Xfer Serum Synthesiser - Part 3: Filter, Envelopes, LFOs, Voicing + Global Section | Tomas George | Skillshare

Xfer Serum Synthesiser - Part 3: Filter, Envelopes, LFOs, Voicing + Global Section

Tomas George, Music + Audio Production Instructor

Xfer Serum Synthesiser - Part 3: Filter, Envelopes, LFOs, Voicing + Global Section

Tomas George, Music + Audio Production Instructor

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6 Lessons (33m)
    • 1. Introduction and What You're Going to Learn

    • 2. Filter

    • 3. Envelope

    • 4. LFOs

    • 5. Voicing Section

    • 6. Global Section

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About This Class

In this Part 3 Xfer Serum Synthesiser class, we look at the Filer, Envelopes, LFOs, Voicing and also the Global Section.

I recommend taking the other 2 parts first, however, it's not essential.

This class is great for anyone that has Serum and wants to make some interesting sounds with the LFO's, Filters and Envelopes and also wants to learn more about the settings in the Global Section.

So, if you want to learn how to use this amazing synth and create your own uniques sounds then I recommend taking this class.

I'll see you in the first video!



Meet Your Teacher

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Tomas George

Music + Audio Production Instructor


Hi, Tomas here. I'm a UK Music Producer, Audio Engineer and Composer I've been producing and writing music now for over ten years. 

I have a MMus Masters Degree in Music Production and a BA(Hons) in Music Composition.

I really enjoy creating and editing all types of music, but I especially love teaching it online.


See full profile

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1. Introduction and What You're Going to Learn: Hello and welcome to this part free serum synthesizer class with myself. Thomas, George, In this class, we're going to continue looking at this synthesizer on. We're going to be looking at the filter section here. Also going to be looking at the envelopes L A foes voicing section on the global tab as well. I do recommend going back and having your look at the two over parts of this Siri's. However, he can just skip straight forward into this class if he just wants to know about the filter , the envelopes, elephants, the voicing section or the global tab. So join me in this first video where we're going to be looking at the filter section. 2. Filter: Okay, Now let's have a look at this filter section over here so you can actually send the different oscillators to this filter section. So right now we have a slate a selected and we enable filter by turning on this button here on that will be played. So right now, Allstate or a is being sent to the filter way can also send us later bay by selecting, Be here on the sub as well and noise with an s way. Don't have the selected notice that they're not been sent to the filter. Let's just turn off us. Led to be sub and noise for now. Also down here we have this little keyboard bottom. So this is filter cut off key tracking so lower notes will have a lower cut off. And as you go up the keys, the cut off will get higher. You can see when I play the lower notes and on the high notes. Thekla tough will get changed in this graph here. So we have the standard cut off controls. So this sets the Qatar frequency for the filter. Have resonance through this more creates a peek just before the filter cut off point going up here we have this drop down menu where we have different types of filters. We have the normal ones. So low pass, high pass, band passed, speak and notch. Then we've got some Maura unusual ones here as well. We have multi Flanders and miscellaneous. So the Maltese, where we actually combined different filters together. So, for example, if we choose this one l hate six. So this is a low pass filter on the high pass filter at a six db per octave slope. So right now you're notice is acting as a low pass filter. But now we have this dial here that says frequency, and this will act as a dial to control the high pass filter. So have the low pass and high pass. Okay, a multi. If we continue down, we have a few more. We have l slash b slash. Hey, H. So this is low pass slash bam pass slash high pass. So if we used to let this one here, so we have this cut off, which controls the low pass, and then down here, we have the style that now says more, um, or allows you to change it from low pass to ban pass in the middle on then toe high pass on the right. That's a high pass in the middle is going to be a band pass filter. So keep the band in the middle and filter out the highs and the lows. And then if we put this to left, it's going to be a low pass filter. So we've got a loaded different filter types here, which could be quite useful. Okay, going down, we have flanges. So here we have a few different comb filters and a few other ones as well. If you select the 1st 1 comb plus noticed this doll hairs actually disappeared because now it's not actually doing anything. And then we have some miscellaneous ones, which includes some ring modulators in a few more low pass, high pass and band pass filters. I'm not going to go for the more I do recommend going in and experimenting yourself. So we have this one here called reverb, which gives a kind of reverb type effect. So we have got some quite interesting ones in this miscellaneous section as well. Just a flight. French low pass, German low pass ring modulator. Okay, so let's just go back to the normal low pass filter. You know, just down here we have the Pam, so this will create a pattern for the frequency cut off. So it's not going to pound the original signal. Just the filtered signal. Okay, going down. We have Dr So this will basically increase the input into the filter kind of over driving the filter, then going down. We have fat to notice. When we choose different modes, this fat may change to a different dollars. Well, for a standard low pass filter, it will say fat so fat will basically add some body or fat on the sound. Then, of course, we have mix. If you want to have a dry, wet blend and you can see update in this graph in real time when we change it, we do have another filter in this effect section. However, this will actually filter the overall sound from all the different oscillators. However, the filter in this main oscillator tab will allow you to select what you actually want to be filtered. So say, for example, we just want us later a filtered, not live a free oscillators. You can just select it here. So you've got a bit more toe work with with this filter section in this main oscillator. Okay, that's the filter section. Next, we're going to have a look at this envelope section on this LFO section. Thank you for watching, and I'll see you in the next lecture. 3. Envelope: Hello and welcome to this lecture where we're going to be looking at this envelope section down here. So we have three different envelopes and there can be assigned to most of the controls in this main Oslo toe window in serum. And the way we assign them is actually quite easy, which is find this cross here and then just drag and drop on what we want to actually assign it to. So, for example, on the filter cut off, I just dragged and dropped this cross here onto the filter cut off So below. Here we actually have a graph. Area thing is a visual representation of what's actually happening in this envelope. Envelope number one actually controls the AMP, but it can be assigned over parameters as well. So this envelope one right now is controlling. The AMP is also controlling this filter cut off. We can just right click this and go down to remove all modulators. If you want to actually remove this on the other two envelopes, thieves will not be controlling the AMP. Just envelope warm. So going down, we have the standard attack decay sustained release. But we also have this one here called Hold. Okay, so I've just changed this show toe have no decay. And if we increase hold here, you can see it will hold the envelope at the peak of the attack. And now, if we increase decay so you can see decay has the slope down here. But hold is literally just holding this envelope after this peak. With this top part off the attack, you can also click on these points and move it around. Or we can use the dials down here so we can really get a bit more control of our envelope with this whole dollars. Well, now let's hear what it sounds like. I have no hold with no hold. You can see, after the peak of the attack, it will go straight into the decay. Part of the stage, however, will hold this peak attack on the amount of time we slept here in milliseconds or seconds. You can see here if we increase the hold, we can't actually see the rest of the envelopes. And we actually have the soon button here which will allow us to zoom in or out off this graph. We also have this lock button so this will adapt the graph to fit the envelopes. I personally like using this lot bottom. This makes it easier to work with. So you unlock this. We can zoom in the rights with this up or down arrow, or we can use the magnifying glass. But to be honest, I find it easier just locking this. I also find this blue dot that goes over having the envelope in real time really useful. You can see and hear exactly what's going on, so Envelope one right now is working on the AMP. Let's have a look at envelope to Let's just set envelope one toe having a fast attack. Now let's have a look at envelope, too. Let's just click and drag this onto the pan off us later. A. I'm just going to turn off all slate to bay. If you have headphones on or using monitors or visually, you can just see here. As this blue dot goes through the envelope, it's actually going around the pan dial, so it's going from the left speaker to the right speaker could make this a bit quicker, so the bottom of the envelope is the Left Channel on the top of the envelope is the right channel, and we could right click on this on the removal modulators. We can add this on to most things here into this May not slit window. Let's just try the level off the sub. I'm just going to turn off us later. A. On if we move this little blue circle, we can change the distance so the top of the envelope at the moment is no level on the bottom of the envelope is level and just move the circle rounds and now the bottom of the envelope house less level on the top. The envelope has more level. A good one to use this on is the filter cut off. So just click and drag this on the field to cut off. Let's just turn on a slight A. But stone even more so. It's more obvious, so you can see. Now it opens up the built cut off as it goes up through the envelope into the peak of the attack on hold. We can also use the fed envelope if you wish. So for their something actually going to use the wave table position. And here is goingto go through the different wave table positions as it goes through the envelope. So you have to see in real time these waves change. Let's just have a little slower. So right now we're using all free envelopes on vote one. Is the envelope to Is the filter cut off and enveloped? Free is the way of shapes. So we can, if you want news, Ofri envelopes at the same time. Okay, so that's the envelopes. Thank you for watching. And I'll see you in the next lecture where we're going to be looking at these four different Ella foes. 4. LFOs: Hello and welcome to this lecture where we're going to be looking at this LFO section So serum here gives us four independent telephones but they all share the same graph area Also , if I drag LFO four onto something I want to modulate for example the filter cut off You can see lfo five appears on If I drag this on to something else say the filter pan lfo six will appear so you can actually use a lot of different telephone in serum which could be really useful. Okay, You want to remove this LFO modulation? We just right click on here and going to remove or modulators. Or we can select the individual on here removed modulator lfo five at the same of the filter cut off removal modulators So it's really simple We just click on the telephone, want to use drag this little cross onto whatever we want to modulate with telephone for this example I'm going to use LFO one to modulate the filter cut off So now when I play a chord, do you can see in real time Let's do into the filter cut off in this little graph area Here we can control the distance we wanted to control of this little blue circle here to click and drag this. And also, if we hit option shift click, we will get some bipolar modulation so the modulation could go forward on backwards. Okay, so let's have a look at this graph area here. We can actually double click to add new dots or new notes. We can really sculpt out the LFO. Everything also click and drag to add a curve. Okay, so let's have a listen to this night if you clothe so you get some quite unique shapes here . We also have some presets We can choose if we hit this folder Bottom Basic miscellaneous side, chain, user If you want to save your own shape, let's just try Miscellaneous on dome try and the one miscellaneous on ramp up. We can change the grid size here if you wish. You can always go in and change the presets and then save them as your own sign of so shape . Okay, so we have a few different modes here. The 1st 1 is trig or trigger. So this means LFO will restart on every note, then going down. We have on the light mode. So in this mode the LFO will complete one cycle. Behaving a bit like an envelope. You can hear that it went through the LFO once and then just stopped and continued as normal thought. This could be useful if you wanted to add, say, another envelope. So it's kind of like envelope, but without a release stage or we can go down and hit the off button, which is the default. That means the telephone will continue not reset on every note. Okay, going across. We have BPM or beats per minutes, so this will sink to the tempo were working with in Idowu and we can choose different note lamps here. So at the moment it's 1/4 notes goes for every bar. So that means it will take this amount of time to go through this telephone. So right now I just put the match No, Mom, In my day I w second here is four beats one bar because in this project, we're working on for four to go through this LFO for increased this to say course notes. So every beat is going to go from this telephone booth of course, we commit this a lot faster if you wish. And if we don't want to think this, you can unclip bpm. And then this will change the hurts so you can get some really fast times if you want. So you notice here we have anchor selected. So this basically helps telephone rates sink with the BPM clock. So when you're changing the position off BPM, sometimes you can go a little bit out of sync on anchor. Could just mean it will stay more in sync. Okay, Going across. We have rice. So this acts like a fading for the modulator. Changes the hats. It's kind of fading in. Okay, I'm going cross. We have delay so this will actually delay the LFO by this amount selected here. Let's just put rise all the way down, turn on the BPM and change this to on the quarter notes on delay. I'm going to have 1/4 notes so the notes going to play without the LFO for 1/4 notes and then the LFO is going to stop. Just make this a bit slower. So for one bar is going to play without the LFO and after that the LFO is going to work at one coordinates and then we have smooth on. This is used to smooth. Let's just make him or crazy shape for about fun of l. A. Foes work exactly the same and we can actually a Sinus LFO to control more than one thing at the same time. Or we could never have multiple telephones on the same thing. So if I add this to cut off, you can also see a little one appears here. So this basically means how many controls the modulator is assigned to. So it means it's assigned to LFO two on LFO one. So this filter cut off is going to be controlled by LFO one on LFO two. At the same time, I also have independent right This LFO could be used a warp pitch pan loads of different things. Let's just drag lfo two onto course pitch here. Oh whoa! Wait a draft lfo two onto teaching No, no, no. So I could really use this lfo to control a lot of different things in this main window in serum. So thank you for watching and I'll see you in the next lecture 5. Voicing Section: Okay, Now let's have a look at this voice in section in the bottom rights. So the default is polyphonic, which basically means we can play more than one note at the same time. However, we could change this to mono if you wish. So right now and playing a court now I'm going to switch it to monitor and play a court notice. It's just playing one next. This might be useful for bass parts or leave parts, so only one note will be voiced at a time in mono mode. Okay, going down. We have leg rt. So this means that the envelopes on the telephones were only re trigger after all of the notes are released. Let's just change this envelope here. You can see him playing different notes. It's actually going for the some below Lakatos off. It will go for the envelope every single time. A different note is re triggered. Let's just de select mono on. He can see Polly and it has the number eight. So I'm Polly here. This is actually how many notes can physically be played at the same time. So how many notes on your keyboard? So right now, I'm playing free notes for changes to 21 It's not actually playing the card. Let's change this back to eight and below. We have this zero off eight. So I'm playing three notes saying, I'm playing free of 804 nights 567 If I play more than that, it's not actually playing with these notes. It's just choosing which wants to play because I'm playing more than eight notes there. I was literally just playing a load of notes on the keyboard just for that example. If we change the voices here as well, you notice that this double so we'll have to double. So this is how Maney notes Aaron the voices now. So for play free notes saying six because those two voices so three times to six ever play free voices on a play free notes, this will say nine on the fourth of play. Free notes. Let's say 12 so on and so forth because it'll multiply. The number of notes were playing by the number of voices, so this is actually the total notes, including the voices going down. We have this port aumento dial, so this allows you to collide between notes. Schoolmate attack time A bit quicker. However, if we have always checked, this means every night will be four to Mento because if this isn't checked, separate notes will not have Port aumento. Only Lagardere notes so early when often notes, I held down this separately. Always means they all have. Ultimately they matter, even if they played separately committee at that time a bit quicker. We can also change the port aumento time here. Let's just decrease this a bit. We can also change the curve for the porta mental here as well so you can bend it so composed this curve inwards. So it seems slow and then quickly jumps towards the destination. We can pull outwards, so this will bend closer to the destination. And when it's in the middle, it'll be great at. Okay, so that's this voicing section in the bottom, right? I hope you find this lecture useful and I'll see you in the next one 6. Global Section: So let's now have a look at the global tub. So here we have a few different sections. We have the chaos section of the unison section, the preferences on the oscillator section. So we looked at the chaos section earlier. Basically, these two elephants that have a slightly different sound weaken set them up in the mod matrix, and they create kind of a chaotic sounding LFO, which is why they're called chaos. Okay, let's go down and have a look at this unison section here. So the left side is for us later. A on the right side is for us later bay, so we can change these settings independently. Or commuters arrows here to change them both at the same time. So the 1st 1 says range. So this is actually for Detroit Inc So the default is to or two semi tones. Two semi tones is a good one to leave on because it will make the D tuning sound like a nice chorus effect. If it's any bigger than that, it will just sound a little bit too and tuned. But let's have a listen. I'm just going to go back to the oscillator. I'm going to choose analog on basic shape, just going to choose a sine wave. Let's add a few voices on and never gets the global and increase arranged to, say, 12. You can just hear a little bit out of could be useful for an effect. Or if you want to make some more creative sounds, you could really do doing this a lot more if you wanted to. I'm going to leave this on to okay, going down. We have whit, so zero will be money and on 100 add more stereo with going down here. We have what So if this to work, we need tohave Ah, walk mode actually selected. So let's select one of these walk modes. I'm going to use asymmetric plus. So when we increase walk here, its voice will get a different amount of war, and we also have negative values as well. So the voices apart from the 1st 1 the main one, would get different values going down. We have WT position or wave table position, so this each voice will get a different wave table position, so that's just choose a more complex wave table. That's try this one here. Monster. So if we click on the Freedy view here, you can see it's a lot more complex than the basic shapes thing. So going back to global, if we increase this number, the wave table position, each voice would get a different wave table position. Okay, going down. We have stack. So this allows us to choose different pictures for different voices. So let's have a look at some of these. If we have this one here two times, we will need more than two voices. But you can basically here how the different voices have different actives. We have a few more as well. We have three times which will be free actives up. We have 12 at seven. So this will add 1/5 as well is not active. We have 12 times to add seven. So two octaves up, we have a few more as well center. So this will give us the active below. Sent to 12 will give us one active below and then sent to 24 2 octaves below. Let's just turn this offer now, though. Okay, then we have mode. So this is about how the voices actually d tunes the default is linear, which we've been working with, and so this means the voices are equally de tuned. Okay, going down, we have super. This is kind of in between linear and exponential. But basically what it means is the inner voices are more in tune on the outer voices are more out of tune. Let's just have a look at the tuning here. You can tell by the voicing here the outer voicings have more spaces than invoicing. Let's just change this back to linear. You notice they're equally spread a partner. And if we go back to this and change this to exponential So here the outer voices will be even more out of June compared to the invoices. So if you look at this now, you can tell by the gaps. Okay, The next one is inverse. This is the opposite off exponential. So basically, the inner voices arm or out of tune on the outer voices are more in tune. Let's just look at the D Tunas. Well, you can tell the outer voices are closer together on the in the voices, Arthur apart. Okay, then we have random. And this will determine these voices randomly. Okay, Going over. We have the preferences here. We can change the default way form from two D to three D to this one. Here. I like to have a two D as a default. But if you find the Freedia one a bit more useful, maybe you can change. Devote here so you can hide the panda cables at the bottom. There's a few more as well. You can disable the help on Deacon disable showing the values when the Justin controls. I like to have these on just in case. Okay, go and go there. We have the oscillator settings. So here we can enable or disable pitch tracking for the different oscillators. So if you want to create something a bit more percussive and you don't necessarily want it to follow the pitch of the keyboard, you can disable the pitch tracking here of evil. Oslo A or B. Just have the tuning K. If you want to change the tuning, also change the over sampling. If we wish, you can change it toe one. If you want, it will lower the same quality on four times. Won't really make that much difference. Maybe for a few of the walk menus in effort mode, but that's about it. So I just leave that on two times. You can also find, too, in the noise oscillator pitch here if you want to as well, because in the noise oscillator we do have some semi tonal controls. But you can also find Tune it here if we wish. Okay, so that's an overview off this last job, the global settings. I hope you found it useful, and I'll talk to you soon.