Beginners Guide to Cinematic Sci Fi Sound Design Synthesis Using Arturia Pigments

1. Trailer - Beginners Introduction to Cinematic Sci Fi Sound Design Synthesis : Welcome to the beginner's introduction into cinematic Sci Fi sound design with the pigments sin. We believe in stripping away the complexity of sound design with more hands on approach to take you from a blank canvas to the audio and sound that you want. So you'll find the tutorials in this video will guide you through and give you the toolset you need to then shape that particular sound into exactly what you need for your visual. We're using the incredibly versatile AtoriaPigment sent, which we start with a nice breakdown of all the features we'll be using. But it would help if you were familiar already with the basics of synthesis. We're going to help you unlock the engines, the filters, the modulators, and to navigate around it to build particular sounds and get the baseline for what you need. All of the sounds you can hear building in this trailer are sounds that we are going to make throughout this course. We build the sonic universe from the ground up, giving you the tools you need to generate it exactly the way that you want it. You will discover the secrets of crafting immersive synthetic room tones, designing ground shaking subs and layers to fill out the space. We'll guide you through a synthesis of sweeping ethereal textures, show you how to create intricate robotic and UI sounds and even the classic computer keyboard. You'll learn to shift gears with dynamic vehicle engine synthesis, interpret mysterious Sci Fi radio signals or tear through space with a futuristic whoosh. Whether you're scoring film, building a game or producing electronic music, these fundamental techniques will help transform your workflow and stop you searching for samples and creating unique sounds tailored by you. Synthesizing your own world. Start this Skillshare course today. 2. Introduction to Pigments Synth: Welcome. In this introductory video, we're going to go over the basic workflow of pigments. Please note this is not a deep dive into every single feature of pigments, as that would be an entire course in itself. But this is just to ensure that you're familiar with the workflow before we begin on the basic synthesis course. So when we open pigments, this is the display that we're presented with first. And we're going to work ourselves from the top left to the right hand side and go through the different layers. So the first thing is we have a little burger icon here. This allows us to do things like save our presets, open up other presets. And importantly, for this course, you have the import option. So you'll be able to download and import all of the presets created throughout the course. So you have them to hand to visually work with, start from, and see how you get on with following across. Next, we have the library, which opens up our wider preset library. If at any point you can't find a preset after you've imported it, we can use the search terms here, and the presets are named after the video lessons for the most part. Or you can search for Black goblin, which will be the author of all of the presets. We can press the cross to go back to our main display. If you find a preset you particularly like, we can use the heart icon, and that will give it a nice short list for us. At the moment, it says welcome and welcomes the default preset, which just gives us a base sine wave and everything set up very, very plainly. We are going to use this as our initialized preset for the entire course. Next, we have up and down arrows, which let us jump to the next preset in line. Here we have play. Play changes our main synth window to a much more simplified version. And once we've found a sound, we like our macro controls and key things we might want to adjust live here. For this instance, as we're going to be learning to program and build specific sounds, we are going to remain in the Synth window for pretty much the entire course. Next, we have the effects window, which has another icon next to it, meaning we can press here and disable all of the effects in a single click without having to go to the window, individually turn them off. If we click on the actual word effects, this will change our top panel here to the effects section. We'll go over this shortly. Secondly, we have the same thing for the sequencer. We can switch it on directly from here or off and open the sequencer window to set it up within here. We're going to return this now to the Synth display. Next, we have this little light icon. Switching this on will mean anytime we hover over, some kind of descriptor is able to appear, and we can get a little guide through pigments. The drop down next to it allows us to show the tips or the advanced tips if we need those. This is our main output control. By default, it's -14.1. And generally, we will need to be dialing it back as the sounds we create will fluctuate a lot more, and they all have their own volume controls within there. But should we need to, we can boost this up or down. A double click will reset it to the actual default, which is -12. Here's a little output meter, and when we generate sound, you can see that that fills up. And then we have our settings options, which opens up a new settings window. We won't be needing this much as we go through the horse. So next, we have the main section, which changes with the play synth effects or sequence options as seen above. Our main section is where we're going to be spending most of our time. And in here, it's broken down into three main parts. We have our main synthesis section where we are able to drop down and change our different engine types. We have a secondary engine which we can select and it will change the tab to that engine. And much like we've seen with EX and sequencer, we can switch those on and off without having to directly access the page. Our third engine is a utility engine, which contains three different oscillator. Two noise and one of a base oscillator. We can disable all of these, but if we want to enable an individual one, we do need to go over to that page. But all can be disabled with a single click up here. Next to our filter sections, we have two filters, and menu can open up and select our filter type. We can enable the second one, and we can have a separate filter type in there. From any of our oscillator sections, we can choose what goes to what filter. See here, we have filter mix, and this is available across all of our generators or engines. All the way to the left, we'll send the sound to filter. All the way to the right, we'll send it to filter two, and in the middle will be a blend of both. Double click, we'll always reset it to filter one. We then have some basic rooting. At the moment we have filter rooting and filter one feeds into filter two. For example, if we take noise one here and we send it to filter one, currently, it goes into filter one, and filter one goes into filter two. But we can bypass filter one and send noise one directly to filter two by doing this. We can change the filter routing by bringing the control all the way over to the right hand side. We now have filter one and filter two completely separate. So filter one will now go to the output rather than feeding into filter two, and filter two will also go to the output. There are more complex setups here where we can do and we can send to different effects chains. And if we use those throughout the course, I'll explain that as we go. We have our amp modulation linked to velocity, our voice panning, and a send level to send to one of the effects channels, which can be seen here. That's the Send effect. The effects window has effects AB and our send effects. We can select each one from here, and where we currently have none is a drop down for our effects chains. We'll make a lot of use of the reverb and delay throughout this course. So it's useful to know how to load these in. Our sequencer, once switched on, enables the page. It's a very complex sequencer. We will utilize some basic features of it as we go through, but for the most part, it will be disabled. The named and color grouped. For example, if we click on Vo, our bottom section changes. If we click on our expression, it stays within that same window. You'll notice that below this, the color coding remains, and we can actually change our bottom window to be relevant to those functions or routings. For example, the combinate here can be selected, and all three are available here for editing for us. Whichever one we're hovering over is also highlighted with a little colored box above. For example, if we go to the LFOs, we can see which VO is selected. And that we're working on with a nice visual representation. In terms of linking any parameter, pigments does this in a fantastic way without requiring a complex mod matrix. If we would stick LFO one, for example, here, and link it to the cutoff. When we hover over, we get the option to assign. If we click and hold, we can drag and drop that to the parameter we wish. Once it is assigned, we get a little icon that shows our movement, and if we hover over, we can see that connection and we can push it up however we need. That is a basic overview of the functionality we will be using in pigments. 3. Synthetic Room Tone Synthesis Part1: In this first video, we're going to look at making Scifi synthetic room tones. And the one we're going to build in this video sounds just like this. Welcome to part one of the series. Where we going to look at creating synthetic room tone? These are the kind of sci fi tones that will underpin all of the other sound design, the kind of alien, unsettling or the kind of alien or unsettling world building that exist that we can't necessarily record to create an atmosphere and ambience of a sci fi world. Each time we load up a project throughout this series, we're going to start with the welcome preset here in pigments, which just gives us a base sine wave. And we'll build from here each time. So if you're following along, begin here with the welcome presa. We're going to begin with some basic explaining as we go over the synth. But as we progress through this course, if we reuse any of those features, we will explain them less and less. So we don't have to tread the same ground for you over and over. Now, let's get to the tutorial. For this first sound, we're going to make use of a different engine than the wave table. On pigments here, we have engine one and Engine two and the utility engine all selected together. For this instance, we're going to disable the utility engine by clicking on the on off icon right here. On Engine one, we're going to change this over to harmonic. Harmonic allows us to create our own waveforms by morphing two different shapes together, but it also allows us to modulate the individual harmonics of those tones. This is really, really useful for generating these kind of other worldly room tones that we're going to utilize in this. Now, if you have a midi keyboard connected, you can very simply press a key, and you're going to hear what is effectively a saw wave. For the purpose of the tutorial, I'm going to put a single note into my DAW so that we can play that over and over. But I recommend you use your midi keyboard if you have one available. The note I'm using here is C two. So to begin shaping this tone, in harmonic, we set in harmonic, we have a set of tools across the bottom that change from our usual parameters, the window, phase mod, shape, periodic, and modular. We're going to utilize all of these to some degree, but we are going to change periodic to random. Random allows us to modulate the harmonics that are generated over time, allowing them to warble and move up and down. And you'll see how this can be really useful for the generation of these tones. First, we're going to begin by creating a shape. In the shape section here, we can change our waveforms by clicking on the waveform themselves or the arrows on either side. For the sound we're going to generate here, we're going to utilize W comb and notch. Now, when we move the shape control or the morph control in the middle here, we're going to dial it to around here. We'll see that there's currently no change. That's because the other control at the bottom here will help us adjust this morph between the two. At the minute, we still just have our default saw wave. But when we begin to adjust things like the tilt offset, which works like a high pass filter. I'm gonna give ourselves some extra high end. The parity, which is the blend of the different harmonics. And then the depth, we start to get drastically different shapes. Now we'll see that our morph does a lot more. I'm going to use this almost square tone. But we get this harmonic generated here in the middle. Consistent and persistent tone. By adjusting the morph, we can adjust how harsh that is. And by adjusting the depth, we can balance that to sound how we like, create more harmonics, less. Or we can adjust the morph. I find our balance here. I like a relatively complex wave with some kind of persistent tone, like you would find in a room. That would be the modal tone of the room. Remember, you can always adjust the key, as well. Now we're going to see what random really does for us. Now, we need depth for random to work, and the rate is the speed at which it operates. We're going to push the depth all the way up. Now we can see how those harmonics are moving and changing shape consistently. We dial the rate right back. That process is a lot slower. And if we push it all the way up, it's a lot faster. And we're going to go for something around here. Now we're going to use our window to adjust some FM modulation into the tone. We're going to bring our position up and we can see it's highlighted here with this white section. And we'll want it somewhere around this region where we can pick up these tones. We'll want the window size to be a little bit larger as well. We can see that expands as we move the control upwards. Then gain is how much of that is applied. You can see that levels up those harmonics in that area. Then FM pushes those to modulate themselves doing this. You can certainly hear something we'll do later in the video. With creating computer generated towns. Adjust this to the balance that you desire. We're going to go with something around here. Now, we're going to apply a filter to this sound to shape it even further. Filters are in this section here. We have filter one and filter two. It's important to make sure that over here in our engine, we have filter mix set all the way to one. If we bring it to the middle to blend between the two, and all the way to the right is going only to filter two. We just want filter one in this instance, and we're going to make use of the cob band pass six. So we can go down to comb, band pass six. And this really filters out a lot of our sound. But we can bring the frequency right down. Increasing the volume drives the came a lot more. Now we're going to take dampening back off, it's going to give us a lot of our lower tones back. Now, for me, I think the rate that the random is moving is maybe a bit much. I want to bring that back. There's our constant moving electrical hum, if you will. Now what we're going to do to really set that in our space is utilize the FX. Then FX A, where it says none currently. We're going to go to revab we're going to take the wet dry to mostly wet. Now we can adjust the size and things like the pre delay in this instance. We want it to be very quick, all the way down to zero milliseconds. The size? Well, that depends on our visual. Is it a big spa space or is it quite a tight corridor? Long decay is quite nice. Again, the dampening will be a real adjustment of our high end. I think we can have the lower frequencies in here for sure. Now, this gives us a whistling, uncomfortable tone. If in the second effect, we put shimmer, we can start to really play with that room node and feed it back into itself. Increase its size, make it very uncomfortable. Now, that's the basic setup for the preset. And it modulates itself. It doesn't require any really external modulations or any linking. Now, remember, you can download all of the presets we build from the resources here in the course. So if you are struggling to follow along in any way, please download those resources, and you can match the presets like for like that way. 4. Synthetic Room Tone Synthesis Part2: This part, we're going to make a different type of room tone that's a lot more low end based. And well, it sounds like this. This time, we're going to go for something that's a little bit more of a bed, has more low end and can just kind of sit there and set that kind of electric spaceship sort of tone, but you can still freely shape and design completely as you like. So this time, we're starting again with the welcome presets. We're just on default sign. But we're going to make use of the wave table section this time. And specifically, if we go where it says, basic waveforms, we can choose from a whole host of other waveforms. If we go down to FM, inside the FM folder, we have one called mechatronic. Once we've selected it, it'll turn blue, and we can click Close or just click off here. If we play our tone, we've kind of got something already. But the beautiful thing about the wave tables is that we can use our position control to move through different parts of the tone. It's like a small sample, and we're playing back single cycles of that sample. Now, what we want is sort of the bottom third of this particular wave cycle here. All of this. And we're going to make it so that that position naturally moves rather than sticks on a single cycle like so. So to do that, we're going to utilize the LFOs. So we've put the position here roughly in central, as we're going to have the LFO work in bipolar, meaning it goes up and goes back down. So this would be approximately our middle point. If we select LFO one, we actually get all three LFO controls here at the bottom. We'll utilize LFO one as it's the only one that we need. To link it to our position, we can hover over, and it will say a sign, and we can drag LFO one over to our position. As you can see, it's now cycling through that part of the waveform for us. The yellow icon here will let us adjust how much of that it cycles through. Now we know we want roughly this cycle here. Now, this is a little bit quick for me. So in our rate here on LFO one, we're going to bring that down. So it moves a lot more slowly through the tone. You can see now that mine's constantly resetting each time my note in my DAW reaches its end. We can stop that happening by going to Polly keyboard and put it on free running. It will now continuously run, even though the note keeps resetting every 1 bar here. Now I'm going to bring the position down a bit because I actually don't want that high frequency buzz when it gets a little bit higher up to be too much. Just going to use maybe even just this bottom 20% of this wave cycle here. Now let's look at something else we could add into it. Let's make use of our utility engine over here. Here we've got two noise generators and an oscillator. Currently all disabled in our welcome preset. If we turn on noise one using our on off switch, we'll immediately get a burst of white noise. We can make use of the filter and maybe take away some of that high end and just let there'd be a low noise sitting in there. We can double click to turn that filter back off. If we click where it says white noise, we can choose from a whole host of different things. I find something like pink noise can generally be more useful in these kinds of instances, as it's already got somewhat of a filter. We can just let that sit there in that mix. We can blend other things in like analogue noise. Maybe we want to high pass that have the hiss, but then tune it down. Create that kind of particle. So energy there. Now, we could send our noises to filter two, and we could treat them separately from the rest. So if we take the filter mix and push both to filter two and turn filter two on, we can now control them without affecting other hum. Maybe a bit of resonance. Let's make use of our LFO on the cut off on filter two. So let that move a little bit more. Now, LFO one is very, very slow. This might fit your scene, but now if we adjust the rate, it'll adjust that filter cutoff and our wave table rate at the same time. I think now perhaps the range is even too much here. I would bring it up slightly, but I'm going to narrow it down even more. Now, our tone here goes into only filter one. We can utilize these cutoffs to control the top end of that tone as well. If we want everything to move together, we can link that to LFO one. But let's try linking that to LLFO two and giving it a different movement. We get a little bit more out of the sound this way. I'll set this to free running as well. It now moves at a different rate. We've got those same room tone effects, a nice bed of sound for everything to sit on. If we want to put it in a place, we can use the same reverb trick that we did before. If we go fully wet, it'll take some of our original tones out and just give us the reverb. We can use the same thing where we push into shimmer and use the feedback to generate a room node and tone. If you'd like to generate a really unsettling feeling, we can take the feedback on shimmer, use one of our envelopes or functions. In this case, we'll use Envelope two. Connect it to the feedback, give it a really long attack time and tell it to push up that feedback. We'll end up with an effect like this. 5. Sub Bass Dips and Layers Part1: Tutorial, we're going to look at making a sub bass drop. This can be placed under other sounds to create a sudden swoosh down into the low harmonic rumble or can be used as an effect of its own. And you'll hear this heavily utilized in many, many sci fi films. It's going to sound a little bit like this. Mm. Let's begin making our sub sweep. We're going to start as we have always on our welcome preset, which just gives us the very simple sine wave. In this instance, we are going to utilize that as the sine wave being a single fundamental frequency is our best option for a solid sub base that we can use to sweep down or layer under something else. The method that we're going to create this sweep down is really quite simple. As before, I'd recommend if you have a mini keyboard attached, that you utilize that and able to simply press your note. For the purpose of the tutorial, I've put a single note in my DAW, so I can just play back. So from our welcome preset, we are going to switch utility engine off, although everything should be off inside. And we're going to stick with just the simple wave table here with the sine wave. I currently have placed in note C two. But we're going to move that up one octave, so we're starting 12 semitones up on C three. One way that we can cause the sudden pitch drop is to use the course tune and link it to an envelope. If we take envelope two here and drag it to assign to the course, and we can pull it down, as you can see here, it's just giving us a percentage. It doesn't give us the value in tuning. If we do want to see a specific tune amount, we need to note that say, here, for example, is two octaves. So we can hear that pitch down happens very, very quickly here. We need to adjust how the ADSR here works on envelope two. We need to give it more of an attack time so it happens over a longer period. And we don't want it to return back here. So we give a consistent sustain of 100%. The attack amount will define how long this takes to pitch down. The amount of course that we pull it down determines where the final note lands. Now, the linear progression here feels quite unnatural. We kind of want this to ramp up and then curve into our adjustment, something like this, perhaps, or much faster. Now, as we move into really low frequency, if we were to take the standard logic EQ, for example, here with the analyzer on. This is becoming nice and low, but we can also continue to adjust this down lower and lower until we're in the sub frequency. While perfect for cinema, this won't necessarily translate across all mediums, and we may need to add some extra harmonics in. We can make use of our wave table position with our envelopes to do this. For example, if we bring this down to the sub, this is barely perceptible in my headphones. On the subsystem would be fine. If we adjust our position, we can start to bring some extra harmonics in. We can see that extra harmonic here at 100 hertz starting to appear. If we make use of our third envelope, we link that to position. We can to push that up ever so slightly. We can adjust the curve to be similar to what we have on envelope, too. But we may wish that that comes in a little quicker or a little later. Depends what we want out of the sound. But that will now generate for us some extra harmonics and make it audible as it moves into those lower tones. With what we've set up here, you can adjust your attack times and your curves to perform with whatever you need. Mm. Your particular we can make use of the additional position adjustment to create those extra harmonics and maintain that low tone. Now at the minute, this requires a note to be pressed and held for it to work. We would adjust the note length depending on how we want the note to be held. However, if we change the ADSR mode so they are both just simply ADR, a single press of a key will trigger the performance of the sound with the release being the end of it. Mm. 6. Sub Bass & Dips Sound Design Part2: Time, let's have a look at how we can add a sub harmonic layer to a sound we've already created to make use of, say, that 5.1 cinematic. This may be the only time in this series that we deviate away from starting with Welcome, but we're going to load a preset and then look to add a sub harmonic layer or sub harmonic texture into that. We'll use this preset here. I was going to try and pronounce it Bu de bar. Either way, if you can't find this preset, we can go into here and you have a search preset option at the top. So there are two fundamental ways we can go about creating sub harmonic into this. The first and most simple is to take the utility engine, and we can take the bottom sciilator and switch that on. We're going to take the output option here. Instead of going to filter, we'll use direct out. And we'll ensure it stays on the sine wave, and we drop that down one or maybe even two octaves. To give us that tone. Now, we may not wish that to always be there, so we have our output control here, and we can utilize that output control. We could take our envelopes. We'll use envelope three here as it's unassigned in this preset. We can take our output back, use our four sustain, and use our attack time to bring that sub harmonic in over time. And obviously, the inverse is possible here. We may wish to take it out, establish with the low rumbling time, but remove it. We would start with our output nice and high up and dial the polarity of this to take it out over time. Now, a second way to do this is to make use of the other engine if it's not being used for the fundamentals of the sound. In this case, it's being utilized. However, we take this preset here. And however, if we take the wooden Oracle sound here, that doesn't utilize engine two at all. So if we switch engine two on and we make use of our analog option here, we don't need oscillator two or three, so they can be dialed down fully. We'll make sure that Oscillator one here in analog is set to the sine wave. And we can bring that down again in frequency, say two octaves, 24 semitones. Giving us that sub frequency. 7. Etherial Textures Synthesis: In this section, we're going to look at how we can create those ethereal pad sounds that are heard throughout Sci Fi cinematics. As with all the other videos, we're going to give you the tools and ideas you need, but then take those and shape them into your own sound. So let's reset to our welcome preset as always. We'll disable the utility engine, even though we know everything should be turned off. And for this sound design, we're going to make use of the granular engine that's inside pigments. It's available in the engine sampler. So if we go to our engine and go to our drop down, choose sample. Below the sample loader. We have the granular option. If we switch this, we now have the granular synthesis control over the above sample. Granular synthesis works a little bit like the wave tables in that it will take small cycles of the sample and use those to cycle through as if they were waveforms. The difference with granular is it can pick multiple different places from the sample and create those cycles, allowing us to create really deep rich textures all from the same sam source. There's a whole host of samples available to us in pigments if we click where we have the default E pnoC three and we go to Pads. For this instance, we're going to subtle tension. We can double click to load that. Let's get a rudimentary understanding of the granular controls, starting with scan. Scan shows the area that can be taken or scanned for for the granular synth to take wave cycles from Backwards allows it to scan backwards, forwards allows it to scan forwards. And by up to 200% Of leaves it in its tiniest area. The area that can be scanned is controlled via the size. Can we take the size back? How much smaller snippet can be scanned. If we amp this ride up, a considerably larger area can be scanned. And you may have noticed that multiple notes seem to be ripping through the sound one after the other, that's all from a single note trigger. This is the density. If we were to bring density down, we'd now get a single cycle, the more we bring it up, the more cycles we're able to get in. Density can work with hertz or it can be tempo sync to your DAW. This can be really nice if you need some musical sync to the sound. Next, we have a shape somewhat like an ADSR, we have specific shapes, and then we're able to adjust how sharp or effective they are, much like an envelope control. For example, here is a classic saw. And you can hear that ramp down happen. If we push this all the way up, though, the curve of the release becomes much sharper. We have multiple different shapes. And they can adjust the field dramatically. Below these main controls, we have the random controls. These allow some randomness between all four of these various controls. And that's what makes granular a little bit special. Start, for example, allows us to start in a different position on the sample with different notes. As you can see, it's now randomly scanning across the sound with its start points. We can dial this in with the scan and start controls to get a specific area of the sound. If your sound has multiple points that you don't wish to use, we can go into Edit and we can use the two handles here to narrow down what we're after. When we go back to Maine, we'll only be working with that part of the sound. Pitch allows for variations in pitch. Makes it incredibly easy to create very unsettling atonal sound. Very small variation can be really nice though. Density. Again, this is a variation in the amount of density. We can have it be denser or less dense. If we have put our density up significantly higher here, we may wish to reduce it with a variation of randomness. I personally prefer to work the other way around. I find a nice start point. I it to add a couple more in as and when. Size allows variation in the size of the sound that can be scanned. This can be a nice way to get sometimes short notes, sometimes slightly longer notes. In this instance, we kind of always want each sound to blend one into the other. So let's have it so we can only ever go longer on size. And now we won't get the sound dropping out. Lastly, a volume control. Variation in volume just from pressing the single note. We have some effects built in. Can switch these on right here. Bit crush can be quite nice. Just moving the sound down to 12 bit can add a bit of top end noise. Maybe a little bit of distortion, too. There is a softer mode. If you click to smooth. There's a range of effects in here. We're going to make use of the resonator here and add a bit of course. Giving us that ethereal vocal tone. We can use in harmonics as well to adjust that. Once you played around with your settings and found a balance that really works, we can really turn this into that deep pad by utilizing the effects to make use of tape echo and we can give this a balance of 50 50. That means we'll hear the full sound and the full effect. I'm going to take this off of sync and go to time. Can just dial this back a little bit. I'm gonna up the intensity a little bit, so we hear a bit more of those reflections. I'm going to send this tape echo directly into the regular delay. This time, I'm keeping the dry most of the signal. But I really want to up the feedback. Let's listen to what that's doing. Let's bring that to around 30%. Now we can give this a sense of space by placing it on a reverb, but we want a lot less of the wets time, maybe all the way down to 20% and quite a small space. Having a pre delay of sort of ten to 15 milliseconds, just kind of lets the delay come in before the reverb then washes out. Playing a chord gives us that deep, sci fi, uncomfortable ethereal tone. We can make this even more uncomfortable, though. Using the time here, if we use our LFO to manipulate it, let's link it to LFO one. We only want this to go really small amount. Maybe something like this. And we want it to happen slowly over time and then suddenly drop out. So we can take the symmetry on LFO one and ramp it up, so we become closer to a sow wave but not quite. And we're going to take the rate write down. So now this will slowly adjust the time that pushes into the delay in the reverb and then suddenly drop it out, and it gives us an effect like this. Take what you've learned in this video, utilize the two patches that have been Take what you've learned in this video and create your own patch. There are two example patches for this tutorial for you to get your head around, and would love to hear what you've created using this tutorial. Okay. 8. Computer Sounds and UI Sound Design Part1: In this section, we're going to look at how we can use pigments to create things like UI and computer sounds that fit in the Sci Fi cinematic space. And in this first one, we're going to look at using something completely different to what we've done before and create a keyboard foly player that you can play from your midi keyboard like this. All inside pigments really, really quickly, starting from our default patch. The first thing we're going to do here is actually switch off engine one. We don't need that this time. And instead, we're going to navigate over to the utility engine, and we are going to turn on noise one. We're going to make use of this functionality here. Currently, it's just white noise. But inside pigments, there are a whole suite of useful noises. And in fact, if we go in here, we can go down to Foley, and there is a computer keyboard loop, which is just a sound loop of someone playing a computer keyboard. But we're going to set this up so it can work for us. Now, when we've loaded this, it by default, has moved from key to random, which is perfect. This allows us to start at a random location in the sound itself. And that's absolutely what we want. The next thing we need to do is adjust this, so it's just a single keystroke for each time we press. ENV amp, that is our envelope for our amplitude is automatically linked. If we take it from ADSR to just ADR, so a single press will always be one key. We can then just reduce our sustain, our release, and our decay to make a single keypress. We wanted to bring our attack. I was very quick. And we'll shape our decay, our stain to fit. If we need a bit of release, we can leave that there as well. Now, to give a slightly more mechanical feel to these keys, as we might find in something like the classic alien films, I tuned it down around seven semitones. That gives a heavier, clunkier sound. As we've restricted the envelope of the amplitude so much, we can actually add some gain back in here on our main output. Let's maybe give this a slight bit of attack. That seems about right here. Now as we have before, we can use effet, make use of our reverb here to place it in a space directly within pigments. This time, we can use the presets. And we'll just give it a tiny bit of space like so. Dial it into our scene. That's one really useful option for making use of the utility engine and the sampler and the randomis to create our own custom keyboard foly machine. 9. Computer Sounds and UI Sound Design Part2: In this tutorial, we're going to look to create some Sci Fi computer type sounds, utilizing the functions and the wave tables. And it sounds a little something like this. Let's get into that. So starting with our welcome preset as always. This time we need to make a waveform that's got kind of a bleep bloop kind of effect to it or sound to it. We also want it to change slightly. Now, we can use a couple of different options here. We can use the wave table or we can create our own with the harmonic. First, we'll look at using the wave table option. If we press this. And we want something that can give us the right kind of sound. The Sing triangle square is probably a good place to start. And we'll give a little bit of movement on the position between the triangle as the starting point and a little bit into the sine and a little bit into the surface and variation. We can just use LFO one to do that and dial it back. We just want a slight change in tonality each time it presses. Now, by default, envelope amplitude is always linked to the output, but we can control the volume with any other control. So we're going to use something to give this sporadic bleeps and bloops and very quick automation just at the press of a key, and we can then dial that into be however we like. If we use something like the random assign, we can bring the random assign over to the volume control here. As you can see, though, the note is always held. So we're going to take the polarity and have it so it's just plus, and we can take the level all the way to zero, and we can dial it up to the appropriate volume. Then we need to establish how it plays. So at the moment, it's either on or off at certain levels. Let's take that and put it to hertz. Now, smoothing allows us to control how smooth that is rather than being directly on or off. Distance affecting the amplitude between those different points, so our lowest and our highest point and the smoothing affecting the ramp up between those. This is all very musical at the minute. Bit of jitter will give us some distance between the two. We can make this free running, so it's never affected by keypress. But it doesn't quite do what we're after. We need to combine this with something else. This is where our functions can be the most useful. If we bring function in and we remove the value here for the random, as you can see the function works like an LFO. And it loops over as well. We can turn that for one shot or to an envelope loop. If we take it to one shot, it'll only affect it one. Now, the beautiful thing about this is we can click here and we can add points in, and we have complete control over these. Meaning we can choose precisely when volume will come in and out. We can choose the curves. We can choose amplitude and everything in between. We can also adjust the rate at which these perform. So if we go to Hertz. We can find what's right and we can really dial in exactly how fast we want each of these sounds to be. Do we want it to have a ramp up? Let's try pitching this per octave. And now we're really starting to get somewhere with our Sci fi computer bloops and bloops. This is a really good opportunity to make use of the cob filters, something like the high pass here. With the dampening pull back. Do you notice we still have a lot of tone leftover, even though we're just opening this up into the output. Can we link our function to volume here as well? Now, the way we've done this here, it leaves a constant tone below the bleeps. A simple way to resolve that is to make use of a noise gate in your DAW, which gives us a result like this. From here as a preset, we can dial this in and adjust the tonality really, really simply using different waveforms. Adjusting the position. Then we can make use of the built in effects. Let's have a look at another way we can do this, making use of the additive engines in pigments. 10. Computer Sounds and UI Sound Design Part3: In this video, I'll show you the techniques to make the classic digital computer sounding bleeps heard in every single sci fi film ever. And it's really, really simple here in pigments. It will sound a little something like this. And once made, you can dial it in to be exactly as you need. Let's start from our default. For this, we're going to use the utility engine. So we can turn off our wave table here. Currently, nothing's playing. We turn on noise one, and we get our white noise burst. Perfect. As we've seen before, there are multiple noise layers that we can load in. If we go into digital here, there's a really good one called alias Eror That does most of the job. But to get that pitching up and juttering effect, we're going to make use of our random modulators on the tune and the filter. So as you can see, we're on random here, and if we select random one, we'll be able to see those at the bottom. Now, random one, we're going to change to something called sample and hold that allows us to very quickly move between different places and hold it in a set. So we're going to assign one here over to the tune. And we then need to set a rise and fall Now, each time we press the trigger, we get a different tuning of the sound. But we don't want to press that trigger over and over and over for this to work. So let's go over into our sequence option. We're going to switch the sequence on. And now, it will trigger for us changing each time. We can adjust this to whatever paste that we like. Well, let's dial this tuning in a bit. Bringing it down about eight semitonsGives us that result. Now to add a little further texture. Let's use random two. We're gonna take the smoothing down, so it's more of like a square wave. We're going to assign that onto the filter. That gives result a little bit like this. We can now dial that and tune that in to whatever we like. Now to adjust the sample and hold. We might want to change the pacing to say AFO one. We can now use ALFO one as our rate control for the sample and hold. From there, adjust as you desire. Once we've got the preset set up, it's very easy to just switch through different sounds and get a different effect. 11. SciFi Engine Sound Design with Synthesis: This tutorial, we're going to look to make engine sounds, but specifically Sci Fi orientated engine sounds, something like a spaceship taking off. The patch we've built just here sounds like this. This patch here and the one we'll make during the video will both be available as downloads for you as a starting point and to reference when creating your own. So let's reset back to the welcome preset. Now, to start with, we're just going to utilize the saw or even the square or somewhere in between the two to start building the sound out. And we're going to build a customer function, which is going to control multiple parameters to make this sound work. Going to get into function here. We need to go off from sync and into her. And we're going to create something that ramps up and dips down multiple times. So we can just flatten it off. Like so. We're going to take the magnet off so we can put points wherever we want, and they don't stick to the grid. And we want to slow this hertz rate down so we can make use of long gevity over a series of bars. Now, to get an idea for how the sound works, the first thing that I'm going to link it to is the coarse tune over here, and I want to bring the coarse tune down a little bit. So if we play on note at the minute, which is C one. I actually want it to start even lower, maybe half an octave down or so. What I want to happen here is it quickly start to ramp up in pitch. We're going to put a point in here and we'll give it a bit of a curve so we want something like this to start to happen. Now, we would like to be a bit quicker and we can utilize either bringing the point back here so it happens faster. Or we can make it so that the Hertz rate is quicker, whichever works for you. If you want to utilize the full space of the grid, that can be a good way to go we could put it on the point here and then we know we're going to have enough space for each part of the sequence and then we'll up the hertz. I only want this to pull up to about here, really. I think I want that to go about here, and then I want another point afterwards. I want it just to drop down a little bit more. They I want this to ramp up again, but over a slightly different sequence of time by roughly an equal amount. Then the same again, we want it to drop back down just a little bit and then ramp back up some more. Give it a slight bit of a curve each time. And then let's repeat that again. We want to give it a tiny little drop back and the curve ramping up again. We end up with something like this. So I want these to be a little bit sharper and to simulate a very fast gear changes the sound that we're used to an engine will get up to its maximum revs, then the very quick gear change will drop it down a little bit before it starts to ramp up again. Now, more we do this curve if we put the curve, say up like this, it'll ramp up very quickly. We actually want it to kind of recover a little bit and get back up to that point relatively quickly and then surpass the previous point. Now, if we give a positive curve like this, you'll find it starts to have its two natural ramp ups and then it builds up faster and faster, much quicker and gives a different feel. You could completely design this to whatever works in your visual. U Now, we're going to use the same function to control movement of the waveform as well. We're going to take function one and link that to position. What we want this to do is to begin to ramp up into a harsher tone or ramp down into the saw, whichever we decide as the gear changes. We could do something like this, for example. You can really hear how that starts to change if we really exaggerate that position. No, it's now because we get that wave shape change. The gear change and the sudden jump becomes a lot more pronounced. It's a far more interesting and somewhat realistic sound, even though we're going for a sift kind of element here. Now we're going to do something to shape this really basic wave into something more resembling an engine sound. We're going to utilize the filters going one into the other. So we can keep the filter mix here on one and filter one, we can utilize something like the mini and really dial that back. Use the drive, potentially, or what I like is the resonance here. And we're going to use our function one again to control this cut off of this particular filter, so it sits and moves up and down, and we get more high end as the engine pushes a little bit harder. So we're take function one, assign that to the cutoff and have that so it pushes upwards, which means in the lower tone, I want this to be as low as it is at any point. So there's probably good. Now, into filter two, we can do some extra shaping. This is completely up to you, but there are some great options in here that we can utilize. Yeah. Something like the cluster notch can be really, really useful, as well. So if we find right sort of tone we want here, we're going to link function to the cut off on here as well. We have that so it pushes up. We'll give that quite a big bit of range. So as it ramps up, it can move across the frequency. And again, we get a really lovely shift with everything moving in the different tonality. Listen. Now, we're not restricted in doing it this way. We could absolutely have it. So it starts up higher, and we decide that we're going to go to inverse here and we start to pull this back as the pitch gets higher, and we ramp up different parts of that frequency spectrum like this. Oh Now, we can add something to this that really gives quite a good engine feel as well. The spread here can give us a really lovely pulsing sound. Now, if we take, say, an LFO, let's go to our LFOs, and we'll take LFO one and link it to the spread, and we'll let that open and close it. We're going to leave it unhurt. If we do something a little harsher, like a saw, get a snapshot. Maybe we get that slightly off. And we up the hurts a little bit. Give it a bit less on that spread. So we're now getting a kind of policing feeling going. Let's make use of our function again. But this time we're going to take function one and assign it to the hertz in LFO one. So as it ramps up, the hertz and the repetition of this ramps up on that spread so we get this effect. Let's push these ts and the spread much, much higher. I also want it to not sit in such a vocal frequency, so I'm gonna allow it to not pull down as far. So at the moment we're just using a square into a saw wave, we can absolutely use other waveforms, and it will completely change the overall engine sound. So there's a very simple option just using the MxBPulsewidth modulation one. We'll leave it there for now and we'll look at using some other things, give it a little bit of texture before going to the effects chain. So in utility, I'll generally put something like a little bit of noise in the background, and we'll make use of the tune and the filter, again, utilizing that function one so everything moves and works together. At the minute, white noise is going to be far too loud, but we have multiple options inside of pigments that we can make use of that might work for us. This kind of rumbling sound might work. I really quite like this electric distortion, but with the high end of it taken off, we start with that quite low, and we'll take the tuning here, use our function one, and we'll pitch that up over time. I may also start with it louder, bring the volume back as it gets the high end. So we'll use function one for that as well. So we'll bring it back slightly. And let's see what we get with that. Okay, let's mix it in with the wave table. Okay, so less on the volume at the start. So, in fact, we want to go quieter and make it louder. I think that's quite nice right there. So this is just our base sound. We're now going to shape this utilizing the effects. So in the effects section, we have some options that we can play around with. First and foremost, distortion can really help us shape this into a much more aggressive sound. So if we just take something like soft clip, You can take that drive. We can do a similar thing with the drive like we did to the spread on the LFO and make it so that distortion happens at an extremely rapid rate by doing this. And now it's kind of simulating a lot more of that piston drive of an engine. Um Now soft clips nice because it just takes off the tops. If we do something a little harsher, like, full on distortion or the hard clip. Or geranium. Much more aggressive responses. Sound more like an engine. A little less elegant sci fi. And Now, one of the things that can really, really bring these out is the multiband. That allows us to shape the sound a lot more. I find we'll have to take the low back quite a bit and potentially the mid as well. The high will probably add a bit too much. So I tend to bring the high much further back. A really nice thing we can do is use again our function one on the mid out and let it push the mids more as it gets harsher. If you're finding a lot of high ends coming through, you can take this right the way back. But you'll still be getting some from the distortion. We'll handle that in a moment. Another couple of options that we can utilize here, the super unison can allow us to do some great things. If we bring the D tune really, really tight, and we can again use the low pass frequency on here to narrow things down a bit more if we need to. Rate right down. It gives this great sound design option. Equally, I do like putting things in a space as well with a bit of reverb, making it really, really small. No pre delay. Nice and nice and tight. It's literally this, which if that doesn't remind you of a race track, I don't know what will. You can blend that in. Get really, really nice effect stick it away. It's super noticeable, even though it's a really small effect. Now, the way the effx inserts set up the minute insert A goes into B, so we can actually Now, the way the FX is set up at the minute, A goes into B. So if we were to move all of these over to A, we could also add a little bit of control just at the end with a compressor, as well. So let's do that. Let's save these effects so we can utilize them in other presets. We can go into presets save, and we can call this engine disk we'll do the same for the multiband and reverb. So on FX A now, we can put in our distortion, go to our presets, move those over nice and easily. Same for our multiband and same for our reverb. So now on FX B, we can just remove these, and we just need to repair LFO one to our drive. But so now on FXB we can take the compressor here, bring the threshold down, give ourselves a nice ratio. W to be quite a fast attack because of just how quickly the sound shifts changes. Then just give ourselves a little bit of control. We can use the autogain here just to kind of glue that whole sound together. So then our final engine sound that we've built here sounds like this. One final step I'm going to take in this instance is I'm going to add the multi filter and put the slope on really harsh 36. I just want to take off some of the high end distortion that is coming through from that very rapid distortion modulation. It's happening there around two K. We just roll that off, like so. You could use external plugins to do this even finer, but it's lovely to be able to do it all within the one tool. So our final engine sound we've created sounds like this. H 12. Synthetic Weather Environments: In this tutorial, we're going to look at making synthetic weather events like the wind and debris preset that you can hear playing right now. So let's reset to our welcome default patch and create something a bit like this. So we are back as ever with welcome. And our sine wave. We are going to make use of engine one in this. However, we're going to begin with the utility. So for the moment, I'm going to disable it and jump over to the utility section. First off, we're going to use noise one, so we switch that. Now we've got the white noise. Now, for this particular instance, pink noise works really, really well. So if we click, we can go back to pink noise or a few taps on the back arrow will take you to there. And pink noise has just got the high end of white noise rolled off, really. Now, we're going to do a couple of things to modulate this pink noise, and that's actually going to become a big part of our wind and movement in the background here. The first thing we're going to do is we're going to take our randoms, which you can see we already have at the bottom here. I'm going to assign random one here to the tune. I'm actually going to de tune the pink noise a little bit and bring it down So we're in a bit more of the wind line here, but at the moment, it's jumping all over the place, and that's definitely not what we want. So in random one here, I'm going to change the sync to t and dial the Hertz back a good, fair amount here. I only want the tune to be able to pitch it up from where it is. So polarity, we're going to change so that's just a plus. So we've dialed the tune back and it can now only push back up to its original pitch, as we can see there. And I'm going to take the smoothing and push that really quite far up here. So now we end up with something a bit more like this. Where it ebbs and flows back and forth in pitch. We might put a little bit of jitter in, we may slow the rate down even more. You may wish to pitch it down further, Bunce it to where you feel is best, and we can adjust how far it can move as well. We may want to increase the distance and really smooth out those bumps as well. I'm now going to apply the same thing to the filter. So I'm going to take the filter here and pull down to the low part. I want it to where it becomes kind of a lowish rumble. And I'm going to link random one onto the filter as well. I'll take that back a little bit further. What I want to happen now is when it pitches up, like the wind is blowing and pushing and the pitch of that rises, I want it to then also open the filter a bit, too. So, so this is easiest to demonstrate. I'm gonna put the hertz up a bit. So now we end up with make that I would want to slow that down naturally. And I'm going to take the sauce here off of pollen. We'll have it as free running, and that will just leave that random oscillator always cycling regardless of key presses or the DW stopping. So we've started to get our wind effect there quite nicely. Now we can build into that by using another noise oscillator, as well. Now let's have a look at creating some of our rain noise. Let's move over to engine one. Now, let's have a look at creating some of those debris and that kind of blowing in the wind and that small particles blowing in the wind. Let's move over to engine one, and we'll switch that on. We're going to make use of the sample and granular again here. So let's go into sample and switch on granular. We need to find something that has the right kind of tonality for what we're after for getting those debris. Noise section. There's quite a few good things in here. Burning vinyl can give a really nice response. And we've looked at using the scan start and everything already in the previous tutorial. So let's look at moving this up, maybe increase the density a little bit. We've got a few different parts going on here. Now you notice that they're all quite long in terms of the sound. We're going to take ratio off here. We'll put it to milliseconds. Something below the 50 millisecond range generally starts to feel about right. And we can make use of our shaping tool here that we looked at in the previous video. If we use the exbodic, we can make this a really simple little particle. We're going to take the volume, just bump it up a bit so it cuts through the wind. Now, it seems a bit static and pulsing at the moment, right? So what we're going to do here, we're going to take this and on our filter mix, we're going to push this all the way over to filter two. And we're going to take our sum here and adjust this filter one and filter two separate. And we're going to take random two and assign it to the pan of filter two. That allows us to have a little bit more movement around with that sound there. Now, we don't want any of the low end in the vinyl sound either, so we can go into here, into our filter, and we'll take something like the high pass 24. Just bring that back until we start getting our debris there. Our density here gives us sort of the amount of things that are going on. I'm going to ramp up the speed of the pan we've got lots of little debris happening, but the pans quite slow at the minute and they still seem rhythmic. But if we really pump up the rate at which the panning is happening here, they'll become a lot more sporadic in the stereo field. Something like that sounds pretty good to me as a starting point. Just going to go back to the utility and take the filter down a little bit further. Why don't you give this the full stereo spread, as well. Jitter. Once we've set that up, if you find that the burning vinyls not quite doing what you're after, there's plenty we can flick through. I found this to be quite useful as well. If you're getting really sporadic kind of impact sounds, if we get into edit, we'll just narrow it down a little bit as to what it can use. There's not so many silent gaps. You might want to increase the density here of it as well. If we go back to our utility engine, we can add in a little something extra here. Take something like the vinyl dense here, make use of the high pass. And we could send that to filter two, as well. We have a blend of it. Tune that to where it fits. Find old there gives us really lovely effect of that kind of being rain on foliage with some harder bits hitting and the wind in the background. And we can just dial those in or dial in the rate at which the wind fluctuates. What do we dial back the panning rate? It's a very simple preset that you can build. It does a really nice weather effect, or just by holding down a single key, and then you've got a few parameters that you can adjust and tweak or automate with your visual that work really, really nicely, making use of those filters for internal exterior scenes, et cetera. And once we've done that, it's a case of you can just mix and match the pink noise, the old vinyl, or the bursts decay here, and you can get multiple different effects. There'll be a version of this preset saved for you. Then let's just have a look at how simple it is to flick through some other sounds and build up different environments like this. Let's say we particularly like this warm transmission, but having the constant fluctuation is a bit much. What we can do here is create a volume filter, so it only comes in in really sporadic drops. We can use our random three here. Take the volume down. We'll take the volume to where we need it. We'll change you to random as well. Polarity, so it's only plus. Take our volume control here, and we could give it something like a function. Oh brings it in in level. If we take the dusty vinyl preset here on loop. You can create the kind of movement that we're after and just dial that in. You can take the time and create your own exact filters as well. And bear in mind, we can change the rate. If we don't have it so it's quite a musical. We could take our volume control here and link it to something like envelope two. See how that opens it up. We can maybe have that triggered by, say, random three. And if we make this really, really short, Random three will determine how frequently it occurs. We can really take the smoothing away. Got the jitter. So now we're starting to get a relatively convenient and constant rain drop here out of the worn transmission. Now, if we take our filter mix and we send it to filter two like before, start to get that stereo field as well. That's up the rate. That where we like with our rain amount. We just continue to keep dialing it in. Then we can make use of random again on the tune to give it a bit of variety. Our density on here. Then we've started to build a rainy environment with some slight adjustments. The things we can just tweak. Just by adjusting the sounds as we go through, I really hope you enjoy utilizing this preset. Let's move on to the next type of weather effect. 13. Electronic Synth Braams: We are going to look to make the synthesized bram, which sounds a little bit something like this. Wow. Heavily in horror, Sci Fi, and for many other sound design choices. Now, the beauty of the way we're going to make this particular preset is that once you've made it to match your project, all you really need to do is adjust the attack times to suit your visual, and you can flick through the different wave tables to adjust the tonality. Everything else can stay as is and will work pretty well for you. So to begin, let's start with a fresh version of pigments. Go to our little Burger, New preset. That will give us the base sine wave. So first thing, let's set up our oscillator. We want this to be on wave table, and the wave table we used for the example was one called scanner. Now, scanner can be found by clicking on the waveforms, going to harmonic, and then we scroll ourselves down to S, and scanner is right there. So now we have yet not quite the sound that we were hearing before, but we'll get there. One of the first things we want to do is grab our position in the wave table. We can do that just up here. We went for something around this region. What we want to do is we want that to move. When we press upon it, and we also add a little bit of movement, so it kind of starts in a random spot every single time, as well. So the way we do that, we use the combinate. Now, if we go over here to combinate, we've got com one, two, and three. This allows us to have things like a filter envelope and an LFO working together. Instead of using one of our envelopes and one of our LFOs, we've got them built into one thing called these combinates. In this instance, we're going to have both of them set to lag with varying amount, and you'll see that they're currently both doing absolutely nothing. We need to give them a source to create that source, we're going to use one of the random oscillators. Random one, in this case, they'll do absolutely fine for us. So if we go into here and we set random one and random one, you can see that we're already getting two different values just because of the amount changes. If we were to have exactly the same amount, then they would look almost the same. By having different amounts, we get a different value over. It gives us different output. We can have an idea of what's going on with this by taking C one, hovering over. We've got a sign. We can drag that over to our position, and as you can see now, it's causing that to move. Every time we press a key, However, we don't want it to move so frequently, and we certainly don't want it to move so far. So we can limit that in our random. So for this, we're going to take sync off and have it to hurt, and we're going to dial it right back. So it's a lot lot slower. We're gonna change it from random to something called touring, and we're going to change the poly keyboard to legato. So we get a nice smooth movement between different notes, for example. As you can see, it's doing a little bit more of what we want already in that it's not constantly bouncing around. It moves every so often to a slightly different part of the wave. Now, we actually want to limit that even further, so we're going to really dial it back here on the position. We can flip length on this random where they are, as it's now doing its job, we've just given us slight variations each time we press it. Now that shape our tone a little bit in the window up here, first thing I'm going to do is actually knock it back an octave, about 12 semitones. I'm not interested in the stereo amount either. Well maybe have that ons 2% as we're going to introduce some voices to thicken it up a bit. Somewhere in this kind of range where we start to get that high ringing tone. I think we need to open up our position a little bit more here. There we go. In phase transform, we're going to make use of skew and put just a little bit in. Let's listen to what that does. So we can press a key and skew mod starts to give us that fast ring, so we can just put a tiny bit of that in. Let's get the sound we're after there. Bring the position back a bit. So I don't want it to sit up in that high until we modulate it through that area. The modulator on ratio absolutely fine here. As we increase the volume, listen to how this changes. Giving us that nice sub harmonic ring through now. Play around with the wave in here. I can find it really useful sometimes to use a sawtooth. Get really thick tone, like say. If you want it to really rumble put it's a 0.5. Oh In this case, we're going to use the sign. Let's give that deep sub. Okay. Let's start to shape our sound. Let's have a look at the envelops. The first thing I want to look at here is the overall ENV amp. This is our main amplitude. I want to switch this from ADSR just to ADR. That means we can press and hold a key, and it's always going to just follow our amplitude rather than sustain. So using this, we can build the one keypress that will do the whole bram movement. One millisecond attack is maybe a bit quick. We can pull this up a little bit. I get something like this. Decay, is going to determine how long our overall sound is. That's going to really be dependent on how you want it to sound. But it also includes our sustain from our high to our peak. Now, you have the sustain putting roughly at the plus. It gives us a nice ramp in the decay. I'll release at about 12:00. Now we're starting to get the shape of it. I'm getting a slightly different tone each time. For the sake of this recording, I'm going to turn this up a bit, but we will actually be giving the sound some effects later that keep it a lot louder. So let's start to shape the sound a little bit with a filter. I not engine section. We need to make sure that we're going to filter one. The filter mix over here being set fully to the left means it's going directly into filter one, which is just up here. And we're going to use a pretty aggressive filter called the mini. It's pretty aggressive in the way it drops off quite dramatically here. If we play our noteb we can kind of hear where we want to start with that low tone, and we want to bring everything in. So we're going dial it back to where we want it. We'll use Envelope two here to control the filter. So we can take Envelope two, assign it to the cut off, and use our control here to push it open. The minute, it's obviously far too quick. We are going to leave this on ADSR. That's the overall sound will still respond with our envelope on the amplitude anyway. We're going to encourage this to grow a little bit slower. We can hear that's doing the job, but we want to take that decay back a little bit and we want to give a lot more to the sustain and the release in this instance. So we can little something like this. I think the way this is moving, we can bring this cut off even further back and start down in the hundreds. Encourage it to open up a touch more. I think a bit of resonance, but not too much. We'll do it some good as well. See, now that's made too harsh, but there's definitely a line somewhere in here. If you want again some distortion into the sound, a bit of drive as well, I add great effect to that sweep. Now, in a similar way to how we have a slight bit of movement going on in our waveform. So each time it's a slightly different key. So each time it sounds just slightly different. We can do a similar thing with the starting point of our cut off. And we can use the same Combi and pop that on here and give it a really tiny adjustment. So it's kicking off from a slightly different start point each time. Okay, so another part of the kind of Wa aspect of the brams if you remember the modulator that we pulled up before, we're going to automate that to dial back as the filter opens up. So we start with all that sub energy in there, and then as the filter opens up, we pull that back and let everything open up. So we'll take Envelope three and we'll connect that to a. And we're going to dial that so it goes backwards like this. But that's going to have an even slower attack. That's going to have no decay, and then we're going to hold the sustain on that for a similar kind of time and release. Wow. Wow. Hopefully you can hear that. If you're unable to hear the sub aspect, let's try popping this onto the saw tooth. You can hear how it dials that back as it comes in. I remember how right at the start of the video I said. See, I did say that. You can just then adjust these attack times based on what you've got on the visual. So we're going to go back to the sign for this instance. Wow. Have it dial that back, right? Something else I want to do to this sound. It's just the voices slightly. What we're going to do? We're going to use the random here again. We'll take random two this time. We'll assign it over here to the voices. We don't want it to swing quite that wildly, I don't think. But we did want to give it a little bit of variation. Now, up here was the highest point, so we're going to dial that back. So now the new high reaches about where we were before we can move around in that space a little. Now I want this to be in sync with the sound. Again, we can do it in hertz, but in this case, I'll sync it to the BPM of the DAW. And then we get some rhythmic adjustment in those voices. If we really detune it, you can now hear the wobble, right? When it's just slightly detuned, It's within a tolerance that we can hear a difference, but it doesn't sound like it's wobbling all over the place. So we can hit this over and over again. And each time, it's ever so slightly different. So it's still the same sound and the same note. All right, so those are the basic things that build this sound up. The things that really take it to the next level are the built in effects. So let's have a quick look at those and what we can do with them. To be flip over to effects here in pigments. And the first thing we're going to pop on here is a reverb. Already. I can hear where we're going with this. We can really open everything up here. The reason we can do that because we're going to automate the wet dry. We're going to have it so the wet dry is affected with our envelopes. Now, it's going to be best to that's going to be best and not have the sub push into the reverb. Now, we've set up an envelope that pulls that sub back. If we utilize that the other way on our wet dry, we'll get something like this. I ramps up quite nicely. With our reverb tail there. Now the thing I used to bring this to a ridiculous level now is going to be the multiband compressor, and I'm going to ask you to really probably cook the mids and the highs. Like so. Now, I personally like quite a slow attack on here. And because it's such a slow attack, all the warmth of the low end that we have in there at the start gets through, and then it crunches down on the highs and helps it ramp up. And I then tend to put a nice long release on, so it also crunches and clamps down on that tail of the reverb. Like so. Wow. W. Et's try giving ourselves an even longer attack on that filter. Yeah. Now, we've got an interesting sound, it's not quite aggressive enough for me just yet. So let's have a look at the filters and see if we can do something utilizing filter two. Now, important here is to look at the filter routing, and we've got filter one into filter two currently or filter one filter two in parallel. And we want it running like this as a sum. Let's get the aggressiveness here. We're going to use split that lets us run filter one into FX A and filter two into FX B. If we switch on filter two now, I want to try utilizing a probably a peak filter, maybe with a bit of distortion. And then we'll look at doing some effects on that as well to crunch that even harder and give that a nice effect. Um So if we look at maybe the classics and we take a really steep band pass, maybe the 24 DB, maybe even the 36. And we drive that. Now, we need to make sure that we've got a balance between the two filters, so one and two. So now the sound will go to both. So you can hear now, we've got the movement of both filters. If we drive this, it'll become a lot more pronounced. Yeah. So that's clearly too much, let's style it back a bit. Now, what I want to do is have this move around the same kind of movement as the mini, so we could link it to the same so we could link it to the same envelope. Which we didn't date. Wiki link, it's in the same envelope here. Oh. We can have it so it moves further. And also, I want to incite that slightly different start position. So what I'm going to do here is take LFO one, put LFO one on the cutoff. I'm going to take LFO one in hertz nice and low and not give it nearly as much range to move around. So now it's going to start off in slightly different positions. I'm going to put it onto free running instead of trigging with the keyboard, so it's always going to start off in a slightly different space. Now we're getting that extra bit of movement. You know, we could pronounce this a lot if we wanted to. That's really quite cool right there. We can make this even harsher with resonance. That's really cool. If we go back into our effects, now on effects slot B, we could do a similar set of things. So we could put a reverb on here or other effects, perhaps like a phaser to give us a nice spread or the chorus here. Combine this with the multiband again and crunch the middles up. We're starting to get a really interesting sound design. Everything else from here is just tweaking and adjusting it to the visual you've got on the screen. This is all we require setup wise. Now, remember I said right at the start of the video that. Well, we can absolutely do that. So if we take our preset here. So if we take our finished preset here. If we just dial our attacks in, we can get a completely different bram effect each time. And if we want the overall sound to change, once we've got that, we can quite easily just flick through the wave tables. And the performance works with almost any sound we've got in here. We can make use of the sawtooth trick from before. I really hope you've enjoyed an introduction to cinematic synthesis, and we really look forward to hearing the sounds that you have created. Thank you very much for watching and see you in future classes here on Skillshare. H.