Beginners Guide to the Logic Pro X Sampler

1. Introduction to this Class: Hi there. It's in Alexander here. In this class, I'm going to focus entirely a logic sampler. So this is a sampler that came with the logic. 10.5 update on replaced the excess 24 is an extremely powerful sampler has loads of features which are easy to access. So I'm going to show you a number of different ways. You can actually import audio in this sample and then going to take through the different sections of this instrument and teach you how to use a lot of them. I'll show you how to manipulate your samples, such as Pitt shifting, reversing and even time stretching off, then show you how to use some of the synth parameters. Love an in depth look at filters and show you how you can use them. Later on, I'm going to move on to modulation so I can teach you everything that you need to know about envelopes on Della foes, or then show you how you can assign these tow any parameter within the synth using the modulation matrix. So by the end of this class should understand how this instrument works and you'll be able to create your own unique sounds using this sampler 2. Introduction to the Sampler: Hi there. In this video, I'm going to talk about logic sampler. So in the logic 10.5 update, they got rid of the access. 24 have replaced it with this sampler. It's gotten updated user interface and is much easier to use. One thing to know if you have used that year access 24 in the past. This actually uses the same file type, so you'll be able to open up old instruments in this new sampler. You can find this instrument in the drop down menu here. If you scroll down to where it's a sampler, you'll be able to choose it. We've got a number of different modes, depending on how you want to use up. So you might want to use mono for a bass part stereo for some chords or multi output. If you're creating a drum kit, for example, so this is what the main user interface looks like. You can choose presets just like any other instrument in logic. From the drop down menu of the top here, there are loads of great sounding presets built into this sampler, a recommend you go through and try some of the mouth So if I choose a synth pad, for example, play this section back, you could see here we've got loads of really different sounding instruments. So what samples allow you to do is play back audio files that are mapped your keyboard. Unlike other instruments, this isn't generating its own sounds is actually playing back pre recorded samples. So what you can do is low, different sounds into it and play them back using MIDI. You could then manipulate these samples in many different ways, which allows these create unique sounds very quickly, So sampling could be a really fun way to create music logics. New sample is extremely powerful on relatively easy to use, so I'm going to take you through the different sections of this instrument so you have a better understanding of how it works. You'll notice at the top here we have a number of different tabs on. These is just displaying the different areas of the instrument. If I click on the little yellow dot weaken clothes, the's different tabs or if I want to jump to a different area, I could just simply click on the name so for Click and since will take into synth tub. Click on zone will take me down to the zone tab. So it's going to take you over some of these quickly, so you have a better understanding of how it works. First of all, look at the mapping and zone tabs. So with a sampler, we have different samples loaded into instrument called zones. The's owns the mapped across the keyboard in this mapping tab. So if I click on one of the zones will be able to see the audio file at the bottom here has changed. So this is a very complicated sample instrument we have open at the moment, which has numerous different zones loaded into it. Our zones are also stored in groups in the mapping tub. So our groups are listed on the left here, So you can see here. I've got slightly different samples loaded into these two groups. I'm just going to go to a really basic instrument now to show you that the sampler isn't always this complicated. I'm going to click paste, as I previously created a really basic sample instrument. So you see here I've only got two different zones, which is two different samples loaded into the instrument, and you can see that all stored in this one group. Now, if a play back this part very quickly, have a look at the zone tab of the bottom. Here we can see that little cursor moving across the sample, and that's just showing us that this sample is being played back. So just a quick reminder of how sample works. We load our different samples into the instrument as owns Weaken, then space are zones out across the keyboard, said the sampler knows which zones to playback, depending on which key has played who also noticed. So we've got to zone spread across the whole keyboard, the masses because we can tell a sample to playback different zones, depending on the velocity. So at the moment, this sewn at the top is any high of lost E notes, and this one of the bottom is for love lost, he notes. So this allows you to be really flexible and creative when using the sampler. So now I've given you a quick overview of the zone, A mapping tabs. I'll quickly skim over the next three. So if I go to the since top one thing you can do is all click on the tab on it will close the rest and open up Just this one. This synth top Here we have our filters for e curing the sound along with our global pitch panning on volume controls so we can use these controls here to manipulate the samples that being played back. So if I just a pitch now waken just adjust the tuning over instrument again weaken Just the volume on the panning with these dolls Here we have a filters in the middle which allow us to seek you the sound. Next, we have this tab here modulators and stored in here, or are envelopes on l. A focus? We can use these to add modulation tore instrument and we do so by signing them using the modulation matrix. So, for example, I could assign an LFO to modulate our filter cut off. So if I chose LFO, one here turned on my filter will be able to hear the so modulation. So, as you can see, this instrument is very powerful and there's a lot to it. So I'm gonna take you through how you can use this to create your own unique sounds. In the next video, I'm going to show you how you can start importing your own audio samples to create your own unique instruments. Thanks for watching. 3. Importing Audio: Hi there. Now, I've given you a quick overview of the sample instrument. I'm going to show you a number of different ways. You can actually import audio samples into it. So I've got blank instance of the sample here with no samples loaded into it. One thing to note, if I play back this midi part, which I've got on the sampler track, you hear the sampler is playing back simple tones for the notes. These tones will disappear when you load your samples in. So logic have made it really easy to use this instrument. All you have to do is dragon drop in audio file into the sampler so you can do so by going to a finder. Or if you have any drum samples in your session, you can simply drag and drop close in. So I've got some drum samples on this track down here. You can zoom in slightly and dry contract season. These are just one shot drum samples. I'll play them back to you really quickly so you can hear them. Yeah, so we've just got number of different because of samples are now. If a click and drag these over into the sampler will get a few different options for importing. Firstly, we can drag and drop them straight into this mapping window here. If I drag upwards, the zones will get wider and take up more notes. Or if I dragged downwards, they become thinner and thinner until they just single notes. If I drag even further, we'll see. They separate our over one note so there'd be a different sample loaded for each velocity area. Once I've imported, I'll be able to play them back individually, so this could be a really flexible way of importing samples. But it's not necessarily the easiest way I was going to lead this group. Show you another way. So if I make sure all my samples highlighted again and Dragon dropped two men, we can see these different options at the top. We have chromatic on the left and optimized on the right chromatic tense. Work well for drum samples so you can see here uses the original length tuning a loudness. Now for hover over chromatic. It gives us a couple of different options. We've got zone per file and spit at silence. So as I've got a number of different audio files here. 10. In fact, if I choose own profile is going to create a new zone for each of my samples. So after it's analyzed them and imported thes drum samples will be loaded onto my track. So again, we've got each for drum samples on a single note of their original pictures. So now if a playback my midi with the drum part that I programmed in, we could see there how easy it is to create a drum sampler instrument. Okay, so that's the first way. And I'm going to show you another way. So I'm gonna delete this group here which will delete all of my samples. Now, if I go find my samples and what project again, this time I've got a drum loop. So to play that back to you so you can hear it. So if you had a drum loop on, he like the sounds of the drum kit. He is simply Dragon dropped this in using the spit it silence function in the chromatic section here. Now it's gone through an analyzer drum loop and cut up the audio so the drum loop is split up into different zones, so If I click on this 1st 1 here, you can see our zone starts and finishes up these points. So if on solar this track here and click on some of the notes, it's gone through and cut up our audio file. So you've got a number of different samples over these notes. So what the sampler has done is made cuts that the silent points on maps, the different portions of audio to the different notes This will not have manipulated the audio files in any way, often cutting them up. So this could be a really quick way of greeting example instrument as it saves you bouncing out individual files for the different drum hits. So that's the first few basic ways of importing audio into the sampler. I'm going to show you some more examples of how you can import harmonic parts into the sampler. So I'm gonna delete this group here to get rid of all of my zones. Now, you can close this instrument and show you on a different part. So I've got some more audiophiles down here which I want to load into the sampler. I want to play you the next one Now, this is just one singular note being held for a number of bars. So with an audiophile like this, we can drag and drop it into the sampler on have it spread across the whole keyboard so he could use this one note to create a whole instrument. So I'm gonna on so do this and got his power part here. So if I open up the media information we see here, we've got a cord of four notes. So we're going to do is just get rid of some for instrument as a new one. And now I'm going to drag and drop the audio file into this sampler. So this time when I dragged over on going to choose one of optimized modes So what this is going to do is map it to the keys based on the analyzed pitch. If I hover over optimized again, I'm going to choose here zone per file because I've only got one audiophile with one note playing the whole way through. Now you can see in the mapping window here. This one note has been spread across the whole keyboard. So if I played back this midi part here this note is now being spread across my whole keyboard. So if I click on any of these keys here, you can hear that note is being played back. You'll notice that this note here is highlighted yellow That is just showing us the root key, the audio file that we put into the sampler. So that's just the original pitch of the file that we loaded in. So what the software has done is analyzed the audio work, how its root key, and then apply pit shifting toe all other notes, so it stays in key. So just to show that again one more time quickly going to do on a different track here, I've got bass part. I'm going to duplicate this track so I can save my original sound. So I'm going to copy this midi part down. I'm gonna solo it now. If a great my sampler gets the mapping top, it's gonna delete this note that's here. No, what I could do is just find a different audio file. I've got bass notes later on here, so it's going to click and drag this audiophile straighten. Go to zone per file. Now it's instantly created our instrument in the sampler again. We can see this instrument has been created from just one note, right? It's going to leave this strike quickly. If you want to import multiple files with different notes of them, you can also do this very easily. I'll just show you another track here. So if I So this part get rid of the salt for instrument on load a new one in? No, I've got a few files down here. So here we can see in true BV tuned. So we've got two notes which had the same there. And then these two notes at the end are different. So I'm gonna drive and drop these in here. I'm going to go to optimized and go his own profile once again. So you can see there. They've been automatically mapped across the keyboard. So the two notes that were the same actually being laid up here a different velocity levels . Then the other two have been spread here. But here, for example, I would like this note here to take up slightly more space. So I'm going to stretch out. No. One thing you'll notice is sometimes when you important audiophile it doesn't analyze it quite right, because, as you can see from these files down here, we've got a lot of silence before the note actually begins. So it's trying to work out where the notes starts, but it's got it slightly wrong. I'm going to click and drag this start point here, so it begins at the start of the note. Here again, I'll do the same with the endpoint. Now it's going to do the same for the other notes, so I'll click and drag the slider here. So I've got that one in the right position and I'll do the same with these two. We do also have thes loop markers here if you want to choose the section off the audio file to be looped. This part has an arpeggio later applied, so the notes won't be held, so we don't need to use these for a moment. Okay, so let's have a listen to this bag e. So as you could see there, it's really easy to load multiple samples onto the same harmonic instrument. If I play this back again now, without the arpeggio later, I'll turn off this pounding plug in on the river. Just keep things simple for the moment. So as you will have noticed there the Midi notes that written in here are four bars in length, but the sample ends before that point. So if I go back into the sampler, I'll just show you the loop function quickly. So if the note is going to be held, we can use these loop markers to choose which part of the audio file will be looked around around. So this way will be able to help the note continuing with the full length. I'm going to set up the loot markers for these two zones here. Theo, get here. They're the samples just going to loop around around. We can also use this cross fade function here to make the loop more seamless. So now if I would play that back of my truck, we've now gone instrument, which is made with a vocal samples. Right again, I'm just gonna delete that and I will show you another way to import samples. So in some situations, you'll just have one order file which has got a number of different notes in it. In this situation, you can use the last way to import sample. So again, I was gonna find a track in my song and duplicate it. I want to delete the sample, Blufgan, and then load another one. Okay, lets copy some media information and side of it. Now, just for I play this back, I'm gonna turn off the reverb sense. So you just got the default tone being created by the sampler. Now I'm going to do is find a part here. I've got five different notes in one audio file. I'll just show that she wrote quickly so you can hear them now is gonna quickly load these into the sampler. So once again, to click and drag hover over the sampler gonna goto optimized. And this time, choose zone per note. Now we can see there. We've got one note for all the lowest notes. Got some spaced out here on the one for the highest notes. It's already added the loop markers on each zone, and you can see in the zone area down here. The audio file has been cut up to the different zones. Now, if I sort of the lead part once more and play this back, we've pretty much instantly got great sounding instrument. Okay, again, I'm going to let this part. I'll show you one more example really quickly on this truck here. I'll show you another example of loading in one audio file. I was gonna turn off the effects once more and replace the sampler instrument. So this time I've just gone Acapella vocal, which is used in another song. It's been much too long now your stronger. So as you get here, there is an average sounding vocal which is being partially mixed. But now, if I load it into this instrument, I can come up with a really creative sound very quickly. So it was gonna click and drugs audiophile in once again and shoes zone per note. It will take a little bit longer to analyze this time. This is because sampler has a lot more to do. It's cutting up many notes, So if we look at it now, weeks, you've got loads of different zones, especially in this area here. No, if I go back So this track Constable, it's cut up the vocals throughout the song, and I have got these weird snippets of voice coming in and out. So if I had the effects onto that way. Now I've gone over a number of different ways of how you can import audio into the sampler . Depending on what you're doing with the sampler will determine which way you should import your audio. So just think about what sort of audio file you're dragging into the sampler and choose your import method accordingly. So now I've gone over the very basics of creating your own stop for instrument and next videos. I'm going to look in more detail. You can manipulate your samples on apply modulation. Thanks for watching. 4. The Mapping Window: Hi there. Now I've gone over the basics of using the sampler on loading in your samples and going to go into a bit more detail in each of the different tabs. So first of all, I'm going to have a look at the mapping tab. As I've already shown you before. This window here is where your zone is loaded. We can adjust the velocity by clicking and dragging here or the key range by clicking, dragging at Besides, so as you may be able to notice down here as I just a key range, you can see it changing at the bottom. I can also click and dry care to make any adjustments. It's the same with a velocity. I can click and drag, or I can actually type in a value if I wish next over to the left. Here we have pan control. So this is just the panning for this particular zone. So if I played back a couple of notes now here is pan to the left on, I can move over to the right. You can set it back to zero by holding option and clicking. We also have a volume control for a zone so I could make it louder or quieter. Now this button here is really important. This allows the zone to be pitched accordingly, depending on which note is played. So if a player cord now waken here, there is playing three different notes. But if I disable pitch, every single note on this keyboard will be playing back the same pitch. Uh, so whenever you're using ah harmonic instrument, you want to make sure that pitch is enabled. When using drums, however, you may not want to apply any pit shifting. If you're kick. Drum was placed up here at sea sex, and he played this back. The kick drum is probably going to be far too high a pitch to be appropriate fuel kick, so just bear that mind when you load your samples. Next, we have a tuning option here. This allows us to add fine pitch adjustments to our zone. So logic is detected that this note was slightly out of key with its root note. So it's applied little bit of tuning to get it bang on. So if I was to click and drag this way up, you hear that is being tuned extremely high. It's gonna put back to what it was. Now we've got the root key here. This is also quite important. So what? I dragged in this audio file into the sampler because I use the optimize mapping mode. Here's Analyze a file on his works. Help the root key of the note that was imported. So at the moment, if I play a note back way, that pitch is a C. Now, if I just the root key by a couple of semi tones, some players going to just the pitch of every note. Mm. So if you know the route cave your sample, you can adjust it here. However, if you have used the optimized mapping modes this we worked, how automatically you shouldn't have to touch it. So it was going to press, undo and go back to F three. Now this drop down box here allows you to select another zone that is loaded in the sampler . So if I just go over to a different sampler, good for a mapping top. If I select one of the zones here, I'll build. See that zone is loaded. We have all the details for it, but I can click on the drop down box and choose any other one of the zones here. Now it's showing the information for this own here. So you can either click on the drop down box there or click on the zone in the mapping window here. So just remember these parameters at the bottom here will be controlling whichever zone you have selected. Now at the top here, we've got some more options here. We have our groups list. So we have a drop down box where we can look at any groups we have. At the moment, we only have the one they Any more groups that you have will be listed down here. Next we have our volume pan and output controls on this is for the group. So before when I was looking at the volume and parent controls down here, the's air just controlling the volume and the pan for the individuals own, whereas the controls up here are controlling at the whole group. So if I had a number of different zones in my group on adjusted the volume here, it will be bringing up or bringing down the volume for all of those owns as a whole, the pan will do the exact same. But for the panning so left or right on the output here, this allows us descend. Are groups out of different outputs from our sampler. So if you remember when we loaded our sampler, we had some options here Mono stereo on multi output. If you have multi output selected, you can send your different groups out of different outputs from the sampler. This is quite an advanced function, and I'm not going to go into it in detail at the moment. Next, we have these key and velocity controls here, and this time again is controlling it for the whole group. So you'll notice if I click and drag. The snow is going to gray out these different areas, showing that any notes that are not within this velocity or key range will not be heard. So, for example, if I play Caesar or now the sample is not going to play anything back. We're not hearing anything until we get to the key range over here. Um, so this could be useful. If you want the sampler to ignore any notes, we have some drop down menus here which allow us to access some controls for edit Group zone on view taps the right here. We can adjust the zoom in our mapping window. So this communal, if you only want to look at small areas the keyboard, for example, on this button here is a sample playback button. So if you ever want here the zone that selected just press this button now over to the right, we have a couple of different views which we've no actually looked at yet. So firstly, we have this group table here, and this gives us some detailed information about our group. We also have a similar window for our zones. I find I don't often have to go into these two windows. However, occasionally you might want to adjust the output. If your individual zones by default, your zone will be set to the output for the group. However, if you want to send you zones to individual outputs, you could do so here. So, for example, if I show you these mehdi drums that I set up before, I'll just open up the sampler on my mixer you can see here I've got my different drum samples But if I go to his own tab and scroll over, you can see her send them all out to individual outputs off the sampler. So if I look at my mixer, the inputs for these tracks, here are the outputs off the sampler. This way I can process all of my drums individually. It's a really great feature of the sampler. If you want send your different zones two different outputs to be mixed differently. I'm not going to show you how to do that right now, So I need to do a separate lecture specifically for this. And finally we have the window, which is usually open, and that's a key assignment window. So this is where zones restored. So that was a quick overview of the mapping window in the sampler. In the next video, I'm going to be looking at the zone window. Thanks for watching 5. The Zone Tab: Hi there. In this video, I'm going to go for the zone tub in the sampler. So the zone tab is this section of the bottom Down here, you can full screen the section if you close all the other tops, so you get a larger display off the zone. Audio away form is shown in this display at the bottom. We can adjust the start and end points with the slider here on the left. On this slide Here on the right, we cannot have fade in on a fade out. If you want the volume to build up on, go down gradually when the sample is played back. We also have this loop section here so we can choose the section of the audio file to be looped. Uh can use this cross fade function to make the loop sound more smooth. Now, as you may have noticed, that loop was moving forwards and jumping back and going round in that direction. But we got she changed way. The loop behaves with this mowed down here. Other moment, it's set to forward. We can have it set to reverse. So it's now looping back quits or we can have it alternate, so it goes back and forth. You can also choose this play to end on release function or choose to have no loop. If I play back this zone, it'll go to the end and then finish. Uh, even if I'm holding the note down for longer, it's gonna turn my light back on. Said it somewhere in the middle again. So these numbers at the bottom, you may have noticed were changing as I was adjusting these parameters. So you can also just them down here if you wish. However, I do find it much easier to just do it on the display here at the top. Here we have an option to play back our sample. Eso click. It wants to begin playback and click again to stop. It's the same is using this button at the top here way. Have a snap option here, which can help us when adjusting these parameters on the display so you can have it stepped to the point where the way form is at zero. On. This can help reduce clicks or pops. We can snap to the transients, so the transience of the audio signal or to the beat of the project. We have zoom options here. If you want to zoom in on the way form both horizontally and vertically, we can actually zoom in and out on this display here If we wish as amusing a mouse that moment I'm holding command and old while I scroll. However, if using track pad, you can use two fingers to zoom in and zoom out. So that's most of the basic controls we have down here. The next section is very important. This is one of the features that makes this really powerful sampler. So we actually have a flex option here. What this allows us to do is use flex algorithms to time stretch your audio sample within the sampler. If I engage this of a few different options, I can choose to have it follow the tempo off the project, or I can change the speed of the sample being played back down here. If I choose eight, I compare it back eight times its original speed, or I can slow it way down all the way to 1/8 of its original speed. So one example of when you might want to use this flex mode is if you're using a sample across your whole keyboard and you wanted to play back at the same speed at all times. So, for example, if I turn off the flex mode and play a very high note, you'll notice there the sample is playing back much faster than if I choose a lower note. This is because when the samples be moved up in, pitch is also sped up to sample. So using this flex function allows logic toe analyze audio file on, play it back at the same speed. He may notice some strange artefacts when playing the audio file a long way away from its original Petch, but it's a very powerful feature and be excellent on vocals. For example, I was going to create a new track with the Sampoerna Show, the last couple of features in this own tab. So I was gonna open sampler. This time I'm going strike in my drum loop. Are you split it? Silence that separates the audio file into different zones. I'm gonna zoom in slightly on a just my end point, so I just have the kick drum he could hear there. There's a bit of a click at the end of the kick drum. Sam's gonna use fade to help remove it. Okay, that sounds more natural now. Cool feature we have here is this reverse option. So if I select that, it'll reverse a sambal No, Something else we have is this one shot. So most of the time, when using drum samples all enable one shop. So what this means is when the note is triggered will play back the whole zone. So if I stretch out the end point, you'll be able to see the effect. So if I click it once now, if I remove one shot and just click once only plays back the zone for as long as the no is being held One thing to note you can actually use the loop mode when one shot is enabled. Finally, we can access the difference owns in a sampler with this drop down box here. Just like if we were to click on the zone in the mapping window here, something else we can do is actually load in a different audio file for this zone. So each click on this drop down box here we can load in a new audio file. We can also show it in the finder or open it in logics. Audiophile editor at the top. Here we have our edit on view menus where we have a few more options available to us so it can change your display between seconds. Sample units on Bates. So that's the sample manipulation options we have available to us in the zone tab. Just remember whichever zone they have selected will be the one that working on in this own tab at the bottom. Thanks for watching. 6. Synth Tab - (With an in depth look at filters): Hi there. In this video, I'm going to go over the since tub in the sampler, so it's gonna close the other tabs for the moment. So there's number of things we can use in this tub to change the sound for instrument. The first thing I'm going to show you is over on the left. Here, that is a pitch features. So with these two dials, we can adjust the pitch for instrument in semi tones or sense. So if I to play this back, we can go up or down 24 semi tones. And again, with the fine tuning dull here, we can adjust in sentence. You set them both back to default by holding old and clicking. Right Next. We've got filters, so I'll just go over some of the controls we have available in this filter. First of all, we've got filter type, so we've got some low pass filters. Burn pass on high pass filters. First, we'll show you what a low pass filter is. So if I open up this equalizer up the top here, we've got a low pass filter. So a low pass filter cuts out the highs and allows the lows to pass. So the filter innocence will look something similar to this. So it's just going to be cutting out these high frequencies. We can control the amount of high frequencies after being cut out by using the cut off dial here. We also just the steepness of our filter. So at the moment, this here is set to 18 dispels proactive, which is what we've got set in our synth up here. So, as you can see, I've got a few different numbers available about 60 b 12 18 and 24. So if I were to choose 24 for example, if I show you in this equalizer and change this to 24 you can see there. That filter is cutting out any frequencies above the cut off point more severely when we've got ah, higher decibel per octave filter. So if it reduces down to six decibels, for example, we could see there were not cutting out high frequencies as severely. So in the synthesizer, I'll just show you how they sound different. I'll turn off the EQ you first, So I'm gonna bring down my cut of frequency with this dial here. So as you can hear there were cutting out some of the high frequencies. I'll just show you what it sounds like using the e que. So you can see there. It's got very similar effect. Now if I just the steepness of the filter, you can hear there that we're cutting out more of the high frequencies where we've changed the filter type. Now, as you can see on the right, we've got a number of different descriptive words for these filters here on these just affect the tone of the filter slightly. So have a play around with these, as they all have slightly different tonal characteristics. Next, I'm going to show you a high pass filter, so this is almost the opposite of a low pass. So if open off peak, you once more up here, we're cutting up the high frequencies with our low pass filter. But if I use a high pass filter, we're going to be cutting out the low frequencies again. We've got a few different steepness is available to us this time. We've just got 6 12 and 24 but we do have two slightly different 12 desk bell filters here . I would stand off the EQ you and show you what they sound like when using the low pass filter as I bring the style down is going to applying Morris the e que. But if I use a high pass filter, the further we bring it down, the less of an effect it will have. So whether all the way around to the right, we're cutting out almost all of the low frequencies. There's only letting the very highest passed through. I'll bring it down a touch and show you a different filter slope. So is he could hear there. As we increase the filter slope, we're cutting out the low frequencies more severely. We've also got band pass filters, which are basically a combination of high and low pass filter, so it might look something like this, so it only have one area in the middle of the frequency spectrum which is allowed to pass through the filter. So as a change, a cut off point is just adjusting the frequency area that we can hear. We've also got a couple of more filters down here, which are not going to look out of the moment, right. I was going to go back to low pass. I'm going to show you what this resident style does. So what this does is as a peak of a filter cut off point. So as I increases your built here, it starts sound a little harsher. So if over my ikea up once more, I'll just show you what the residents might look like on a parametric eq you. So what we're doing is just adding a boost at this cut off point here. Next we have dr on this just increases drive going into the filter so this can have harmonics and make your audio source sound thicker and richer. All right. No, sir. Gets slightly louder as well. Okay, that's all our controls available to us in the filter. But you'll notice we've actually got another filter over here, So these two filters are identical, but we can use them together to totally shape our sound. For example, I'm just going to change this one toe a high pass so we'll cut out the low frequencies with this filter. Then I'm going to use this second filter with the low pass to cut out the high frequencies . Other moment we're using these two filters in theories and that is displayed with this icon here. So the order signal will come out to this filter, then go into this second filter. So, for example, we're going to be cutting out the base with this high pass filter on. Then we're going to be cutting out high frequencies with the low pass filter. So I've cut out the base there, and I'm going to cut out the high frequencies. So using these two filters together has a similar effect to using this CQ. In a way, it's similar to this, so it's just like using a band pass filter. But it won't bring down the cut off on filled to and bring up the cut off on filter one or end up doing something like this so we won't really be able to hear anything. That is because the audio signal is going through this filter on then through this one. Now, if we to use them in parallel, it's slightly different. The order signal is duplicated on, sent into the two filters separately. Then the order signal from these two filters is blended back in together. So at the moment we can't hear anything. But if I was to change this to parallel mode, we're hearing the output of both filter one on filter to blended together now when he selected the parallel mode. We've also got the option to use this blend dial so we can choose whether we hear more of the output from filter one or filter to or unequal burned of the two. So if I just this during playback now, we're only hearing the output of filter one. On this time, we're hearing just the output of filter, too. So, for example, if I turn the blend away background to filter one internal filter, too, there's no difference in the sound as we're only hearing the output of filter one. So just remind you when they're in Siris, the audio signal will go through filter one on directly into filter, too. When they're in parallel, the audio signal will be duplicated, sent through both filters, then summed back together afterwards. So we'll be hearing a blend of the two different filters. So this just gives you a lot of creative possibilities when using this instrument. The next thing going to look up is a lot easier to understand this amp section here. Here, we can just control the amplitude of the instrument on the panning. So the amplitude is a volume. So if I turn this down, it gets much quieter. And again, we could make it much louder on the pounding. Just determines wearing the steri filled our audio signal is placed. Okay. It's gonna take off my filter to for the moment on, reduce the effect filter one. Next. You may have noticed we have all this information down here and this is shown in hidden with this details. Tab of the top, right? I'm not gonna go over all of these at the moment. I'll just quickly show you some of the features that I use regularly. So just so I can show you an example, I'm going toe on you a couple of midi notes in this region. So first of all, I was going to show you glide on. What glide does is bend between our notes. So if I play this back with the glide set up zero milliseconds, pay special attention to the high notes that are changing. Yeah. Now, when I increased the glide, we're here bending between the notes, so it could be a really interesting effect that you can add to your sounds. Next, we've got his pitch Bend up on this just determines how many semi tones the pitch bend. I'll on your MIDI controller will affect this instrument. So if a turned its 12 maximum pitch bend, your dial will apply will be one octave so it can be useful to change us, especially for performance. Next, we have this pitch bend down option so we can either have it linked to a pitch. Bend up or we can pitch bend all the way down to three oxidize. Now the next thing won't show is this mode here? So at the moment we're set to Polyphonic, which means we could play more than one note back at a time. If I was to changes to mono mode, the instrument will only play back one note at a time. When using polyphonic mode, we can adjust how many notes the since can play back. So if I drive this down to just two, you're only going to hear two notes being played back. But the increase this be able to hear all of our Mehdi notes Usually you won't really need more than 16. You can't increase it all the way up to 99. If you wish, you can double, click and type in a value. If you want. Next, I'll just show you the legato mode. So when using the garter mode, it's similar to Mado. As in, Only one note could be played at once, but there'll be a smooth transition or glide if you overlap to notes. So this is a little different to using the glide feature on. It's also different to the mono mode, because instead of the envelope of the census size of being re triggered, each time you play new note when using the garter mode, the envelope won't be re triggered, so the bend to the next note will be a lot smoother. So to show you a quick example. So if I go back to mono mode and play two notes which overlap, uh, we're just jumping between those two notes. Now, if I go to Ligue arto moat, get here, they're slightly smoother transition. It may be hard for you to tell the difference at the moment, but this AMP envelope is not being re triggered each time and play a new note. We're just continuing from a sustained point. There were. If you don't understand this at the moment, I'm going to go over envelopes later on, right. The last things I won't show you is this option Here. Unison. So this could be really good TV. Very fat sounding instruments. So what unison does is allow us to double up the voices that are synthesizers playing. So if I turn it off for the moment on playback my chords, we're only hearing one of each note that since is playing. No. If I turn unison on, we're going to be hearing and duplicates off each of these notes. So if I go to a voices, each note is being played back eight times. Look, the use voices reading at the bottom here. So most of the time we've got 64 voices for turn it off. We've only got eight. So do you notice how much richer it sounds when I'm using more voices? One thing I'd recommend you do is play around with this rundown de tune when you're using unison. If I turn it off by clicking, dragging downwards even if we've got multiple voices. We're not getting that rich wide Coursey effect. This is because each of voices being played back is identical, adding the rundown de tune will give us the chorus effect. We could make it quite severe if we wish, or you can reduce it down. So the effect is more subtle. As I mentioned before, we've got a number of different controls availed to us here, but just wanted show you the most important ones. Some of these other ones are also a bit harder to understand. But if you're a beginner, I'd recommend you getting to grips with the rest of this Since tub as a resort, he quite a lot to learn. In the next video, I'm going to start looking at using modulation in this instrument. Thanks for watching. 7. Modulation PT 1 - Using the Amp Envelope: hi there in this video and then talk about the modulators in logic sampler. So modulators used to change parameters over time. In a sense, we've got two different types of modulator here. That's envelopes on L. A. Focus. So firstly, I look at the envelopes as you can see her. We've got envelope one next to it, says AMP. That is because this envelope is always assigned to the AMP so it controls the volume. Over time, we do have other envelopes, but these aren't permanently assigned to any parameter. We can have more envelopes if we wish. By clicking on the plus button, we have five in total. We can remove them again by clicking on them on hitting the minus button. Other moment, these envelopes aren't signed to anything were signed them using the modulation matrix. However, I'm going to go into this in more detail later on. Right now, I'm going to go over the basics of envelopes in case you're a complete beginner. So envelopes use a DSR on that stands for attack decay sustained release. We can see that in this drop down box here, there are a number of different options. We have here at the moment. But as a DSR is a standard for an envelope on going to explain this. First, the attack is how long it takes to go from zero to the maximum amount. So this is measured in milliseconds. I can adjust this by clicking, dragging here or clicking, dragging on the graph. So I'm gonna play an example of a short attack on the long attack so you can see what difference it makes. So just remember, this envelope is assigned to the AMP. So the attack time in this situation is how long it takes us to go from silence to the max volume sums going to get up my musical typing and play a chord quickly. So one of presser notes, we hear them almost instantly. No, If I increase the attack time, play the same court again. You'll notice it takes a moment for the volume to build up. Next we have the decay. The decay is how long it takes us to fall from the loudest point down to the sustained level. So the attack time is how long it takes us to go from zero to the loudest point, then the decay is how long it takes us to fool from the loudest point down to that sustained level. So Dechaine sustained kind of work together. The sustained level is a volume that will be maintained while the note is still being played. So other moment, If I just did the decay time, we wouldn't really hear a difference as a sustainable is almost 100%. So I'm going to pull down the sustained level so we can hear the difference, right? So now for playback accord were here the attack time. Then it will fall down to the stain level shortly afterwards. Yeah, it's increasing attacks slightly. Says more of us here, there, we ramped up in volume on. Then it went back down again to the sustained level once more. So you had the volume buildup than full down again. So if I just a decay time now, I make it a bit longer. We'll take us a while longer to fall down to that sustained level. Yeah, So now we're up the sustained level for a reduced decay again. Well, here it suddenly full down to the sustained level. Huh? Now, the final one look out is release I was going to increase the sustained for a moment to make the example more of us. So the release time is how long it takes envelope to fall back down to silence after you let go of the note while a notice still being held will maintain the sustained level. Assumes you let go of the note, will start falling down to silence on the amount of time that takes is determined by the release. So right now, if I hold note, let go now, go silent pretty much instantly Now, if I increase the release time, I'll let you know when I'm going to let go of the note. I don't let go now, So even though no note is being held, we're still hearing some signal. I'll just reduce the release time ago, so I'll play my cord now on. Don't let go now. If I speed the release up once more will fade Silence as soon as I let go of the note. So no. Yeah, so now I've explained a DSR. I'll go over a couple more of the options, which we have, so here I'm going to choose the most complicated one that is delay attack, Hold decay. Sustained release. So I'll go over the new features we have. Delay simply adds a period of time before the envelope actually begins. So with no delay at the moment, we can hear the volume ramping up almost straight away. Now, if I increase the delay for press a note No, you could see there was just quite a delay before you actually heard anything. I'll reduce it slightly. Right? I'm gonna play the court. No. So all is doing is introducing a delay before the envelope starts. Okay, Now I'm going to go over the last one, which is hold. So I explained attack before, and that's how long it takes us to go from zero to the maximum amount. Then we would start falling down to the sustained level, which is determined by the decay amount. So what hold does is just adds another point between the attack on decay points, so I can hold it at the maximum amplitude for a period of time. So even if I have a very short K time here is set to zero milliseconds weaken. Stay at the maximum level for a period of time. Yeah, so at 3403 milliseconds we could hear were at the maximum volume for about 3.5 seconds. I want to play once. Well, so that's his tax stage. Now in the whole stage, we just fall into the decay stage, so I'll stay at this level until I let go. And then we go through the release stage. So obviously something like this with delay, attack, hold, decay, sustain and release canceling quite complicated at first. But fortunately, if you're still a little bit confused, we've got a couple of more simple modes. We've got either attack on decay or attack and release so you can have a play around with these. But generally a DSR is a standard. If you learn to understand a DSR, it will really help you with any synth size of that use. Because an 80 s are envelope is very standard in music production, a couple of little things that show you quickly now with envelope. One thing we can do with the attack stage is adjust the curve. So instead of us ramping up in volume in a linear way, we cannot a curve to change. How it builds up. So for play cord now see, that sounds very slightly different to for Bend it this way. So this could just help you shape how your sounds buildup in volume. Now the last thing I want to talk about in the envelope section is this velocity slider here. So with this, we can choose to let the velocity of the notes change how the envelope behaves with slide all the way down 0%. The envelope will behave normally, but when it's increased, the velocity of the notes played will slightly change how the envelope behaves. So if you're a beginner, I would just ignore Velocity slider for now. But as you become more confident, you can play around with this and see how it affects your sounds. So that's an introduction to using an envelope on volume. In the next video, I'm going to move on some or modulation options. Thanks for watching 8. Modulation PT 2 - Using Multiple Envelopes: hi there. Previously, I showed you how the first envelope works in regards to controlling the volume. So that's our envelope. One The AMP envelope. Most synthesizes will have one envelope which permanently assigned to the amplifier. But now I'm going to show an example of using another envelope assigned to a different parameter so quickly going to use the modulation matrix to assign my second envelope to a parameter. I'm not going to go over the modulation matrix in detail in this video was over separate video going over this. But I'll just quickly set up the second envelope. So modulates the pitch. The source is going to my second envelope, so choose envelope, too on the target is going to be my pitch. Now I'll just increase the amount, so it's very obvious. So now, instead of the attack time being, how long it takes volume to increase the attack, Time is how long is going to be until we've got the maximum amount of pitch bend. The decay will be how long it takes to fall down to the sustained level. The sustained level will be a certain pitch, and then the release is how long it takes to fall back down after we let go of the notes. So I want to play a chord quickly now and pay attention to this orange bother has appeared next to the tuning dial, so it was still going through attack face. Now we've just fallen down to the sustainable. I will stay here until I let go of the note and you see there we then fell back down toe original tuning. So we consign these envelopes to any parameter that's available to us under this target list. So, for example, I could apply to the filter residence instead. So I want to play another coat. More and more residents falling back down to stay level, and then we go through the release stage so I could have signed this first enveloped another parameter. They'll still be assigned to the volume. So this one is really useful to have more than one envelope because you might want to modulate two different things with an envelope. But you might be happy with the settings you've got on the amp envelope and not once change them toe work with your residence, for example. Now, if I play you this back with the envelope one assigned to the residence you see there behave differently because the attacked home was so much faster. So just remember we've got five different envelopes, and we can assign them to many different parameters within the sampler. You can use them all in different modes if you want a more complicated or less complicated envelope, for example, now I could use envelope to on the filter cut off in a much more simple mode with just attack and decay. So just remember every Lipsey used to change parameters over time. The AMP envelope will always be assigned to the amplitude, but we have a number of different envelopes, which you can use with different settings assigned to many different parameters in the instrument. We found this video useful. 9. Using LFO's: Hi there. In this video, I'm going to talk about another type of modulator that we have available in the sampler. So this time I'm going to be looking at the L A foes. So just like envelopes, we could have a number of different Ella foes. You can have a total of four different telephones in this sampler. Have them simply click on the plus in the top right here. And to remove any just click on them and hit the minus button. So, just like the majority of our envelopes, we have to actually assign or l a focus to certain parameter in the sampler. So using the modulation matrix, I'm just going to sign this first LFO so Phil to cut off so I can show you some examples. So the source is going to be lfo one. The target is going to be the filter one cut off. Adam's going to increase the amount slightly so L f o stands for low frequency oscillator. And these came about back in the day when analog synths sizes had another oscillator, which was a lower frequency, so it couldn't actually be heard. This oscillator could then be assigned to different parameters off the synthesizer to create modulation. So these are different envelopes as a cycle or pulse. We can then assign this pulsating wave to a parameter within the sampler to pulse in time with the music, for example. So any other foes a very commonly used in synthesizers and samplers. For example, you may have heard an LFO on wobbling baseline. So I strongly recommend getting to grips using L A foes, as they really help you create interesting sounds. So now I have my LFO assigned to the filter cut off. We'll be able to see this orange ball has appeared around the dial. So this just showing us the modulation is active. If I turn off this modulator, we'll see the orange bar disappears. Okay, I'm going to play a chord for you. Listen to the effect that it has you could hear There. The filter is opening and closing first, take it off for a second. The filter is now static. So now I've shown you what sort of effect it can have on is going to go over the different controls we have in our telephone. So, first of all, I'll show you this button here and with this you can sink the LFO, so it's in time with your project. So, for example, with this de selected, the rate is measured in Hertz. If we select her, the rate is measured in musical values. So if I just play back little section of the song in here there, the LFO was in time with the music for changes. So it's in hurts again. In here, there's that it's cycling at its own right. Other moment it's at four Hertz, so that's four times a second. As you may have noticed, when I was playing it back, I changed the rate. So this is the speed of the LFO, as we have it sink to the temple at the moment, as I scroll through, these will go through different musical values so, for example, like slow it way down, we'll speed up, so it's extremely fast. At 1 32nd notes, for example, you may have also noticed that I changed a wave type. So at the moment, this is square wave on each of these different wave types have different characteristics, So with a square wave we jump from the maximum value down to the minimum value. If I chose Sore, for example will gradually full down then jump back up and gradually full down again for use triangle, ill cycle up and down If we use sign It's quite similar but it smoothed out a little more. You could see this demonstrated by the wave shape in this display here we'll serve a couple more of the bottom here. That's random on random. Smooth. I was going to put it back to square away for the moment. What? I'm showing you these examples, right? The next thing won't show Is this fade option we have here? So with this, we can actually fade in the intensity of the LFO. So at the moment, if I play back this music, we're jumping back and forth between these two points. No, If I increase the fade you see there, the effect of the LFO is gradually faded in So the intensity of the LFO is building up. We've also got the option to swap the faith, sir fades out. So now we're gonna have the maximum intensity of the LFO on. It'll gradually fade away. It fades away to the point with the LFO is no longer active so this could be a really handy feature. At times I was gonna reduce the fade completely right? The next thing going to look up is the face. So what this allows us to do is choose where the LFO starts. So at the moment on this square wave, we're starting with maximum value and then going down to the minimum value. But if I change the phase of this, I'll change it to 180 degrees. So it's flipped around. He could see there were now starting with the minimum value on jumping upwards. Listen to that one more time. Pay attention to the little white dot that appears around this dial here Now for 10 this back down to zero. So using this phase, control just allows us change whether LFO starts So that's most of the basics of the LFO. But now I'm gonna show you a couple more advanced features so firstly won't show you these buttons down here and these what Between uni polar on bipolar modes in una pola mode, the LFO will only modulate in positive values. So other moment as the filter cut of point was set 39 per one cent. We're only modulating in positive valleys over to the right here, so that's displayed with the orange bar. Now, if I swapped to bipolar moat, you could see there were going to modulate in both directions. So for playing unit Pola mode quickly, we're jumping from the very most open point toe are set filter cut off point. Now, if you swapped to bipolar vote, we're jumping from fully open to fully closed. So I'll just show you that with a different way of shape. Quickly, Sam. Bipolar mode. We're going to modulate away from the top here down to the bottom and union Pola mode. We're just in the positive values. So depending on how you want the LFO to behave, this is a really useful feature to have. Generally, I find myself using union polar mode more often, but there are certainly times when I want to use bipolar mode. Right Next, I'm going to look at key trigger. So when key trigger is not selected, if I've got it sink to the tempo. The LFO will be constantly cycling in time with the project. If I have it set to hurts the fo will constantly be cycling at that speed. Now, if I engage key trigger, the LFO will start when the first key is pressed. So at the moment, if I play a chord now, the LFO is constantly cycling in time with the project. So pay attention to where the white dot is on the field to cut off. See when I play that chord there it was rising that time it started by folding a little bit . So as he can see there, the LFO is constantly cycling in time with the project. So depending on when I play the cord, the telephones starting at a different point. Yeah, that's because LFO is cycling in time with the project at the moment. Now, if I press key trigger whenever I play this chord again, I'll be starting from beginning of the LFO at this point here again, if I take off key trigger, it'll be starting at different points. So the LFO will still be sync with the temper of the project, but it is triggered once I play a key. One thing to know. If you're trying to sell yourself at the moment, just make sure mono is selected rather than Polly Polly could make the LFO behave in a different way. Now, the final thing I want to show you is the difference between mono and poly mode. I'm just going to load up a different sampler to show an example. So I was going to set up my LFO One on the pitch can increase the amount as well. Now I'm gonna sink it to the project and set it to the rate of one bar, so I'll type in one, mostly going to use uni polar mode and turn off key trigger. So I was going to go back to mono mode and turn off all the sends on this instrument. So the example is more clear now if I play a few notes and stack them up is accord notice how, even though I'm playing the different notes at different times, the old bending in pitch in the same direction So all the notes arising, affording in pitch in the same direction at the same time. Now Polly Mode is slightly different. Basically, what is going to do is create a new LFO for each note that is played. So instead of all the notes rising, affording and pitch. At the same time, they're going to have independent Ella foes, so the different notes will rise and fall in pitch at the same rate, but not necessarily at the same time or in the same direction. You can hear their their bending all over the place in different directions. Just compare that to mono quickly. So as you can see there when using poly mode, the modulation is a lot more unpredictable. Now, the final thing going show you, is a combination of poly on key trigger. So this time, whenever I play a new note, LFO will start from this point. So each of the notes when their first played will rise and pitch. There are rising 40 and pitch at the same time. If I disable key trigger and play the same four notes at the same time, the L A. Foes for each note has started a different point. So Key Trigger and Polly mode actually sounds very similar to key trigger in mono mode, so that may seem quite confusing at the moment. I just wanted to show you what all the different features in this LFO do generally If I want something pulsating entire with my track, I'll usually leave Key Trigger de selected on Have it mono mode. But feel free to play around with the different settings you have available as he can come up with some really creative sounds. Just remember, if you're a beginner and you're finding this quite confusing, just starting out of mono mode is a good way to build your confidence. Just remember, we're four different telephones, which can all be assigned to different parameters within your synth. They're all identical, and this gives you a lot of flexibility when creating your own sounds. All right, we found this video useful. 10. Using the Modulation Matrix: Hi there. In this video, I'm going to talk about the modulation matrix within the sampler. So if you've already seen the modulation videos, you should already have a good understanding of how the modulation matrix works. But I was going to go over its most important features now. So in the modulation matrix, we can have a number of different modulations set up and these are stored in the rose. If you want to add more modulators, just click on the plus button here again. If you want to remove any, you can use the minus button. You can also turn off your modulators using the power buttons here, which will disable them until you re engage. So for example, at the moment this modulation is turned off so we can't see it represented on the dial up here. But when I turn it back on, it'll show us that we've got modulations set up to this parameter. Now, looking this table, the source will be the source of modulation. So if you've seen the LFO videos, you'll know that we can assign the LFO to modulate a certain parameter with an instrument, so to choose what you would like as the modulator. Just select it from the source Drop down box. So you've got a number of different modulators that we can use here. Next is the target. So this is what we're going to modulating. So at the moment the telephone has been assigned to modulate the pitch, I thought I could changes to modulate one of many other things. Okay, next we have the amount. So with this, we can choose how much we're going to modulate the destination, his gaze telling a fire for a moment. We'll explain this. So right now the amount is set to zero sense. It's set to the centre, which means we're going to actually have no modulation. So I need to increase the amount toe, actually, hear the modulation, pay attention to this dial. When I move the slider, you could see there. That's the maximum amount of modulation we're going to get. But you'll notice we could also go in the other direction. Now I'm able to modulate in negative values. Next, Over here we have the vire so via may seem a little bit more complicated, but let me just explain how it works now when we select fire. We can use this as another control to affect the amount of modulation. So, for example, if I selected the modulation wheel on my keyboard now, if I click and drag, the slider will be able to see it split in two. So we've set the maximum a minimum amount of modulation. So with my modulation wheel turned all the way down, if I play this back, we have no modulation. Now, as the increase my modulation dial, we set it to modulate the maximum amount. But you'll notice we have a number of different things here, which we can actually set up as a via control. Something else is calling in. Census is using keyboard tracking. So if I play a lower note now, I'll have less modulation than if I play a higher note. It was something else. You can play with his velocity. So if a player cord gently. Okay, now, if I play the cord a lot harder, well, see, there were getting more modulation when I've played the harder notes. So this is really handy feature. As you can create more interesting modulations. You can even set up other L A foes or envelopes to adjust How much modulation you're getting you. So, as my second LFO rises of falls, we're getting more or less modulation. So using this fire control, you can come up with some really advanced modulations. Now, we also have this invert option here, which means we can avert the modulation. So if I play this back now and then invert the modulation is just inverting the modulation source. We also have an Enver option for via So for example, if I set up keyboard trucking again if I wanted the lower notes to have more modulation on the high ones have less, I could just invert it. Now, One thing you may notice as you become more advanced that using modulation matrix is you may end up with multiple different modulations going on. So for other load here, I'm just doing these at random. You can actually use this filter by to show different types of modulations. So if I select lfo one modulations, we're only seeing ones for LFO one here. If I select something else, for example, Envelope one, we could see anything that envelope one is set to modulate. And if you want to see them all again. Just click on this icon here, so this could just be a good way of organizing in modulations if things start to get confusing. You also come up with some really interesting modulations when you use a source to modulate another source, for example, I could use LFO two to modulate the speed of LFO one if I wanted. So if you're a complete beginner, would recommend starting off something really simple, like using an LFO to modulate the filter cut off as you become more comfortable, contrive a different combination of modulations to try and create more unique sounds. So just one quick reminder when you're setting up modulation, make sure you choose your source. Then you tell a get and then increase the amount because if you don't increase the amount, you won't actually hear any modulation. So, for example, with LFO on the set to marginally the pitch, but the amount set to the centre will have no modulation, just make sure you increase it again. You can much late in the other direction if you wish. Something else I mentioned quickly while I'm here is if you've created a load modulations for an instrument that you're really happy with, and he wants try them out with a different instrument. For example, you can go up to this icon here, and then you can copy synth parameters without mapping, so this will copy all of your sense settings. You can then paste them into a different instrument, with different samples loaded in again. You could also import since parameters from other presets within the Samper instrument, so this gives you a lot of creative possibilities. I drink men's spending some time getting to grips of modulation, as it's a really powerful feature off this instrument. You found this video useful, and I'll see you in the next one. 11. Thanks and Bye: hi there, and thank you for watching this cost. I hope you've learned a lot about the logic sampler, and he found these videos valuable for the cost project. What needs to create your own unique instrument? So if you can import your own audiophiles, manipulate them in some way. Chinese air filters in the sense section on also use some modulation applied using the modulation matrix. Then either post a screenshot of what you've done in the since sarin, or upload a short audio clip with the sound you've made, or even a link to something that you've created with what you learn in these videos. Thanks for watching.