About This Class

This comprehensive course takes a deep dive into synthesis using the cutting edge software synthesizer Vital.
Vital is a powerful Wavetable subtractive synth that's capable of a plethora of modern contemporary sounds, and the best part is that there is a free version. Everything covered in the course is using the free version and a guide on the different versions and how to install vital is included.

A basic understanding of subtractive synthesis parameters (such as oscillators, filters etc) is assumed, and this course goes straight into the nuts and bolts of sound design in Vital.

We cover all the controls of Vital such as:

  • Signal Flow
  • Wavetable oscillators
  • Multimode filters
  • Low Frequency Oscillators
  • Envelopes
  • Random Modulation Sources
  • The Modulation Matrix
  • Effects and more.

There are many different example patches on how to build common types of sounds such as:

  • Basses
  • Leads
  • Pads

Although this course specifically focuses on Vital, many of the fundamental concepts of synthesis and sound design will also translate to other synthesizers with similar specifications.

This course is aimed at intermediate to advanced music producers who want to get up to speed with this amazing synthesizer.

So if you are ready to become a synth ninja this is the course for you.

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Meet Your Teacher

Teacher Profile Image

Ben Dudding

Music Producer

Teacher

Ben Dudding is a music producer, multi instrumentalist, motion graphics designer, video editor and professional trainer based in Melbourne Australia.

As a musician/producer I have over ten years experience composing, recording, engineering, producing and performing music and have many releases on local and international record labels in the groups "Deep Fried Dub" and "Alpha Channel".

My 'Sonic Safari' brand is dedicated to music production tutorial videos. In addition to my courses on Skillshare and Udemy I have a Sonic Safari youtube channel where I host a lot of free content.

Currently I am working for City Desktop Training in a part time capacity teaching accredited Adobe and Apple video, audio and motion graphics courses. I also work as a freelance moti... See full profile

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Transcripts

1. 00 Promotional Video: I've been here for insulin expiry bottles, the new software since that's taking the music production world by storm. In this comprehensive course, we delve into all the aspects of this powerful synth. Now this course assumes that you understand the basic building blocks of subtractive synthesis, such as oscillators, filters, et cetera. If you're just starting out, I recommend that you check out some of my synthesis one-to-one pulses below. Bottle has everything you need to create a cutting edge modern sounds. And best of all, there's a free version. So are you ready to make some molten sounds and vital late scarred. 2. 01 Introduction to Vital: So what is vital? Vital is the software sent that everyone's talking about and it's taking the software synthesizer market by storm. It's a digital wave table since that's capable of creating modern sounds and is often compared to x for recode serum and Native Instruments, Massive. Although I think it's got a sound of its own. And certainly with having, even if you've got those two absinthe. Vital is designed by my title, who's made many other freewill since, including the excellent helm synth. And in fact, there is a free version of vital. So where do you get vital? Well, at the time of filming this, you can hit along to vital dot audio, which is the website specifically for vital. Here you can set up an account and download your version of vital. So there's various different versions you can get. There is a basic free version which I'll be actually showing you throughout the course. And you can see that you get 75 presets and 25 wave tables, which are the oscillators. There's a Plus version which is $25, which I actually purchased. And you get 250 presets and 70 wave tables. So you've got a lot more sounds there. There's a pro version where you get more preset small wave tables, unlimited ticks to wave table, which is a cool feature we'll talk about. And then you can subscribe for $5 a month, which gives you everything and also access to new features before everybody else. Don't worry if you are choosing the basic free version because everything we learned in this course, you'll be able to do using the free version. And I'll even show you how to add your own wave tables to create more sounds. So go download vital and let's get into it. 3. 02 Tour of the Interface: In this video, we're gonna take a tour of the interface of vital. So when you first open up vital, you'll be greeted here with the voice tab. And here are the main controls are the synthesizer. This is where we'll be spending most of our time in this course. There's various different tabs here for different sections up the top. So there is a dedicated, a fixed section here where you've got your standard affects that we'll be looking at later. There's a modulation matrix where you can make various different modulation assignments between the different controls. And there is a dedicated advanced tab for global settings and other sittings. Along the left-hand side, we've got various different macros where we can assign different controls. There's a mod and a pitch wheel here. And a dedicated keyboard just in case you don't have a midi keyboard setup, so you can play notes by clicking here. Ok. There's also the little vital logo here. If you click on this, you can choose which size you want to view the set. And you can also check for updates. Coming back to the voice tab, we can see here are the main controls. So we've got three oscillators that are identical. There's actually a sampler oscillator where we can load up different samples. And these all feed into two filters. We've got various different modulators here on the right, such as envelopes and LFOs. There's also random generators and note and velocity. And in PE or midi polyphonic expression controls down the right-hand side. There's also a list of presets up the top. So that's a quick tour. And in the next video we'll have a closer look at the oscillators. 4. 03 Wavetable Oscillators: In this video, we're going to have a close look at vitals oscillators. So when we first opened up and initialized preset, we see that there's only one oscillator turned on, and these other two oscillators can be turned on with these little buttons here. Now, let's just listen to one-offs lighter at the moment because they're all identical. Now by default, we've just got a simple sawtooth wave. This is one of the sort of standard more analog style waves here. And we've got a simple level control here and a panning control. If you want to reset any of these controls simply double-click. So reset that pan. We've got the routing where this oscillate is going. In this case, it's going to filter number one, but you could see that to other places. And this main area here where we can see the waveform. This is where we can load up and look at our wife tables. So by default, we've just got this simple sawtooth wave. Now, if we want to pick another waveform or another wave table, we can simply click up the top here where it says init. And he has a list of all the different wave tables. Now, if you've got more wave tables, then this don't worry, this is what you get with the free version. You've only got a couple of folders here. And I'll show you how to add your own if you wanted to later on. But for now, I'll just go to the factory presets. And I'm just going to choose something like a classic blend. This gives us this sort of classic waveforms that we would expect. So I'll close that up. Now if you're unfamiliar with the term wave table. A wave table is a series of different waveforms strung together. And you can move through these different waveforms. So you can see here by default, what we've got is a simple triangle wave, which sounds like this. Fairly dal sounding. Now if we wanted to scan or scrub through these different waveforms, we can use this vertical slider. So as I drag this up, we'll hear it morphing through these different waveforms in the wife title. So somewhere about here we've got a sawtooth wave. It's morphing into a square wave and then, and to a pulse wave. And again, you can automate all of this. Okay, now there's also a 3D view by default, you're looking at a 2D view. If you click cruises 2D, you'll be able to see a 3D view. And we can see this line scanning true as we scan through the wave table. Very good. Okay, and of course, there's hundreds and hundreds of different wave tables. So you can switch through here, we've got various different ones like the harmonic series that will sound totally different. Okay, now of course you might not want to have to manually move this slider. So what we could do is we could use a modulator to scan through the wave title. And this is where things get interesting. Now we're skipping ahead a little bit because we're going to look at these modulators here on the right in more detail later, but just for now so we can get some movement happening. I'm going to come here to LFO one. And I'll, LFO is a low-frequency oscillator. Basically, this will add some movement. Now, you can see that this little target here. So if we drag this target and place it, you can see all these green overlays or where we can actually, what if we could control with the LFO? I'm going to drag it onto the slider. And now you can see if I play this back, we're using this LFO to scan through the wife title. And you could slow this down. So if we come to the LFO, OK, come here to the frequency and set this to a much lower value. Okay, so that's how you can load up some basic wife titles. And don't forget, of course, you've got these other two oscillators so you could load up different wave tables in here and blame between them with the labels. You've even got to pitch here. So if we look here at the pitch, this first value here is for the course tuning this isn't semitones. So I could transpose this apple down. So I'm just clicking and dragging on those numbers, and I'll bring that down to negative 12. So we've got a low octave there. And the second value here is the fine tuning. So what I could do is to create a nice thick sound. I could maybe choose something like a square wave by moving this to a square shape. And I'll just do not oscillate number three. And I'll load up again that classic blend, which gives me my standard shapes. And again, I'll choose a square wave. So oscillator to oscillate u3, I want them to be pretty much the same, so we'll bring the pitch down to negative 12. And what I wanna do is slightly fine tune them apart from each other. So if we come to the oscillator two, I can tune this one up a little bit with the second value. And number three alternate down by the same amount. And we could balance the labels here if we wanted to. There's also an overall master volume at the top here. If it's getting too loud, you could always turn that down. So you can see simply by loading up different wave titles and blending these together and adding some movement, you can get some really thick sounds. In the next video, we'll have a closer look at some of the settings of the oscillators. 5. 04 Unison and Phase: In this video, we're going to look at the unison and phi settings of the oscillators. So I'm going to start off with a initialized press it. So anytime you want to reset things back to the default settings or the initialized preset. You can click these three little lines here and say initialize brace it. And that'll give us our standard one-offs light a set-up with a sawtooth wave. Okay? And it sounds like this. Okay, so I will not look over at the section here called Unison. Now the term unison basically means to add more detuned voices. So a bit like an acquire where you have lots of people seeing and they're all slightly out of tune. This really thickens up the sound. And at the moment you can see that there's only one voice. It sees one V. So what that means for every note that I play where only hearing this oscillate apply once. But if we increase this number, will start to get more of these unison voices added, and that will thicken up the sound. So I'm going to increase this as we play it. These two voices. And we've got a Detroit amount. So at the mind that is Hitch 20%, that's quite a lot we can here. It's really sort of almost out of June. If I'm to bring that down to something a bit more satellite, 10%. Here it's a little bit thicker, so we can keep increasing this value. That's three voices, and this goes all the way up to 16. Just bear in mind that if you're trying to solve the web 16, that each voice you add for the unison does take up more CPU. So I'm gonna stick with three voices here is often enough. And you can even play with the distribution or the detuning these voices. If you look at the section where we see these three purple lines, you can click and drag and you can choose how these different unison voices are spread apart. Okay, so that's unison. I'll take that back to one voice. Now, the other thing here is phase and the phases whereabouts and the waveform is that starting from. So by default you can see that the starting phase is actually sit to a 180, so it starting halfway through the waveform. And you can change this. Now it's not going to sound very different if we just have one offs light applying. So I'm changing the phase here by clicking, dragging the numbers. Sounds quite similar, but where it will sound a bit different is if we have another oscillator. So let's turn on oscillate at number two. And notice that oscillate a number to sit to a 180 degrees, I'll slide of one set to 0 degrees. And as I change the phi is of one of these oscillators will hear this sort of phasing sound as they're going out of phase with each other. And again, you've got an amount of randomization. So that's randomizing the phase. And you could set that to 0 if you don't want it to randomize the phase every time you play a note. Subtle, but certain patches, this can be useful. Okay, so that's the unison and the phase settings of the oscillator. 6. 05 Wave Morph: Okay, in the next couple of videos, we're going to look at these two controls here in the oscillator section called the spectral morph and the wife morph. Let's look at the wife more first. So this is where things get really interesting. You can start to really bend and warp the actual waveforms. So I'm actually going to start off here with something a little bit simpler. So if I load up a wife title, I'm just gonna go for basic shapes and that gives me things like a sine wave, square wave. Sandra, I'll start with the sine wave. The most simple tone sounds like this. Let's look here at the second dial on the right. So this is called the wave morph. At the moment, this isn't doing anything because we don't have any of these Morph slots loaded up. But you can see if we click on this drop-down menu, we've got all these different options here. And I weren't necessary go through all of them, but let's have a look at some of them. So Sync, it's your classic had sink. Often you get this on analogs at the sizes where it creates as almost a slightly vocally tar. And you've probably heard the sound before. And what he sounds better on a square wife. That sort of tearing, sort of ripping sound is a classic of HOD sink. Let's have a look at format. Maybe we'll try this with something a little bit more basic, like a sine wave. So a formant is the sort of vowel sounds that you can make with your throat in your mouth. So this does give us vocally sort of sounds. Let's have a listen. It might sound bidder on a square wave. Alright, so different quite vocally sailing that one. We've got quantize. I'll try this on a sine wave. And this gives us almost like a sort of sample right? Reduction. When you increase that, we get something almost like a square away from SON, wife. It's quantize. Let's have a look at binned. So again, what banes does is it banes The white foam shape, left to right like this. Let's have a listen. Some of these you might be familiar with from other sort of synths like massive and serum. They have these similar sort of wave morphing capabilities. We've got squeeze, squeeze as the wave woman pulse. This tends to work better on a square wave pulse. Width modulation. You can see it's changing the width of the waveform. Can sound quite good if it's modulated fast. Okay, so some of these excellence here, the FM and RMT stands for frequency modulation, where we're modulating the pitch or the frequency of one oscillator with another one. And ring modulation, which is also similar to amplitude or volume modulation. So these ones here actually rely on having more than one oscillator somehow. Choose if M 4s2, it's going to use oscillator to two frequency modulate oscillator one. Now, I'll actually copy the shape here. And now here's a little tip for you if you want to copy the same waveform, although sine wave table from one oscillator to another, you can right-click and say copy, and then click here on a flight of two and say paste. So now we've got the same, the same exact wave forms. Ok? And what I wanna do here is maybe even turn the level of oscillator two down so we don't really want to hear that. We just want to use this to frequency modulate oscillator one. So let's have a listen. Okay, and we can hear that is frequency much lighting. So if you're unfamiliar with frequency modulation, basically it's like a very fast vibrato. Okay? And of course, one of the things about frequency modulation is the pitch of these oscillators does make a difference. If I was to, for example, pitch oscillator one up. Now here's another tip. If you hold down the Shift key as you're transposing this, you can transpose these an octave surf holding down shift. I can transpose that up to 12 or 24. Let's have a listen. We've got some other ones here. You could, if M from oscillator three or the sample that we'll look at later on the sample oscillator. But we've also got ring modulation. So at least just take out one more here. Are M for ring modulation ofs led to. So basically what this is gonna do is it's going to use oscillator two to adjust the volume or amplitude of oscillator one. And really what year it was bringing modulation is a sum and difference. Don't worry too much about the maths, but this basically gives us sort of metallic cleaner as Tones. Let's have a listen. And we start to get this crazy metallic atonal sort of sounds. And these are great for a fix riser effects and special effects. Okay, so that's some of the Wave morph options here. In the next video, we'll talk about these spectral morph options. 7. 06 Spectral Morph: Okay, in this video we're going to check out the spectral morph section and these sort of settings here you won't find in other synthesisers. So this is really where vital has its own voice, if you will. So what I'll do is I'll sit the, the wave morph to none. And again, we're starting with some basic shapes here. I'll just turn off oscillator to, let's just focus on oscillator one. So here we've got a simple sine wave and we can load up some of these different spectral morphs. Now the first one Vocoder actually won't sound like it's doing much here on basic sinewave. In fact, I can't hear anything. This tends to work better on some more complex waveform. So if I come here and pick something like, I don't know, maybe this one here, drink the juice, which is a much more complex wave table. Now, this is, at the moment sit to about 12 o'clock, which means that it's not doing anything. This is what it sounds like without the bow code spectral morph. And again, this is a whole wave table. So just one of these table cells like this. If we come to you that the Vocoder, let's have a listen. So this is pretty cool. You get some interesting sounds out of there, almost vocally sounds. What am I do is copy this basic shapes and paste that here. So we're just dealing with basic shapes again, and I'll set that to a sine wave. Okay, let's check out, let's say foreman scale. So again, this will give us 40. So sounds. And again on a complex waveform. Okay? What are some other ones here? Harmonic stretch is pretty cool. Again, not going to get that on a sinewave. Let's try and other waveform. Okay, so almost sink like sounds there. And we've got enharmonic Stretch where we didn't, we've got more sort of clean, bell-like harmonics. We've got smear. Interesting. And this one, he has a lot of fun random amplitudes. Again, we're not going to get that out of a sine wave. So true, something else brings out a lot of high harmonics then. Now these two here, low-pass and high-pass, they, these are a bit like a low-pass filter or high-pass filter exit. This is applied at the oscillated stage. So this is on top of the actual filters that we'll look at, lighter, low-pass and high-pass. So it could be interesting phase dispersion. To get us more on a more complex waveform. We had plasticky sound there. This ship turns really interesting. I'll try this on a sinewave. So a shepherd tones almost like an auditory illusion where it sounds like something is constantly going up in pitch. Now, we weren't really hear this unless I modulate this. Let's have a listen. As I increased that we'll get here, it's going up and pitch. But what happens if we apply it an LFO to this spectrum off? And what am I do is sit this waveform, so it's just going up. And I'll slow that down a little bit. So we get the solution like it's constantly going up. Let me remove that modulation. Okay? And we've got spectral time skew, which it gives us some really nice interesting harmonics. So there you go. We've got all these great spectral Morph settings here. And of course you could combine these with the wave Morph settings as well. And all sorts of different wave tables here. So all of these combined just with a single oscillator. There are so many different tones that you can get. 8. 07 Wavetables from Audio: Okay, in this video we're gonna learn a really neat trick where we can create our own wipe table from an audio file. So you can see here, I'm on an initialized preset and we'd just listening to one oscillator. So what I've got here is an audio file that says sonic Safari. Okay? But this could be any audio file. It could be somebody singing, It could be playing an instrument, it could be a drum loop. Although I do find, you're gonna get best results if you pick something with a single pitch, maybe a short note or something like that, you don't want to bring in like a whole track of audio. Although that could be interesting. Now, if we want to turn this into a wave table, it's really, really simple. All we need to do is simply drag the audio file straight on top of the oscillator. And you can see here that we've got these three different options, wave table, folk out and pitch splice. Now, there is no documentation at the time of writing this course, so I don't know exactly what these do, but I can hear that we get different results. So for example, if I choose wave table will be able to hear that as I scan through this wave table will be able to hear what it's created. Now that is a lot higher in pitch, so we'll play this down at a lower pitch. Okay, so it still sounds kind of like the original audio, although higher in pitch. And I'm hearing quite a lot of sort of glitchy kind of pops and clicks. So I find that the wife table conversion doesn't smoothly morph between the different way tuples. It does depend on your audio source and you can just try this out. Let's try the other options here. I'm going to try Vocoder. And I generally find that vocoder for musical material way there's some, some notes, tends to give me a smoother type of Morph. So let's try Vive code and let's have a listen. That sounds a lot more like the original. Now, of course, we might want to move this position slider with an LFO or an envelope. So I'm gonna grab LFO I1, drag that onto the position slider, and maybe I'll make this play a little bit slower. Maybe I just want to going in one direction, so will have this slope going up. So that sounds a lot smoother. Now this is different from simply loading up a sample. Notice there, if that's what you wanna do, that is this dedicated sampler section that we'll look at when you load up an audio file as a wave table. Unlike with the sampler, it won't change speed. So with the sampler, if you speed up some audio, it'll play back faster. If you slow it down, it'll play back slower. Because this is a wave table. It doesn't do that. It keeps the same speed. So if I play this and allow an art, or a higher note, will hear that it keeps the same speed. And of course this means that you could do things like play chords for example. Okay, so that's really cool. And of course this is just a starting point. So you could add some of these spectral wave morphs here. If you wanted to, you could add some unison and play around and use this as a building block for your sound. 9. 08 Text to Wavetable: In this video, we're gonna look at really fun feature that you won't find in most other synthesisers. And that's called ticks to wave table, where you can literally just type in some text and it'll turn it into a wave table. Now, depending on the plan you're on, you only get to do this so many times per day. The way that this works is actually sins this off to a server and it computes the wave table on a server and downloads a back to vital. So you do need to be connected to the internet. So it's very, very simple to do if you start off with an oscillator. In this case, I'm using the initialized preset where we're just hearing oscillator one. You can just right-click here and simply say takes two wave table. Okay, and then you can start typing in text. Now, bear in mind that you might need to type things in phonetically how it sounds. So for example, if I wanted to say base, maybe I'll add an e there. Now by the way, you've actually also got some different, different accents here. So I'll just choose English UK, but you can choose whatever you want. And I'll hit enter. Okay, so that took just a moment to compute and let's have a listen. Cool, that's pretty fun. I'll pitch this down. And let's again get an LFO to move our wife table position. So as you can hear, it's really easy and really fun to create your own wipe tables simply by typing in text. 10. 09 Wavetable Editor: Okay, in this video we're going to look at creating our own wave table from scratch. So I'm here with an initialized preset. And if we come to oscillate a one, if we wanted to get into the spatial wave table editor, we can click the little pencil tool here. And that takes us inside this white table editor. So you can see at the moment, I've just got a simple sawtooth wave here and it sounds like this. Now one way to change the wave table and Shia, we'll change the wave form is to join these little dots and this grid to create some different wave shapes. Okay, and we can hear it now that's quite different sounding that generally you'll tend to get fairly musical harmonics out of this if you're using this grid. And you can change the numbers of the grid here if you wanted to add more dots in the X and the Y. Now I am going to actually clear this out. So down the bottom here you can actually see that as we are creating a wave form, we're seeing all these little bars here. The top bar here represents the different harmonics, and the bottom bar represents the phase. Now what I'll do is I'll right-click and say clear, and I'll also clear the phase as well. So now we've got nothing here. Notice that there actually is no sound at all and got a flat line here and the grid, and what it can do is here in this top editor, I can click and drag to manually add boss. Now you can see if I add this very first bar, it's creating a sine wave. And this is what's called the fundamental or the first harmonic. So simple tone. And if I wanted to, I could add some more harmonics to this, to tread a thicker, more harmonically rich sound. You can just draw in like you would with a pencil. Okay? So there's also lots of fun to be had here if you wanted to, for example, randomize. So if I right-click on here and to say Randomize, Now, what I'll get is I'll get random collection of harmonics. I might make that bottom one, which is the fundamental tone, which is the lowest note here at that lowest pitch, harmonic, little bit taller. So we Mycenae. And of course you can mentally play with this. Now. You have some other things you can do here to. You can, for example, right-click and clear the old or the even harmonics. So if I say clear, even, now, it's taken out every other harmonic and we've got something like this. Now you can also change the phase. This is fairly complicated, the actual mathematics here, but the phase is how when sync these different harmonics i, and this does change the tone as well. It's a bit more subtle than as if I was changing the harmonics. And again, you could right-click and randomize the phase. Okay, so now we've got a new unique waveform. Now, the way that this works is with a keyframe by system and Keyframing is actually borrowed from animation software. So this little diamond shape here that is actually keyframe. What a keyframe does is it holds a particular value at a certain point in time. So if I've got a keyframe here at the start of this little mini timeline view here. What I can do is click and drag on this gray bar at the top here and see this little purple line. This is basically whereabouts in our lifetime. Will we think of this like a simple timeline going from left to right forwards in time. So if I move this all the way to the right, I could add another keyframe by right-clicking and saying create keyframe. And now I can see I've got a sick into key frame at the end. So now we've got one at the start, one at the end, at the moment, these are identical, but let's try and randomize this again, we'll randomize the harmonics. And this time I might clay the odd harmonics. So the first keyframe will go even harmonics. The second key frame we've got odd harmonics and it sounds like this. So much thinner sound. And if you want to hear how this is going to morph between these two key frames, you can just click and drag of the top of this gray bar. So you can hear it's morphing between these keyframes. Now you could add as many key frames as you want, but I'll keep it simple with just two. Now there's a lot of other things we can do in here more than we can hope to cover. But for example, we could add a modify him. So modify, again, just changes the sound. So if we click add modifier, I could add something like for example, a wave folder. So a wave folder is going to fold the wave and create more complex harmonics. So I'll actually won't actually changed the multiply value here. So this multiply value is for the wave folder. What I'll do is I'll move to the end here and again, right-click on this line that says why folder and create another key frame. Make sure these line up. And now I can change the multiply here. Maybe I'll play this down lower in pitch. So we're getting a much more buzzy sound. So it's going to go from a less buzzy harmonically sound to a more harmonically rich sound. That sounds pretty gnarly. Okay, now, again, we could add more modifies if we wanted to, we can click add modifier. And we could do a wave warpage, which is fairly similar. It's Think of it a bit like a distortion. So again, I'm not going to touch this first key frame, but I'm going to add another key frame here at the end. Right-click create keyframe. And again, I can warp this on the x, which is the horizontal, or the y, which is the vertical axis. Let's have a listen. Okay, cool. So now we've got this fairly nearly sounding wife table. You've got these other things like sources. If you click add source, you could try another line source here. Or you could even open up an audio file as a source, just like we did with the drag and drop method. So I could add a line source here. And now on top of what we've already got, we could move this line between that and change the waveform. That if you want to get rid of one of these, if I decide I don't want this line source, I can right-click here on the three lines. And I could say removed, group or remove, and that'll just get rid of that. Okay, so now I've got, I'm feeling happy with this. What I could do is exit the wave tidal Ada, and now I've got my own custom waveform. Again if we want a more through this so I could grab an LFO, drag that to the wave table position and maybe slow this down a bit. And let's have a listen. Cool. If you liked the wife title that you've created, what it can do is right-click here and say Save to wave tables and you can start saving your own library of white titles. So my author name here is Dr. Bain way. And I can call this nasty by ice or something like that. So next time I want to load that up, if I come here under the user wipe tables here we've got nasty base. And I can use that as a starting point. So really, really powerful that you can create your own wipe tables from scratch in the wave type of editor. 11. 10 Adding Wavetables: Okay, in this video, I want to show you how you can actually add third-party wipe tables. So these could be from other synthesisers like Serum or Native Instruments Massive. Or you could download them from another website. In this case, I've downloaded a bunch of wipe tables here from ACO sound works from the website way that giving this away for free so you can check out the URL him. And I've already downloaded these now the idea is to place these somewhere on your hard drive where you want move them. So in this case, I'm saving them here in my music folder here. And you notice that I've got a wife tuples folder where I've gone ahead and copied these modular waveforms. Okay, Thank Here in vital, what we can do is we can click here, we would load wife tables and we can click to add a folder. So if I click Add Folder, I'll browse to that folder here on the music wave tables. And ACO sound works modular. So we'll open that up. And now I can see I've got this folder here. It goes sandbox Modula. And I can choose any of these wave tables. So let's try one of these out. So you can easily load up other wipe tables into vital and create a much wider palette. 12. 11 Sample Oscillator: Okay, in this video I want to talk about the dedicated sample oscillator. So I'm starting here on the initial preset and undergo oscillator one turned on. I'll actually turn this off because I want to concentrate on this sample oscillator right here. And by default, there's a white noise sample loaded up. And this is used as a dedicated noise source, will just tune the level down a bit here. And white noise doesn't really change pitch when we play it up and down the keyboard, because it's all frequencies played at once. Now, if we click here, we can see that we do have a bunch of different samples that come with vital. And we've got different types of noise like pink noise and brown noise. We've got things like sea waves, river, coffee grinder. Okay, but if we wanted to add more samples here, we could add a folder of samples just like we did with that wave tables. So I'm going to click here and say Add Folder. And here in my music folder, I've already got a folder of textures that I've made. So I'll just select that folder and open that up. And now I've got this takes just fold it. So I've got things like crickets here. So for example, I could open up these crickets. Now bear in mind that there's no edit it at these samples here inside of vital. So you would actually need to if you needed to trim them or anything like that, you need to do that in a dedicated audio editor program or DAW. Now we've got some simple controls here. We've got a level control and appending control. Up here to the right, we've got various different controls. We can, for example, loop this. So at the moment, this is set to loop, so it's going to repeat. But if I turn that off, it's only gonna play once. Alternate back on. Now, you could also choose to loop that back and forth with the error here. So it's gonna go forwards and backwards. If we want it to be able to play this up and down the keyboard, we can click this little keyboard icon and now it's going to pitch that sample up and down the keyboard has imply it. Which is pretty cool. And this last button here will pick a random stop point every time I trigger a note. So that's very cool. And of course, you could layer this up along with your other oscillators. So great to have another extra layer of samples. And here, particularly good for textural, ambient sort of things. 13. 12 Oscillator Pitch Snap: Okay, the last thing I want to talk about in this fossilization is this thing called a pitch snap. I want to start off with a fairly simple sound. So I'm going to load up this basic shapes wave table, and I'll just leave this as a sine wave. Okay? So you'll notice that we can already pitch notes up and down here via semitones or fine tune. But we've got this thing here called pitch snaps. If I click this little thing that looks like a keyboard with these little dots, we could put in various notes and it's going to only snapped to those notes no matter what we play. So I'm going to play a chord here, that's a C major chord, and I'll add a sneaky. So we've got this interesting, kinda cold. And now if I was to transpose, this, will hear that it's going to snap to one of those pitches. Now this is quite interesting if we were to modulate the semitones here. So I'll grab LFO I1, drag it onto the core spiritual semitone pitch here. And let's have a listen. Cool. So now you can hear that it's almost creating like an arpeggio pattern. So there is no dedicated AGI to here inside of final, but you could use this to create sutta PGA style sounds. By default, this will transpose as I played us up the keyboard. So if I play a C, I'll get that code arpeggiating. But if I play a note, we're just here that whole cold transposed up as we play that up the keyboard. If we click back here on the little Snap button. By default, this is S2 transpose nap, but we could set this to a global snap. And what that means is that if I go to play this back, no matter what notes I play on the keyboard, it's only going to snap it to these particular notes that I've put in. Notice it is sort of playing this up and down the keyboard, but it's only playing those four notes. So pretty cool. Little option here to have the pitch snap to various different notes. 14. 13 Filters Overview: In this video, we're going to have a look at the filter sections. So I'm starting here with an initialized preset. We're just hearing oscillator one and this is hit to just a sole truth wife. If we come down the bottom here, we can see that there's actually two different filters. Filter one and fill the two. Now these are turned off by default, so I'm just going to turn on Filter1. Now filters to it has exactly the same settings and we'll talk about sitting up two filters later on. But for now, let's just focus on the one filter. Now oscillate, uh, one is by default already fading into Filter1. So we're going to hear that straight away. You can hear that the sound is a little bit della than it normally would be without the filter. Okay, so the filter is already working. So if we look here at the filter, we've got this nice little graph where we can see exactly where the filter cutoff in the resonance is. Now, you can't drag here inside the graph with your mouse. And that will change the filter cutoff, which is this horizontal slider, and the resonance, which is this vertical slot here. So you could drag here up and down to change the resonance and left and right to change the cut-off. Or you could drag these little slide is here if you just want to change one or the other. So let's focus on the filter cutoff to begin with. So if you're unfamiliar with the tomb filter cutoff, what this is saying is that above this particular frequency, all the frequencies will be cut off. And you can see the sloping down here. Anything above this point is being cut off, all these other harmonics. So we can hear this if we move this around, it's making the sound. Della, if I drag this to the left goal so we can hear it cutting off those high frequencies. Now, by default, we're listening to what's called a lowpass filter. And this is this analog 12 decibel dB filter. Here we'll talk about these other fields, dots in a moment. Okay? Now you can see this little bump here at the cut-off point. This is called the resonance. And the resonance basically creates a little page. And that will emphasize the cutoff frequency. Now with no resonance, if we bring this vertical slide down, we can see we've got a nice, gentle curve here. And it sounds like this. It's more of a sort of Dahl smooth sound. If we bring this up a little bit and we'll see we've got this little bit of a bump here, and let's have a listen. So we can hear it really accentuates that cutoff frequency and we get this almost talky type vocally sound. Now if we increase this even more, it'll get to the point where it starts to almost scream or ring out at a certain note. So we'll bring this all the way up and maybe I'll turn the overall volume down because this can get a little bit loud. Okay? So you can really hear that ringing out because the resonance is so high. Okay? Now, there are with any one of these filters here, and we'll talk about these different types of filters in a moment. We actually have different types of filters. So at the moment it say to a lowpass filter. But with this slider at the top, we can change the type of filter from a low-pass and we can smoothly morph between here in the middle, we've got what's called a band-pass filter, where we only hear the frequencies here in this middle. So it's taking out the low frequencies and it's taking out the high frequencies. And just leaving these. Middle frequencies here in this single band. Let's have a listen to that one. That's a lot thinner than a low-pass. So if we bring this all the way up to the right, we can actually turn that into a high pass filter. And opposite to a low-pass filter or high-pass filter that takes out the lows and lets the high frequencies pass. So it's maybe sort of the opposite of the way you might think that a low-pass filter takes out the highs. A high-pass filter that takes out the lows. So now we can hear that it's taking out anything beneath this cutoff frequency. How, how, and of course, you could change this and more through these different filter types. Okay, so in fact, let's get some movement going on. I'm going to grab LFO i1 and just drag that and assign that to the filter cutoff. So now that's moving. Maybe I'll slow this down a little bit. So we could be morphing through different types of filters as that's moving. Very cool. Alright, now there's all these different types of filters up the top here. So we've got analogs 12 debate now whenever you see db o decibels in relation to a filter that is talking about the steepness of the slope of the filter. So we can see that 1212 db slope is a more gentle slope then if we set this to the next one. So if I click this little arrow will go to the next one, which is a 24 decibel filter and see the slope's a lot steeper here. And it's got a subtle, but it does going to have a slightly different sound, especially when we increase the resonance. So you can hear that subtle, but it is slightly different. Now, if we click here on the name of the fields type, we've got all these other types of filters as well. So we've got a notch filter. Now again, we might need to change this blamed here or this more. If we said that in the middle we can see this is a notch filter where it's taking out just a notch in the middle. And this will sound again quite different. Alright, and you can move that up here. So that's a notch filter. We've also got some other ones here, like BP. And so we can go from a band pass to a peak Felton. So the P stands for peak and then to a notch. So again, as that's moving, how omega surrounds how, okay, now we've got these dirty filters which are a little bit more duty sounding. Ok. So they're a bit more gritty. Let's check some of these out. 12 db duty filter. And again, I'll say this to lie POS. Why? Let's try 20-fold DB. Now you can make some of these films is even more duty by increasing this drive. So the drive is basically over driving the input of the filter. So that can sometimes give us a sort of more gritty sound as well. So again, we've got dirty notch band h naught. There we've got ladder filters, let it filters and talked with analog filter found in various different synthesizes like the TB tree R3. So again, we've got a 12 db, 20-40 be notch bandpass. And again, these are all just got slightly different sounds. So that really screaming a3, i3 type sound, you could use one of these latter filters. Ok, then we've got some more digital sounding filters that tend to be a little bit more precise sounding, a bit cleaner sounding. And then we've got some diode filters. Again, this is another type of analog circuit. So it got a low shelf, like a lowpass. Okay, a little bit more genes within and a lower cut. So again, these are modeled on analog filters. Now what formant filters? So I formant filters here actually tried to emulate the sound of a human voice, the actual formats or the vowel sounds. So we've got these ones here, like this, IE. Let's check that out. And this next one here, again playing with the resonance and the formant transpose. And this case it's not changing from lowpass to bandpass. It's transposing and shifting old eyes formats up and down. So you can have a lot of fun modulating and moving all of these different sounds. So they're the formats. Again, we've got bandpass, peach notch ones. Now, these last two here, i'm all kinda spatial fix. So it coming filter sounds a bit like an effect, like a phalanges. So let's have a listen to some of these coming filters. So it's called the cotton because you can see we've got all these different teeth like a cone. And here we get this sort of quiet metallic sweeping topic, in effect, a bit like a flanger. And again, we could play with the blame and so on ie, the high frequencies and reflected what, the mid-frequencies, all the lows. Okay, so we've got a couple of different variants of carbon filters and flanges, which have very similar sounding. Let's try out this low, high flange. And we've got these band-pass ones as well. You notice that some of these have positive and negative values. That just depends on whether the columns, these notches are going up or down. Let's check that out. So again, slightly different sound. Go and then we'll go phases again. A FISA is more often a fate. There actually is a Pfizer effect we'll look at later on. But let's have a listen. Again, we can play with the blind. This is actually adding more peaks or adding more poles to the filter. We get a more drastic effect. The moral puzzles we've got here, well peaks. So go positive and negative phase a. So there you go. As you can see, there's a lot of different types of filters and you hit a lot of different sounds. In the next video, it will have a close look at some of these different fields sittings. 15. 14 Filter Routing: Okay, in this video, we're going to have a close look at some of the filters sittings here and the filter routing. So again, I'm starting with the initialized preset. We've got just a standard sawtooth wave. I'll turn on Filter1 for now. So we've talked about the drive control down the bottom here, but there's also a mixed control. So at the moment that makes control state all the way up. So if I was to play with the filter, we're just going to hear the filtered signal. But we could mix that in with the original. If I say that to about 50-50, maybe I'll increase the resonance here. So it's blending the filtered sound in with the unfiltered sound. Okay, most of the time you're probably gonna wanna leave that turned all the way up. That key tracking is an interesting one. This determines how the filter cutoff is played up and down the keyboard here. Now, we're not necessarily gonna hear it so much on the sound, but maybe if I turn off oscillator one, I'm going to turn on the sampler, which is just some white noise. And I'm actually going to send that to filter one more on that later. Ok, so now we're hearing white noise coming through the filter. And that's a good way to create a sort of wind effect. Now I'm actually going to change the type of filter here to maybe a dirty bandpass, something like this. Now you'll notice that at the moment finally that somewhere in the middle that and if I turned the reason it's all the way up, I go turn the volume down a little bit. It almost sounds like this is just we're hearing a single note ringing up because we've got this very sharp filter. But you notice that if I play this up and down the keyboard, that it doesn't really change. Now, if we turn up key tracking at the moment, it's in the middle, which means that it's turned off. You can have negative 6y tracking, which would go down when you play up the keyboard. But we actually want to make that positive self in this all the way up to a 100%. So now when I play this out the keyboard, we're playing notes or playing a tune with the actual filter cutoff. Ok, so this will probably only be heard if you turn up the resonance. If there isn't, it's his turn down. You don't really hear that. So you can create nice little tunes noise sitting there. And again, you know, you could turn on an oscillator as well. And here this coat, so that's k trekking. I'll sit that bag to off and I'll just go back to a standard log 12 db filter. Alright, cool. Now what I want to talk about next is the filter routing. So you can see that by default, if we look at oscillator one, I'll turn off the sample of here. Oscillator one. You can see this little drop-down menu here is set to filter one, but you can click on that and you can see that to fill the two or filter 12. And then you can also bypass the filters and go straight to the fakes or directly out the main output. So I'll just leave they don't filter one. But you notice that if we wanted to maybe turn on oscillator two, notice that oscillate u2 is by default routed to filter number two. So if we come here and to an unfiltered too, now we're only going to be hearing oscillate U1 going through Filter1 and oscillate a tube going through filter to, okay, in fact, to make this more apparent, what I could do was even pan this one to the left and Penn oscillator two to the right. Maybe I'll even make these at different pitch if we increase the pitch here on oscillator, one will be out here this little bit better. Okay? And if we come here to fill two, I'll even change this to a highpass filter. So now we're about to hear that's oscillator one here in the left. And we can hear that it's a low-pass filter. And oscillate a two here, Right? And that's a high-pass filter. And of course you can even add motion to these and have say LFO one if a ding filter ones cutoff in LFO to affecting filter T2 is cut off and have them going. It may be different rights. So you can also see here in the filters which oscillate is being routed to the filter. So you can change that here as well. So a lot of fun you can have here playing with a different filter wrappings. 16. 15 Modulation Overview: In this video, we're going to have an overview of modulation in vital. So this section over here on the right, all the modulators that we have. So we've got envelopes, LFOs, low-frequency oscillators, and some of these random ones, as well as some other controller based modulators like note and velocity. Okay? And in fact, we've already been doing some simple modulation using LFO one here. So we've already learned you can assign what any one of these modulators with through cross here. So for example, if I turn on filter one, I could drag this little cross here from LFO one onto the filter cut off. And we can see that that's made an assignment. So it's controlling the filter cutoff with LFO one. So again, a modulator you don't actually hear directly. You only hear its effect on another parameter such as the filter or the oscillator. Ok, so once you make an assignment, see this little circle, we can click and drag on the circle and choose how much modulation we want to apply. So if I increase that all the way up, It's got the maximum amount of modulation. We could bring that down a little bit. So it's not modulating it quite so much. And that's going to be based on the cutoff frequency where that sit two. Now you can actually assign LFO to multiple destinations. So if I was to click where it says LFO one again, maybe I want to effect say the panning here of my oscillator. So if we drag that on there, now, panning is one of those things that we actually want to go in two directions at the moment, it's only going to be going to the right. So if we right-click on the actual little circle here, we can say make bipolar. And what that's gonna do is it's gonna go in two directions. So rather than just going from the center to the right, it's going to go left and right. Ok? And again, it depends on the type of control and what result you want. So sometimes you might wanna make debt bipolar. Sometimes you want to make that unipole, which is just the one direction. Okay? Now, you might think that it's a little bit limited having only three different envelopes and for different LFOs. But if you start assigning more than the number that you've got by default, you're going to find out that it will actually create more for you. So if we grab LFO O2 and start assigning that to different things, let's say we turn on oscillator number two and we assign that to the, I don't know, the panning. And we assign LFO three to the pitch and LFO four to say the level. Notice that we've got a fift LFO and we can keep assigning these things and go to six. And now we've got to seventh. So it's going to max out at, let's see how many we've got. So we've got eight LFOs. And same thing with the envelopes. If we keep assigning envelopes to things, we're going to end up with. That's five envelopes, it's adding more as we go six envelopes. So it looks like six envelopes is the maximum. Okay, so that's quite a lot of modulation there. In the next video, we're going to have a closer look at these different types of modulators, starting with the LFO. 17. 16 Low Frequency Oscillator: In this video, we're gonna talk about the LFOs. Lfos stands for low frequency oscillator. And just like oscillators, we will get different shapes like a square wave and a sawtooth wave. An LFO is a type of oscillator, except that generally it's used at oath low-frequency, hence the term low-frequency oscillator. Now again, this is a tough modulator, so you aren't here the LFO itself, you'll only hear its effect on another perimeter of the sound. So starting here without initialized preset, I'm going to turn on the filter. And let's assign LFO l1 to the filter cutoff by dragging the cross here. And we can always adjust the amount here. Okay, so turning our attention here to the LFO section. The main two things that you want to choose, the shape and the frequency. So study here with the shape, you can see that at the moment is to sit to a triangle would simply goes up, then down. But we've got some other shapes here. We've got things like a sawtooth down, which is just going to go down, or up. Or a sine wave, which is a bit smoother than triangle wave, or a square wave, which just simply on and off. And then we've got some more fancy ones here, like these steak eyes down. Okay, so I'm gonna start with a sawtooth down. If you wanted to, you can actually change the shape. You could grab these points and being that we could be down. So now I've got more of a slope there. We can hear that it's got a different sort of a timing to it. And you can move these points around if you wanted to. Maybe I'll start with a triangle wave here. So we can grab these points, move them around, and we can, you know, if maybe change the timing here, then you can also, as well as bending these different points, you can add more points. So if I double-click to edit point, alright, so we can add more points and maybe I wanna add another point here. And we can start to create our own Shapes. Go. Now, I'll just restate that to a simple triangle. Now, you can also drawer in different shapes here too. So if we click this little brush here, we can see that we've got some drawing options here. And you can actually choose from different shapes like a triangle. So we can draw in some more triangles if we wanted to. Or simple apple down. And again, you can start to create some different shapes. Now, I'll reset that to a triangle. Now, a cool thing that you can do here is you can see at this brush to a stick, and this has gotta create basically steeped or square waves. And we can play around with the grid. Now this is a cool way to create a sort of skip sequence dependent. What I might do is just turn down this modulation here to the filter cut off. And I'm going to actually assign LFO l1 to the pitch. And what do I do here is if you right-click, you can actually just type in a value by saying into value, I'm gonna type in 12, which is this 12 notes in an octave. Because what I'm gonna do is I'm gonna create a sort of step sequence, a pattern. And I'm gonna change this x grid to 16. We want 16 steps now little sequence. So you just come here magnetic 16. And I want the vertical grid to be again 12 because there's 12 notes in an octave. So if we come here, we can say 12. And because I've said this to step, now I can start clicking and dragging and making some different steps. So I'm just very quickly going to add in some different values. Okay, so let's have a listen to this affecting the pitch. I'm displaying a single note here. Okay, now that might be a little bit too fast, and that brings us to the frequency. So you can see here down the bottom, we've got the frequency. This is basically how fast it is. So you can see at the moment this is C2, a half note. So I could make that faster or slower by clicking and dragging. So there is actually no sequence it in vital, but you can use an LFO to create a sort of skip sequence of pattern. I'll just reset this back to an uninitialized patchy. Okay, let's have a look at some other settings here for the LFOs. So I'll set the LFO to just a simple sawtooth down. And let's assign this to filter one cutoff. Okay, so we've got these different trigger modes here. At the moment, the sea to trigger, so anytime I play a note is gonna restart and trigger the LFO. But we could come down here and change the mode to something like sync. So Sync is going to stay in time with the tempo of your door. Now, in this case, I'll turn on the click track so we can hear this. Another mode here we've got is envelope. And basically this will only play the shape once. Ok? So if I play this, play it once, then it stops. Now, I've got some other ones here too, like sustain envelope. In this case, we actually need to increase the release here on our envelope, which is affecting the volume that we'll talk more about envelopes in a further video. But we'll notice that this actually doesn't trigger the envelope until I let go of the note. So I just let go of the note and dinner triggered the LFO. So that's the sustain envelope. And we've also got other ones here to like a loop point in a loop hold. So if I say this to say loop point, I'll add some more points here, or maybe I'll just load up some sort of little preceded pattern whites, this staircase groove. Now. What I can do is I can sit in any of these points here to be the stop points. If I right-click here, say this one here in the middle and say see it, this is the stop point. It's only going to loop from the start point to the end. Ok? So thats loop point. And then we've got loopholes which only loops the first bit up to that point. And again, any of these points can be set to the start point. Okay? So that's pretty troll oldest, reset this back to in a simple triangle wave. Now, we can also do key tracked LFOs. So again, if this is affecting the, I'm going to set this back to simply trigger that. If we look at the right here, we've got, by default this is set to frequency, but if we click on this little note here, we can change this to seconds. And now this value here is not necessarily in time with tempo of our DAW it simply in seconds. Or we could have that go into the tempo. That you can also do dotted notes and triplet notes if you want to, different sort of tiempo grid. But here's an interesting one if we set this to keep track. Now, the speed of the LFO is going to be based on the notes that we play. So if I apply this download, I'm, I guess a lot slower here. If we apply this on a low light, it's going to be slower. Every play this on a high note is faster. We've also got some of these smoothing control. So again, if I bring up one of these step through shapes like this, take ice down for example. I could add a little bit of smoothing to this to make it a little bit smoother. Go. Now you can also edit delay. So if I wanted this to come on slowly, increases to lie. So it's got a white for a while before the LFO kicks in. Okay, so you can hear that it had a slight delay before it started. Now, one of the coolest features here in the LFO section is the stereo control. And this basically means that if we use a single LFO, we can actually create stereo motion. So as I increase this, we're going to notice that we actually get to slightly offset LFOs moving in different directions. Even just with a small amount, we can get some really nice stereo fates. So as you can see, the LFO's here inside of vital. Very, very flexible and powerful. 18. 17 Envelopes: In this video, we're going to look at the envelopes here and sort of vital. So been envelopes, that type of modulator that triggers once whenever you play a note. Now, you can see that by default we've got three envelopes, but it goes all the way up to six. And by default, envelope one is actually controlling the volume. So anytime I play note, it's going to use this envelope. So the type of envelope here has our standard controls that you'd find on most envelopes of an attack decay, sustain, and release. But it adds a couple of extra stages here with a delay at the start, at a hold after the attack stage. Now, it's a bit tricky to get your head around this, but every time I play a note, we're going to see this is going to change the volume in this case that's already assigned. So does play a note here that you notice that as long as I hold my finger down on a note, it's gonna keep playing. That's because we have this sit as a sustaining envelope. So you can see here that we've actually got this sustain control and we can turn this down here. So I'm actually going to bring this down. Now you can either use the dials here or you can actually grab these points here on the graph and drag these up and down. So now I don't have a sustained. That means if I hold my finger down on the note, it's not going to sustain. So let's have a listen. It's fading out and I'm still holding my finger down on the node. So all of these other controls based on timing, on how long it takes a certain stage. But the sustain is actually a level control. So you can have this at low volume or a high volume. And when, which in that all the way down, it's not gonna sustain at all. So we'll leave that down. Now. Let's have a look at the techniques. Normally this is the first stage and we can actually see that the attack is how long it takes to get to the initial value when I trigger a note. So at the moment the tags all the way down, we can see that it's right here. And so as soon as I play a note, we're going to hear the sound. If I was to have a slower attack by increasing this, we're going to actually hear that it takes a while to fade in. Okay, so that's the attack. Now, the decay is normally the next stage here. And if we make this shorter, We're going to hear a much shorter percussive note. We make that longer, it'll last longer. Now, we've got an additional hold stage here so we could turn up the hold. So in between the attack and the decay, we've got little holes. So this might hold for, I don't know, 2.5th or so and then decay down. Just gives you a little bit more control. We've also got to delay at the start. So rather than this attack starting as soon as I trigger a note, we can have a little delay so that it might hold for say, 2.5th or so and then trigger this attack. The very last one here is the release. And the release is affected when I let go of the node. So in fact, I'll turn up the sustained for this and with no release as soon as I let go of the note, it's going to stop. If I increase the release, it's gonna take a little while to stop when I release the note. So you can hear that took a while to fade out. So I'm going to increase this quite a bit. And you notice that now I can actually see that on the graph we do have this little magnifying glass for you. Click and drag. You can zoom in or out by dragging on the magnifying glass. So now I've got a much longer release. So it takes a lot longer to fade out. Ok, so these controls we can use to shape each single note that we play. Now, envoy one is controlling the volume, but we could also use an envelope to control other things. So if we come to envelope number two, maybe I'll zoom in here a little bit. We could assign on block two to, for example, the filter cutoff. So I'll drag envelope two onto the filter cut off. All right, and now envelopes, who's gonna affect that? Now I'll turn down the sustain here on envelope T2. And now we'll hear that fills cutoff going down in this sort of interesting percussive shape. And we could play with it, decay much faster Zeki a sound or a long sound. You can also play with the attack. Okay, and you've got up to six different envelopes that you could have a fainting other things. So you could use on block three to affect the pitch. You get the idea. Maybe that's a bit much. So that's how to use envelopes here and vital. 19. 18 Random Modulation: In this video, we're going to explore some of the random modulators here. So we've got two random which libraries that are the same. So I'm starting here with the initialized preset. And I'm actually going to change my wife table to just basic shapes and stick with a sine wave for this. And what I wanna do is assign random one GEA to the pitch of oscillator one. Okay? So by default, if I play a note, the pitches kinda randomly change. And I can play with the frequency here and maybe I'll change this to seconds. So just like with that LFO, we've got these different modes for tempos. So what's in time without door or key track will secant. So I'm going to say that seconds and let's make this a bit Foster. Okay, so you can get that cool, sort of Judy Chu's sort of pitch effect. Now what I might do is initialize the preset here, and let's try something different. So I'll turn unfilled one and let's assign the random to the filter cutoff. Okay, so I bought a fault, the type of random or the type of noise it's using is this Perlin noise, which gives us a very smooth sort of modulation. But we've got these different styles. If I click here, we can set this to sample and hold. So that sample and hold is a control that you'll find on lots of analogue synthesisers. And it creates a sort of random steeped kinda pattern. So I'll increase the frequency. He had something like a 16th note and let's just have a listen. I'll play this down lower. So we can get this really I sort of random step sequence so to sound. And this we will need for sort of repeat exactly, which is pretty cool. Now, we've got some other ones here too. We've got sign into a polite which is sort of like the sample and hold, except a smoother sort of pattern. So rather than abruptly stopped bringing from one value to another, it's gotta smooth sort of population. It's a little bit different to the Perlin. It's not quite as fast and it's a lot more random. And finally, we've got this interesting one called a Lorentz attractor, which is something to do with chaos theory. This sort of interesting chaotic patterns you get with say, a pendulum. So this is kind of interesting. Let's just have a listen to what this does. Why, why, why? Why? Why? Why, why? Why, why? I'll see the spec to sample and hold. And another cool thing here is that we have a sink so we can sync this to tiempo. And we've also got the steric control. So just like we do with that LFOs, we could make the stereo. So now we're gonna get a different sample and hold value in the left speaker and the right speaker. Very cool. So these random modulators can spice up a patch by adding some nice chaotic random values. 20. 19 Other Modulators: In this video, we're going to explore some of these other modulators over here on the right. Now, some of these only if you're using MPA or muddy polyphonic expression. And that's something that you would need to turn on here on the Advanced tab by saying EMP enabled. Now, you do need a spatial in PE, midi controllers such as a Rowley Seaboard or a lead instrument in order to take advantage of this. So I'm not going to be looking at things like pressure and slide and lift because I don't have a muddy polyphonic controller. But some of these things we can actually apply for any sort of control. So in this case, I wanna look at note n velocity. So if we look at the note, this has to do with the actual note values that you play. So for example, if I turn on the filter here, and this is a little bit like key trekking. What I could do is assign the note to the frequency of this LFO. Okay? Now in turn, I'll assign the LFO to the filter cutoff. And maybe I'll start with this little bit lower. So what this means is that the lower the note that I play and the slower the LFO, right will be. Now when I play that up the keyboard, it will get faster. So you can see that the actual note pitch is going to be changing that perimeter. Now, I will just reset that. Now the velocity is an interesting one by default with this initialize patch and all of the pages here, there is no node velocity. So the velocity is how hard you hit the note on your control. So at the moment, doesn't really matter how hard I hit it is going to be the same volume. So what we could do is if we want to have control over the volume with velocity, we can simply assigned this velocity to the level of oscillator one. And in fact, I'll turn that level all the way down so that it's actually at a quiet level. So now when I play a note, the harder hit than the louder it OB. So at low velocity it's pretty quiet. Hotter. I hit up the ladder gates. Ok, so that is the velocity. And again, you could apply this to whatever you want. You could apply that to the filter cutoff, for example. So we could turn on the filter, apply velocity to filter cutoff. And now, depending on how hard I hit the note and it's going to affect the cut-off. Theory goal. Now, I'll just initialize the preset again. And let's have a look at this Stereo one. This is interesting. So, but like we've got a stereo control on our LFO and on our random generators with actually got this stereo control that we can assign to whatever we want. So a good example might be the wife table position. So let's choose a more interesting wild-type alike. Drink the juice. All right? And again, if we move this wave table position will here at scanning through the wave table. So what I wanna do is assign the stereo control to the wave type will position. And I'll offset this just a little bit. So now we've got a slightly different wife table position in the list speaker and the right speaker. So now if we sweep to the wife table will get a nice stereo kinda of a sound. That's pretty cool. Now, we've also got to get a candid random controller here. And just like we've got this actual random modulator here, we could assign this to what if we want, but in this case it's going to be based on everytime we trigger a note. So if we assign, say, this random value to the amount of this spectral morph, I'm going to choose something like, Let's say spectral time Skew. Now will see that every time I play a note, we're gonna get a different value. Will increase that a little bit. And I'll actually right-click on this and say Mike bipolar so we can go in either direction. So every time I play a note, I get a different random value. So as you can see, we can have a lot more control and expressivity by choosing some of these other modulators. 21. 20 Modulation Matrix: In this video, we're going to have a look at the modulation matrix. So we've already learned that we can make assignments here in the voicing view by simply clicking and dragging one of these modulators, like an LFO or an envelope to a target. So again, let's say I do something simple like drag LFO r_1 onto the filter cutoff. I've got some modulation going on here. If I come up to the matrix view, I can see there's my source, LFO i1. So that's my much lighter. There's my destination filter cutoff one. And that is the thing that it's depicting. And I've gotten amount here. So the amount is the same thing as this little circle here. Now, the matrix is a great place just to see all of your different assignments. So if you've got a complex patch with a whole lot of modulation assignments, you can see them all in one place, which is great. And the other thing is that we've got a lot of other controls here as well. Now, coming back here to the voice view for a moment, if we have a look here and Roelof ref filter cutoff, when we right-click on a modulation assignment. We've got these options here that we've already talked about to make an assignment bipolar, which means rather than simply moving up, it's going to move up and down. And to make a stereo modulation at the moment data set, the filter is only going up from the cut-off point looking at that green line. So if we come here to the matrix view, I could make that bipolar by clicking that button and then come back. And we can see now it's going up and down from the cut-off point. So we'll bring that up a little bit. And we could also make this stereo. So if I come back to my tricks, click on stereo left and right. Now we've got some stereo modulation going on. Unfortunately, there is no amount like you've got here in the LFO. But it's a quick way to make any assignment stereo, even things that don't necessarily have a stereo assignment, things like velocity or denote pitch. So now if we come back here, we should have some stereo movement going on, on the filter. Go. Now, I'll turn off that steer if now. Another really cool thing here is this morph. So at the moment, I've got a simple triangle wave that's just going up and down. If we click and drag on this little button here, you can sort of being fat shape and it changes the time. It gives it a slightly different groove. I'll just trace it that. So that's a cool way to get a little bit of groove into your modulation rather than having a simple Up and Down shape. Now probably the coolest section here in the matrix U is this mod remap. So this looks like and now the LFO, but this could be applied to any modulation source, such as an envelope for these random sources. Basically, what this does is it will re-map the modulation coming in and give us a different output. So it can do things like being the shape up or down. And we can add more points if we wanted to by double-clicking just like we would with an LFO. And we can stop making out shapes. What? We could also use these drawing tools here to add some other shapes up or down, or some stapes. Okay, and there's even presets here as well. So you've got all of these ones here, like whole series y naught. Okay, and I'll slow this down a little bit. That sounds cool. Okay, so you can see even though we've got a simple triangle shown here for the LFO, we are remapping and adding this interesting rhythmic motion. Now, the cool thing about this is that if we wanted to reuse LFO r1 to something else, we could have a different mode remap. So if I was to come back here to the voices tab, maybe I'll choose a different white table here. I'm going to choose one of my favorites, drink the juice. And let's assign the LFO one, same LFO. Click and drag and assign that to the position of the wave table. Alright, and coming back to the matrix that we can see, you've got to take an LFO i1 and that's affecting the oscillator one wave frame or BUT position. So I'm not like that bipolar, so it goes in two directions. And you'll see at the moment that this is actually just using a linear model remap. So in other words, it's going to be exactly the same shape as the LFO. But again, we could change this up if we wanted to be, I will choose something like this brand and pulses, something like this. So now we've got a different shape. So very, very cold, very, very powerful. And a great way to get a little bit more juice out if your LFOs and envelopes. 22. 21 Macros: In this video, we're going to have a look at the macro controls down the left-hand side here. So micro control is basically a way that we can connect many different destinations to this one knob. And you can see we've got full macros, so really handy for sort of overall controls. So let's start off with different wife taboo shape. I'm going to choose this one here, low-high fold. And that sounds a bit like this. So I want to be able to control the white typo position with macro number one. So if we hold under micro one, we can drag that onto the white typo position. Alright, so now that's controlled with this null. But we could load up some other things here to, for example, if I load up one of these spectral morphs like maybe bo code. Maybe I want to control this also with micro one. So click and drag make for a one onto that VO code. And again, what I might do is Mike that bipolar by right-clicking. And again, you can choose another one here for the wife, morphs like formant. And again, assign macro one to that. Maybe I'll make this one bipolar as well. Actually, I'll turn this one up a little bit. Okay, so as you can see, we've got a lot of control here. Now, if you want to play around with the different amounts of these different assignments, wiki come to the matrix tab here. And you can see that each assignment to macro one has a different amount. So if example might be this distortion amount, while the waveshape amount, good, actually bring it to a negative value. We'll bring that down. So if I had to sit to a negative value, it's going to be inverse. So instead of going up, it'll go down. So let's have a listen now. Maybe all moved it more to the middle toe. Now we've got four different macro is here and we could rename them. What if you want? So if I come here, I can click the little painting tool. And I could call this one oscillate a shape. And we could use a different macro to control something else like the filters. So I can turn on Filter1 and I could assign macro number two to fill to number one. I could turn on oscillate at two, which is going to filter number two. I'll turn on Filter2. And let's assign micro number two to filter number two. It's cut off as well. Now, maybe I will just change the filter to, to something like a high-pass filter. And let's have a listen as we adjust this. So we can see now micro T2 is controlling both at the filters and of course we could rename that something like filters. So as you can see, macros are a great way to control many different destinations with a single knob. 23. 22 Global setting & Glide: In this video, we're gonna look at some of the global settings here and the glide settings. So the global settings down the bottom here are fairly straightforward, that voices are the number of notes you can play at any one time. So at the moment this is hit to eight. So I could play notes. Anymore than that. It's going to start losing notes. Now you could bring this up to a maximum of 32 notes. Now you might think you'd never play 32 notes at once, but this actually affects it if you're playing things like unison. Because remember with unison, if I set the units into, say, three voices, for every one note I play is actually playing three different voices. So very quickly, if you've got lots of unison on different oscillators, you need more voices. Now, just bear in mind that every time you increase the number of voices, it is going to take more CPU. So just bear that in mind. Now if you see this all the way down to one voice, you can only play one note at a time. So I'm trying to play cold here. So only playing one note. Okay? And this is basically called monophonic mode. And most synthesizers, it's good for baselines and things like that. We are only wanna play one note. Okay, I'll set that back to eight for now, we've got a pitch bend range for the pitch being wheel. So at the moment is set to two and then it fix it going up and down. So if I play a note and ended up with my pitch bend. You could also use the pitch pinwheel here. That is going to be ended up and we've got a maximum of 48. So you can set it to being a crazy amount. Probably way too much. But you know, sometimes you might want to say that something like C7 to go up a fifth. But for now I'll leave that on to velocity tracking is to do with how hard you hit a note. Now we already talked about this velocity modulated before, and you could apply this to anything in the synth. But the velocity tracking here is specifically for envelope one, which is controlling the volume, the overall volume. So at the moment, doesn't matter how hard I hit a note, it's going to play it the same volume. If I increase that velocity tracking, what we're going to see is that now the hotter I hit the node allowed for Ruby, the software I hit the note, the quieter Ruby. And you could invert that. So it goes the other way. For some reason you wanted to do that. Alright, so that's nice if you want to add some more expressivity. Now, we do have a sprayed control here. This is an overall sprayed. So if I turn on some unison, like say, three voices of unison and make that a little bit more subtle. This is the overall stereo spread. So if I bring this down on making it list area, if I bring it all the way down to 0, it's mono. And as I increased that. We're getting more Stereo. Aux just bring down the overall level here because unison does make things ladder. Okay, so that's the spread. And for now I'll turn off unison. Ok, let's turn our attention to the glide section over here on the right. So glide sometimes called portmanteau, and it's a way we can glide between different notes. So the glide control determines how long it takes to glide up to another note. So if we turn this up to maybe just over halfway, and this actually works with chords here on some synthesizes, it only works with single notes. So if I play one chord, implant other chord, you can hear it gliding up to that upper note. Now, this generally you wanna do on monophonic sounds. So what I'll do is I will bring the voices down to one so we can only play one note and maybe I'll play more of a by sound. So we can hear that it's gliding Now we could change that slope here by clicking and dragging. Now, by default, this is actually working what we call legato. So if I was to play one note and then play another note and have a gap between the notes. We'll notice that it's not gliding between the notes. Whereas if we overlap them notes, it will glide between the notes. This is actually referred to as legato. So let's have a listen. I'm gonna play single notes. And now I'm going to hold those notes down and overlap the notes. So it can here because I'm overlapping notes. It's gliding. Okay. And when I'm not overlapping notes, it's not gliding. Now there is an option here to say always glide. And that means I don't need to actually play by overlapping notes. So now, even if I play notes that are not overlapping, It's always going to glide between all the notes. All right. So I don't usually turn that on, but depends on what you're trying to do. The octave scaling is kind of interesting. This means that it's going to change the amount of time it takes to glide based on the distance between the notes. If I play notes closer to this lower note, it'll take less time to glide up. It's going to take 0.5 of a second to glide up to that note. But now if I start to play notes that are closer to their original low note, it's gonna take less time to glide. I'll turn that off and now in fact I'll turn off glide altogether for this next one here. So this makes one heat cold legato is actually not to do with glide. It's to do with how it really triggers the envelope. I'll leave this turned off for now. And let's say we want to use an envelope to control the filter cutoff. So I'll drag envelope T2 onto the filter cutoff. And maybe I'll make a sort of fluctuate by bringing down that sustain. Okay, so at the moment, if I play other notes, it's always gonna read trigger their envelope. Even if I overlap the notes. Now if I turn on legato and start playing legato, which means overlapping the notes, you'll notice that it won't really triggered that envelope. Ok. So this way you can choose to overlap notes in it, white re-trigger the envelope, or you can leave a gap between the notes and it will. So that's legato and that's to do with the envelopes. So as you can see, these global settings and these glides headings can add a little bit more exclusivity to your playing. 24. 23 Advanced Unison Settings: In this video, we're going to have a look at some of the advanced settings here inside a bottle, and specifically some of the advanced unison settings. So I'm here with the initialized preset. And we already know that if we want to create some unison here, we can increase the number of voices. So I'll increase this to say five voices. And now we've got a sort of de Hsun sound. We want to do it. My goal to India for volume down a little bit since it gets a bit loud. I'll come to the Advanced tab here. And let's have a look at these settings. Now. First of all, we've got the oscillator one Options, and of course, we've got the same options for the different oscillators here. First one here is the note track, and this has to do with how, what plays the notes up the keyboard. So by default, let's turn on, which means I can play the notes up and down the keyboard. But if we turn that off, your notice that no matter what note I play, it's always going to play the one pitch. So generally, you only eat that turned on. There's also a high res wave table here. I've found that this is not particularly noticeable, and I usually leave this turned off, but it's one of those things. You might get a slightly more clean sound, but it will take more CPU. So I'll turn that off for now. Turning our attention here to the unison and settings. You can see that we've got a unison blamed, which is the amount of unison here. So if I play a note, I can bring that down. And we're basically blending in the amount of unison. So if you wanted to be more subtle, you could bring that blamed down. We've gotta detuned range here. And again, if I increase, this will get more detail and Ruby more out of tune. And if we decrease it, it'll be laced. Okay, we've got a stereo unison. So this is how stereo it is. If we bring this all the way down to 0, is going to be mono. As we increased that where my chemo Syria. Now there's different ways we can stack the unison voices. By default is just sit to unison. They're all going to be just slightly detuned from the original pitch. But if we click the drop-down menu here, we've got different options here too. We could drop down an octave or even two octaves to get a much fatter sound. Oh, it could play things like major colds. And maybe that's a bit too. You detune there. And minor chords. Okay, so a lot of options here, play around with those. I'll set that back to unison finance. Now, we've also got a table spread and a spandrel sprayed and distorts braid. So the title sprayed has to do with the wife table. So if we come back to the voicing settings here, and I'll choose something like drink the juice. Just so we've got an interesting wave table here. And I'll say it that somewhere in the middle. So it sounds like this. So if we come here to the Advanced tab, we can play with the title spread. And that's gonna spread these different unison voices out across the field. So now we've got a much more stereo sound here. We've also got a spectral spread. So if we come here to our spectral morph and add something like Vocaloid, for example. Again, if I come to the Advanced tab, we can choose how to spread out those spit roles, more voices. And we've also got what's called distort sprayed, which is actually just the wave morph. So if we sit the wave morph, something like squeeze. Again, we can come here and choose how to spread out those extra unison voices to squeeze the shape of the wave table. So a lot of control here. You've got over these unison settings and these other settings to create nice stereo sounds. 25. 24 Other Advanced Settings: Okay, so we're gonna look at some other advanced settings in this video. I'm starting with an initialized preset. Let's come over here to the Advanced tab. And let's look at this voice section. So you notice that if I sit the number of voices to say three, I can only play three notes at a time. So let me just play a chord. So you notice that when I start to play more than three notes, it starts cutting off the other notes. Now, we can choose how that's going to choose which notes to cut off and by default that sit to Round Robin. But we could set that to the oldest note. So the oldest notes always gonna keep playing. Or the lowest note. So let's say I want to say the lowest note. Now if I play a chord, I'm trying to add more notes on top there, but it's only playing the lowest notes. Or I could say play the oldest note. So in this case, if I play a chord, you'll hear that it's keeping the oldest note and the newest notes are being cut off. Okay, so just a way you can choose which notes are going to get cut off. Of course, if you don't want those getting cut off, you can just increase the number of voices here. I'll see it there back to eight. Now we've got some other tunings here. So for example, the default tuning is just a Well-Tempered tuning like you'd find in any other synthesizer. But we've got some other types of tunings. So there's things like adjust intonation and Pythagorean intonation. This is beyond the scope of this course, but these are sort of old ways of tuning instruments. So for example, if I play a major chord, sounds like this. If I said that to say, Pythagorean, sounds like this. So slightly different way It turns all the notes. I'll set that back to the default, which is what you normally would leave that on. Now we talked about MPA before and you would actually need a specific EMP controller. And you could enable that here if you did have such controller. And that will allow you to do things like pitch bend individual notes, use the pressure on the keyboard, on individual notes and so forth. Now, again, I can't really demonstrate that because I don't have that sort of controller, but you'd simply turn that on here. Now we've got some global tuning here. So let's say for some reason you are playing with a real instrument like a piano. And that piano was slightly sharp or slightly lower in tuning. Well, what you could do is tuned the whole, the whole of vital up to match the other instruments. So we can do this in scenes and semitones. And transpose does this and semitones. We've got this oversampling here. So by default, this is set to two times, and this does affect the quality, but it also affects the amount of CPU. So it recommends that you use to x. Now, if you want a very slow computer, you can see that two 1X, although things will tend to sound a little bit more grainy and digital. Now, you can see this all the way up to 80 x ultra, but then you would use a lot of CPU. So I would only really do that when I was mixing it down. You know, normally I just leave it on two weeks and it sounds fine. Just usually is. We can either display frequency units in semi-tones or in hertz, which is a more mathematical way of measuring pitch. So generally I just leave that on semitones. Most of these settings I never touched, to be honest. We've also got this nice analysis view. We can actually see an oscilloscope view of whatever is playing. And you've also got their view up the top here. So that's a quick look at some of these other settings here. In the Advanced tab. 26. 25 Effects: Okay, let's have a look at the effects. So again, starting with a simple initialized preset, I'm gonna come to the ethics tibia. And we've got all these sort of common effects that you'd find in most synthesisers. So starting from the top, we've got a chorus effect. This is nice way to thicken up the sound and a little bit like unison, add a little bit more, more voices. Turn the master volume down. It does get a little bit loud. So I want to go with every control here, but you can play with the mix. The number of voices, the speed, the depth. And these two delights. That's why to thicken up the sound, we have got a compressor. So especially if you've got lots of movement and the volumes all over the place, or if you just want to make something sound a little bit more hard out, you could use the compressor good for by sounds, that sort of thing. And we've got a multiband compressor or a single band compressor, or you could compress just the lower, the high band. I'm not gonna get into how a compressor works here, but a good way to make your dynamics a little bit more flat. We've got a delay. Now, by the way, can turn these on and off with a little dot here. We've got to delay. And it's a simple delay. You got different modes. So we've got a mono mode, going to Stereo Mode where you've got two different timings here. So we could change one of these timings to a different timing. Or we've got a ping-pong mode where it's going to bounce back and forth left and right. And even this MIT ping-pong mode, which is pretty cool, where it goes to the left, to the middle, and then to the right. Okay, we've got the basic controls here that you'd find. We've got the right the mix. Feedback. Just how long the ACO is last and a cutoff and spreads. So we've got a sort of filter that affects the echoes here to make them sound a little bit more dull if we wanted to. So simple delay, distortion. So we'll just turn off course for a moment. Turn on the distortion. Maybe you'll play a low note here. Okay, so we've got a driver, Mt. This can make things sound a lot louder. So what you must do labels here. And we've got different types of distortion. So we've got soft clip, which is a bit like saturation. A hard clip, which is again, a lot more intense. Linear folds is an interesting one. Does some way folding almost sounds a bit like the oscillators sink that we talked about before. Sine folding and other type of folding. Bit crush, which gives us a nice bit crushing effect. And we've got downsample which gives us a sample reduction if it is, you could even feel for these. So if I pick something like say linear fold, something that adds more harmonics, we could turn on a filter, pre or post filter so that before or after. And filter out some of those harmonics. Again, you gotta blame control. So we could make that into a band-pass filter and only distort certain frequencies. Or we could make that a high-pass filter. Okay? So that's the distortion, quite powerful. And we've got a basic, each huge here where you've got a low band. It can boost the Lowe's or cut the lows mid band, which is more of a bell shape. And again, we can play with that and change the type here from a bell curve to a notch by clicking this little control here. And then a high frequency band. So just to shape your sound a little bit more to me cube, pretty handy. We've now got an additional filter, which is pretty identical to the other filter and the voice section, you got all the same filters here. And it will same control useful if you're doing something like adding distortion, which is adding more high frequencies. So something like a bit crushed for something like that. Get an add another filter on top of that to filter that out. Okay, now the flanges really fun. We get these cool comb filter type setting. So it's, it's quite similar to that Cone Filter we looked at before. And we've got an amount of feedback which will make it more intense. You can go positive or negative. It sounds slightly different. And you gotta seem to frequency and depth. And of course you can change the frequency. Gripe for those metallic soda sounds. Go to FISA. See I'll start on colds. At some subtle movement. Again will got similar controls to the flange. Oh, we've got to feed back amount. A number of Paul's, saints frequency, depth and frequency, your speed, Dreyfus willing pads, that sort of thing. And finally we've got a nice sounding reverb, which is great for all sorts of things from pads to buy sounds or whatever. So we've got a mic style here is probably the main thing is how loud that reverb is. So generally you don't want to go to go over 50. And we've got a size and a time are the main things that you'll play around with. So you could have a longer time, this is in seconds, so I could make that say five seconds long for nice long reverb. We've got a size which is like the size of the room. So with a large size and time, you got a nice, expensive sounding reverb or you could bring those down and have more like a small bathroom type sound. You've got high and low frequencies. If you wanted to dampen the reverb, like take out the low muddy frequencies out of the reverb. Alright, and even a chorus amount built into the reverb. So lots of nice sounding effects. And this is often just a great way to polish off the finishing touches of your patch. 27. 26 Texture Pad: Okay, now that we've learned all the controls here inside of vital, it's time to have some fun and make some sounds. So I'm gonna start off with a nice warm pad sound. And starting with the initial preset here. What I will do is start off with an envelope one with a nice paired sort of shapes. So envelope one is always controlling the volume. So I'm going to start off with a slow attack. Maybe sit this to something like, I don't know, three seconds or something like that. So we've got a nice slow attack, so it fades in and zoom out here a little bit so we can hear this. So now the volume's going to fade in. Now I also want a slow release. So when I let go off the note, it's gonna take awhile to fade out. So I'll bring that up again to about three seconds. So now if I play some chords, we get this nice fade in, fade out sort of curve. Okay, I'm going to change the wave table here. I'm just gonna choose classic blend. Okay, and let's add some unison here. So I'll make that maybe three voices for again, the detour into about 7%. Okay, so what I wanna do is I want to have this wave table be modulated by an envelope to so I'll click on envelope two. We don't use envelope one because that's controlling the volume. I'm going to assign an envelope to, to the wave table position. Okay? And again, what I wanna do here is have slow attack, pretty much the same settings. There's envelope one, maybe about two seconds or so. And the release again maybe about two seconds. So let's just have a listen to this. Ok. Now you notice when it gets to the top there, the sound actually stops. That's because right at the top here, we've got a pulse wave. And when that pulse wave goes all the way to the left, the sound actually stops altogether. So I want to bring the slider all the way down and I'll bring down the amount of modulation here so it doesn't go all the way up to the top. Something like that sounds good. I'll turn down the overall level here may be turned down oscillator one. And I want to do pretty much a similar sort of thing, but an octave down, so we have a lower pitch as well. So I'm going to copy wave table from oscillator one, turn-on oscillator two, and paste that same way table in here. And I want to bring down the pitch to negative 12, which is an octave below. Ok, so that's any good. Let's add a little bit of unison and maybe just a couple of voices. And again, I'll bring the detuned down a bit. That sounds good. I want to use an envelope to as well to control the wave table position. And again, I'll bring that down about halfway the amount of modulation. So again, just like the first oscillator, it's getting a little bit brighter. Okay, cool. Now let's do something different with oscillated three. I'll turn that on. And we could add maybe different wife title here. I'm going to choose under the factory preset. So I'm going to choose drink the juice, which has a nice sounding one here. And let's assign LFO I1 to the wife typo position. In fact, what I might do is set that to the middle here and I'm going to make that bipolar. Oh, so it goes up and down. Ok. Now I might change the frequency here so it's a bit slower. My Mazda labels getting a bit too loud. Let's bring that down. Let's add some unison to this as well. We won't just nice and thick sounding. We can adjust these labels a bit. Now if we wanted to, we could add a sample and I could add some victory samples. And we could add something, kicks drool wiped. Maybe this river. Will these white. Or actually before I loaded in this ticks just folder where we could bring in now our in-sample. So I'm actually going to use this crickets de-noised. And I'll give you the sounds as well if you want to try these, but you could choose any sort of textural sound. A lot to donkey trekking, haha, so higher up the keyboard, it will pick that up and we'll get more of a change in sound. Let's push that down a little bit. Maybe I'll assign LFO one to the panning and Mike that by Paula. So that's moving around the stereo field. Okay, let's add a filter. I'm going to turn on Filter1, and let's assign T2 to the filter cutoff. Maybe I'll increase the resonance here. At the moment, all sleight of one's being sent to filter one and oscillatory is being sent to fill 5'2, i want to see an oscillator number two also to filter one. So we can do that here, or we could do it down here. So we can see in the filter section or slide one and oscillator to up being seen to this filter is actually slow down. The envelope 2s attack to something like three seconds, so it's a bit slower. The attack. And a drug that filter a little bit more and make the release also about three seconds. So when to let go off the note, it's a bit slower. Okay, cool, that sounding good. Now I notice that all slide a three and the sampler going strikes the effects. So they're not being affected by the filter, which is actually what I want. Speaking of effect. Let's jump into the fixed page and I'm going to add a little bit, of course. I'll to match, I'll just go with that default setting. And let's just add a little bit of reverb. And I'll bring up the time to about six seconds and the size to about 70%. Let's bring out that makes a little bit and maybe take out some of those low frequencies and turn up the high frequencies. And these are no sanding pad. Don't forget. When you have credit a sound, you can save it here by clicking this little button here. And we could give it a name. So I'll call this something like takes Japan. And I'll save it to the pet section here under style. 28. 27 Dubstep Bass: In this video, we're going to have a look at making a sort of classic dubstep wobble base. So starting off here with the initial preset, what I might do is first of all, pitch oscillator, one down a couple of octaves. So if I hold down the Shift key, I can transpose this down and octaves down to negative 24. So we've got a nice low note here. And I might change the wave table here. So I'm gonna just come here and choose classic blamed. The whole part of the sound is the wobble. And we can do that very simply by using an LFO to wobble, both to wife typo position and the filter. So late scraped the LFO one. I'm going to drag that onto the white table position. I've got a bit of wobble going on it now I might make that a little bit, a little bit less. I just wanted a kind of a small amount of wobble on this one. So somewhere around about here, 60 s2. So we can play around with this. Okay, something like that. So I've got some movement going on. Now. I might add some unison while I'm here. So I'm going to say this to two voices, maybe at least detuned, I'd be about seven also. She might get three voices. Okay, cool. So I want to turn on an oscillator to le'ts, try it a different shape for this one, I want to create something with more mid-range rally harmonics. So if we come here to the factory, I'm going to choose the wave table called low-high fold. This has got a nice gradually sound to it. And again, Let's push this down. But in this case I'm going to pitch it down to about negative 12. So it's one octave above the other oscillator. And again, we want to wobble the the white table position. So I'll drag the same LFO onto the wife table position here. And I want this to maybe not move quite as much. So let's have a listen. It sounds pretty good. So we'll play around with these labels in a moment. Let's turn on the unison here. Again. Let's go for three voices, and I'll bring the amount, the percentage down a little bit because it's a little bit out of tune. Maybe about 12th there. Now, I want to add a little bit more ground to this. So let's try some of these spectral morphs here. So I'll just scan through them and maybe I'll actually get some movement going on here too. So we want this to be moving up and down. So we'll grab that same LFO. Let's apply that to the spectral morph and see maybe not quite so much. Ok. Let's have a listen. You ever labels but lateral bring that down. And I'm just going to flip through some of the spectral morphs and see what sounds good. Sounds pretty good form scale unlocking that. Let's try some other ones. I think I like this form scale one. Now we could also try some of the wife morphs as well. So le'ts again, ten that on, apply LFO I1 to get some movement going on. And let's have a listen. Maybe that's a little bit too much modulation. So bring down the modulation a little bit. Ok, that's sounding nice and gradually cool. Now what I wanna do is I want this LFO to change the speed. So at the moment it's just going at a fixed speed up and down. I'll leave it on a triangle shape. But what I'm gonna do is use this random modulator to change the frequency of the LFO. So let's drag random one onto the frequency. All right, and let's just have listened. Maybe I'll change the style to sample and hold here. Okay, that's kind of doing what I want, but it's a little bit too much. So let's bring down the amount of modulation. So that's sending good. Now let's go ahead and turn on Filter1. So we've got nice rally, crunchy sound. And now what I'll do is apply the same LFO to the filter cutoff. All right, and let's have a listen. Now at the moment, oscillated two is actually going to filter to. So what I'll do is I'll sit that also to go to Filter one. Let's try some different filters. Quite lucky. Net diode filtered it sounding very duty. Ok, let's finish this off by festival making it monophonic. We don't want to be able to play chords here. So I'll bring the voices down to one. And let's bring up a bit of glide here so we can glide between notes. Okay, cool. Let's finish this off by adding some updates. I'm going to add a distortion. And let's just turn up the drive. Okay, so that sounds pretty crunchy. Oh, like that soft clipped late supply LFO one to the drive. So you can actually apply all these modulators to the fix, which is really cool. So let's have a listen. Now we could, if we want to add another filter and apply LFO one to the cutoff spot seem a bit excessive, but let's try it out. Ok, CO and maybe a torus. Now, I want to place the chorus after the distortion in the filter so you can change the order here by dragging these little circles. And I'm gonna place that after the filter. Bring down the mixed a little bit and maybe bring down the dip the tiny bit. Just to give some stereo width, at least turn on the reverb. Now, that's a little bit too big maybe. So I'm going to bring down the time and bring down the mix, maybe take out some of the logos here and bring up the highs. So there we go. There's finished dubstep bass. And of course you can always cite this. And I'll say that as a base. 29. 28 Deep House Bass: In this video, we're gonna make not one but two different bass sounds using frequency modulation or FM. So first of all, we're gonna create a classic deep house or take no base sort of sound. And then we're going to create more of like UK garage dubstep bass sound. So starting here with our initial preset, we've just got oscillator one here. First thing I'll do is pitch it down about negative 24 to Oxford, so it's nice and low. And I want to start with sine waves. So I'm going to load up the basic shapes preset here. Okay, and the default shape is just a sine wave. Now this is what we want when we're doing Frequency Modulation. Most if m, since like the classic dx, even use sinewaves for their operators or oscillators. So sine wave is just a very simple tone with no harmonics. It sounds like this. Okay, so on it's own, it's a bit bland. You could use this as a sub base, but you're not really gonna hear there on low speakers. So we want to add some more harmonics, and we're gonna do that using frequency modulation. So let's turn on oscillator two. And I'm actually going to use the same basic shapes, right? Which is a sine wave. Now, for this one, I'm going to leave the pitch at 0. Now we don't actually want to hear this, so I'll turn the level all the way down. We just want to hear its effect when at frequency modulates oscillator one. So to do this here ON oscillator one, I'm going to come to the wave morph and say at this two, if m from oscillator two. So we're using oscillator to, to frequency modulate oscillator one. So let's have a listen. If I turn this knob up full here, that we're starting to frequency modulate oscillator one with oscillator two, and we'll hear some more harmonics. Now we don't go too high because it sounds a bit weird. So I want to add some movement to this. So I'm going to use an envelope to envelope one remember, is automatically linked to the volume or amplitude. So we don't want to use that. We want to use another envelope. So let's grab envelope to, I'm going to place that the amount here or the wave morph them out. And again, I don't want too much here because it's going to sound a little bit too bright. So we'll bring down the amount to quite a small amount here. Maybe just about 0.2 also remembered, especially me fairly savvy based sort of sounds. So about 0.2. Okay, now let's have a look at this envelope. So at the moment, we've got the sustained turned all the way up and I wanted to end the sustain all the way down because we want a sort of plucky sound. So now let's have a listen. Okay, and that basically is our deep house sort of bass sound. Now, we could jazz this up a little bit. Maybe we could add a tiny bit of unison. Let's say just two voices of unison here on oscillator one and bring down the de-tune, maybe just to about seven or so, so it's not to detuned. I'll also bring down the spread to about halfway it so that it's more Mano compatible. Alright, and that's your basic sort of deep house or Techno bass sound. Now at this point, we could save this. So if I was to come here and I will just call this something like deep house, base. And much shorter side that is by sound. Now, there's a lot of variations we could do on this. And one thing that we could do is to play around with this envelope shape. So what I wanna do here is actually increased the attack. So if we bring up the attack, so maybe to about here, let's have a listen. Okay, so we can actually here now that we've got this sort of sound with this slow attack, now we could, even if we wanted to increase the amount of modulation here. There we go. And now we've got more visit a UK carriage sort of baseline sound. We probably want to bring the number of voices down to one here so that we can't play any codes. And maybe bring up the glide just a little bit. Okay, so then itself is a pretty simple sort of carriage sounds. Now we could spice this up a little bit more by adding a third oscillator. So I'm going to generosity three, choose basic shapes. And again, I just want a sine wave. And let's turn on the label because again, we're gonna use this to frequency much like oscillator two. So we're creating what's called an algorithm. And if incent turns where with creating a chain of operators or oscillators, all frequency modulating each other. So I'm going to come to oscillate a two and set the wave move to if m from oscillated three. So now what we've got is oscillated three, adding FM or frequency modulation to oscillate a two, which in turn is then modulating oscillator one. Now remember that only oscillator one is the one where she hearing these other tumor just use for modulation. Okay, and now if we were to bring this up, we'll add even more harmonics. Now only keep this fairly subtle. So what I'll do is grab the envelope to again, I'm going to apply that to the way morph. And let's bring this down to quite a small amount. We just want a little bit of movement here. And we could also play around with the amount here on oscillate one. So just fine tune that until it sounds good. Now, of course, if we wanted more sort of harmonics here, we could actually choose some different sort of wave shapes here rather than just a simple sine wave. So maybe for oscillated tree, we could try a different wave, like a triangle wave. Here that's a bit brighter. More harmonics or a square wave. Okay? But I think I'm gonna keep it on just a sine wave, which is more like what you'd find on an FEM sent. Okay, so let's go over the fixation to finish this off. And let's try putting on a compressor. Alright, and this multiband compressor, let's have a listen. So we could play around with the settings here. Maybe boosting up that base a little bit. Ok. Now for hearing some clicking there, what we could do is come back to our envelope one and you can hear that is a bit of an attack there. And maybe upping the attack a little bit. We'll get rid of any little clicks. Possibly also here on the release. Okay, cool. Now I want to add some distortion. So just turn up the, leave it on soft clip here and turn up the drive about halfway. Okay. So that sounds pretty good. And I'm just going to finish this off with a brief 2p. So let's turn on the reverb. And in fact the default settings here, I'm pretty good. Maybe I'll just turn up the mix a little bit. And that sounds pretty good. So now we've got the sort of dark dubstep piece, sort of web-based. So let's say this preset, I'll call this one if M one base. And make sure to save it in the bass style. 30. 29 Techno Chord: Okay, in this video we're going to create a sort of classic Detroit techno style chord. So starting off with the initial preset, whereas you can leave it just here on a sawtooth wave. And I'll leave the pitch at 0. Let's actually add a little bit of unison. I'll say that to maybe three voices of unison M, It's bring the amount down so it's not quite so out of tune. Maybe to about three. That sounded good. Okay, now, they part of this is I want to be able to play a chord now rather than actually having to play the notes on the keyboard, which if you know, you call dairy, that is fine. However, if you maybe not so great on the keyboard, we want to set this up so we can play just one note at a time and play a chord. So to do that, I'm actually going to hear it across to the advanced search section here. And I'm gonna change the unison stack mode to minor chord. But now if I just play a single note, we'll hear a whole minor chord. Great, let's come back to the voice and the voice section. And maybe I'll increase that Detune a little bit. Okay, now I want pretty much exactly the same except I want to lower pitch. So I will come to oscillator number two, and let's bring that pitch down to negative 12, so it's playing just an octave lower. Let's also set the unison three voices and the amount to 4%. Okay, so now we can hear that were just got another lower pitch there to beef it up a bit. Now, let's turn on oscillate at three. We're going to again leave it the same. Let's copy exactly the same settings for the unison three voices, about 4% d June. Now for this one, I actually want to pitch it up so that it's playing a different minor chord. So if I actually push this up to seven or transpose this up to seven semitones. That's going to be playing a minor cord that will harmonize with the original minor chord. And it's actually going to give us what we call a minor ninth chord. So let's have listened, I'm displaying a single note here. Okay, cool, so we can hear that now. We've got our nice chord going on just by playing a single note. Okay, now let's turn our attention to the envelope here. We want this to be more of a stabbing kind of a sound. So I don't want a constant sound. So if we come to envelope one, which is controlling the volume, I'm just going to turn down the sustain. And let's have a listen. It sounds pretty good. I'm gonna bring up the release a little bit. Language about 0.7. Now you could play around with the decay as well. A little bit shorter or longer, but I'm actually pretty happy with the default settings of about 1 second here. Okay, now I want to run all of this through a filter. So let's turn on filter one. And at the moment, oscillated 2's going to filter to an oscillator. Three's go into the effect. So I want to sit all of these to go to Filter number one, so we can do that right here in the filter. Just turn on OS2, AC3. So now all three of them are going through the filter. So that's what I wanted to do is modulate the filter as well. Now I'm gonna use the same envelope. Yeah, you could use a different envelope if you want super control, but just for the purposes of being simple, I'm going to grab envelope number one, drag that onto filter cutoff. Okay, maybe bring that amount down a little bit to about 40. Sounds pretty good. And as we go we can play around with filter cutoff that I'll stick with the analog 12 dB. But of course you could try some different types of filters. Now to add a little bit more sort of draining grit to this, I'm actually going to turn on the sampler here. And the sampler by default is it to white noise. Now this is going straight to the effects. So I want to sit that to the filter. So now the white noise is going to be seen to the filter. And we can play with the level and diverse and how we want. Okay, so just a little bit, just to add a little bit passive sort of grip there at the stop. Sounds pretty good. Okay. Now, maybe I'll increasing it released just a little bit. Right? Now let's add some effects are going to come here to the fixation. Ladies gentlemen course. That mix down quite a bit. Just won the subtle. And maybe a compressor. That's a little bit too much compression here in the default setting. So I'm going to come here and maybe sit this to just a single band mode compressor. Maybe if I bring this threshold up a little bit, then it's not going to be quite so compression. Okay, so that's adding a bit more volume. If we need to, we can turn down the master volume at the top here. Okay, now I didn't want to delay on this, so I'm going to turn on the delay. And I'm going to change the mode from mano to ping-pong. Okay? And I want to sit maybe the second delay here to, let's say 16. So now I've got an eighth note delay in belief speaker and a 16th delay in the right speaker. Now that's way too much. I'm going to turn down the feedback. All right, so we just need a little bit so it doesn't ring on too long and I'll turn down the mixed quite a bit. Ok. We could even turn down the spread quite a bit and maybe play with cut-off so that the delays were being a little bit more filtered. Let's add a phasor here. Going to turn on the phaser. Sounds pretty good, but I might just want to bring the mix down a bit so it's not quite so obvious. And we keep the nice attack of our sound. Now, I might turn down the overall spread here because it is getting a little bit to stereo and wide how you would go. And let's add a reverb. So now I think I want to turn up the time for the reversible. It's said that to about two seconds or so. Maybe I'll tuned down the mixed a bit so it's not quite so obvious. And there we go. There's our nice techno chord. 31. 30 Sequence Lead: But this example, we're going to make a sort of sequenced leads out. Now there is no sequencer or Apache eta here inside of vital. So we're gonna get a little bit tricky using some of these LFOs. So starting here with the initialized preset, I actually want to change the wave shape of oscillator one to the basic shapes, which will give us just a sine wave. So if this sort of sound I like to work with a simple sine wave, you could experiment with other shapes, but that's fine for now. So I'm gonna grab LFO one. And what I want us to do is to fate the pitch. So if we drag LFO one onto the course pitch here, we're going to hear that we'll just get the pitch going up and down. Not exactly what I want. Now, we could come in here to the LFO and we could start drawing and our own shapes here. We could even turn on this little paintbrush tool and choose something like the steps and draw in our own sort of step sequence like I showed you before. However, I'm going to turn that off and then stayed just for the sake of brevity, I'm going to choose this staircase down shape. Ok. So now we can see that we've got the steak eyes down and that's going to be affecting the pitch. Let's have a listen. So that's kinda cool, but it's not really in tune. That could be a cool sound effect. But if we want to write this in tune, we can click here on this transpose snap. And what I'm gonna do is put an a C minor chord, so that would be C, E flat, and G. It's a good idea, or if you're using the snap to put on a C chord because then whatever note you play on the keyboard will be playing the correct note. So let's choose that. And now if I play hoedown a note, we're going to get almost like an OPG header or step sequence playing a C minor chord. Okay, so that's cool. Now I want to get a little bit more grit or digital sound to this. So what we can do is come to the wave morph and tune on quantize. And let's have a listen to this. So I'm gonna leave that right in the middle day where it was. And that's just gonna give us a sort of nice high digital, sort of bit crushed or low sound foray into fate. Now I want to create another sort of sequence that is going up. So I'm going to turn on oscillator two. Let's choose again a basic shape. Now, I want to use a similar LFO, but I want to go up and down. So what we can do here is just copy LFO one, go to LFO to and paste that in there, or could even just use the same preset stake ice down. However, we can do this neat little trick here, where if we right-click on the LFO, I can say flip horizontal. You could also say flip vertical, but we want to flip it horizontally. And now you can see that the patents going up. Alright, so LFO one's going down, LFO CO2 is going up. And I want this to a fake the pitch of the oscillator two. So I'm going to grab LFO to, let's assign that to the pitch of the oscillator two. And let's have a listen. Okay, so we can hear that going up. Now. If we click on the transpose snap, we could either do that same CM On a cold, but I wanna do something a little bit different. I'm going to choose an E-flat major cold, so that's a flat, G and B flat, which is the relative major of see Marta. Don't worry too much about the theory. Just know that these notes will work together. So now let's have listened. One's going down, one's going up. Now all the supposed to be a bit lower. So I'm actually going to transpose this down maybe to about negative 12 or so. So it's an octave down. Go. And let's actually add that same Quantize here. So we've got a bit of grit. Right? We could even pan these left and right a little bit. Cool. Now, let's add a bit of movement with the filter. So I'm going to turn on filter number two actually. And we can see that already oscillate O2 is sent to filter to. So what I'll do is play around with this and turn up the resonance. Will just turn off oscillator one from I'm so can he oscillated? And I'll crank up a resonance. Maybe I'll try a 20-40 swell filter. And what I wanna do is have this filter cutoff move around kinda randomly. So I'm gonna choose one of these random, much like us and late supply that to the filter cutoff. And I'll change the type of random sample and hold. Let's maybe increase the speed to say and I know it. Okay, so if I increase the resonance and get that, so just before it's all the way at the top. And this guy said about 87%. We can see it's bringing in these other high harmonics that a kind of random and even slightly out of tune, which is cool. Alright. Now I want to run all of these into filter number one. So we'll turn on oscillate at one oscillator 1's or to go, going in to fill to one. So let's turn on Filter1. And I want filter at number two to go into Filter number one. So we can run these sort of in series. So what I can do is turn on here. Filter to, so now Filter2 is being routed into filter one. So let's have listened. So everything should be going through this filter now. And I just want to add some slow movement to that. So let's pick another LFO number three and apply that to the filter cutoff. We're gonna slow this way down. So maybe I should have a one and I'll set the mode to sink so it doesn't retrieve it every time I play a note. Cool. Now, we could make this random generate a stereo by tuning on the stereo. Bought him a bit more random movement. Great, and let's finish this off with some effects are going to come to the fixed tab. Let's turn on the delay. Alright? And I want this to be a Ping-pong delay. And the second one to maybe a 16th note. Let's try that. That's good. I'll turn the feed back down a little bit and turn the mixed Alphabet to do all this to be quite obvious, maybe I'll bring down the spray, it brings up the cutoff. And let's add an SBIC while she rave up. I'll bring up the time to about three and I'll take out the lows a bit and maybe bring up the hot mix a little bit. And this sequence laid sound. 32. 31 Thanks and Bye Skillshare: So congratulations, and thanks for doing this course. As you can see, bottle is a powerhouse of a synthesizer, and it may be all you need in your own music productions. From all of my courses. Check out the links down below. Also for some more free tutorials, hit on either to my YouTube channel. Well, that's it for me. Dubai. And go make some great tunes. Right.