Sampling Music in FL Studio 20

1. Introduction to Sampling with FL Studio: Welcome to the sampling course with fl Studio. I'm artist knows undoes, a musician who's been using FL Studio for around the last 15 years. In this course, I wanted to take you through all of the different sampling options available to you inside FL Studio and make it so you are a sampling master, understanding all of the tools available to you when to use different types and which ones are going to best suit the result that you're, after. I went to explain the fundamentals of things like ADSR had to add baselines out to use filters. How to manipulate your samples into making instruments and become an overall something Master. Look forward to seeing you inside. Thank you. 2. Adding sample packs: To help you guys out with your sample libraries and organizing them, how to bring them in, how to find them. First thing is first, I have my sample. I always load it up, just a sample archive and I can drop it. And I've got everything in here organized from the how to add that to the browser. Now, lots of people are suggesting that you can add it into the pacs folder. It's a lot of work. And frankly, it means you've got to have four of your samples stored inside the FL File Archive. That is definitely a way to lose your sample library. Here's the way that either it's a little bit safer, it's easier to back them up. You can have everything on an external drive. So if you go into Options and we are going to go into file settings in here under file, I've got this costume location made-up here is pretty simple to make. If we just click on an empty one here, it's going to ask us where that wants to go. Now my sample library is stored on this LacI drive here, and it's stored as sample archive, which is why it's called sample archive over here. I've also got sample libraries now this is all like the complete instruments and things like that. I've downloaded a machine packs. Let's add that in there as well. So you guys can see, we're simply gonna do open on that. Now in here we've got sample archive and sample libraries, really simple to add those in. Once we close options, we can see it now popped up over here as well. We've got some sample libraries. Awesome. Now, this doesn't organize everything automatically. I organize my samples so that I've got a drum and bass folder. I've got some one-shot folders. Different genres is how I find useful to work. But old cuts, which is like old vinyl recordings or Castro vocals separately. Now, my hip hop forward, if for example, there's a pretty busy folder, there's lots and lots of packs in here. There's some sneaky ways that we can find stuff in here. If we right-click on hip hop, we use smart find in this folder, we can use phrases in here to figure things out. Let's say I want to find drums 88 BPM. So it's now a family, a drum loop that's an 88 BPM. If I was to then use f three, it will find me the next drum loop that meets that criteria. If it is found this one. By step three again, again, you know, just keep going through them. It looks for a TA, it looks for BPM. And it looks for it being a drum loop, really easy way to navigate through your complex folders. For guys, I hope that's been helpful for you. That's a better way for you guys to add your sample libraries and browse through them. I will see you on the next video. 3. Looping With Edison: In this video, we're going to use Edison so that we can create a loop from a sample we have obtained and then bring that into the playlist and I'll show you how we can quickly adjust it to our tempo. So for this example, I'll use the lost piano leap from the sample pack, provided this can be used with any sample you wish to work with. And it's just the technique. The first thing we need to do is open up Edison, if we go to our top transport at the top, we've got this icon here with the scissors and fit 48. That's kind of Edison for us, the Edison is a built-in audio editor inside FL Studio is really useful for some more in-depth audio related editing that wouldn't necessarily be good to do on the playlist to bring the audio. And we can just drag from here. It's going to land there for us. We're just going to double-click on Stop to stop or sound playback. To Edison's pretty simple to use. We've got a transport quite simply at the top. We've got a whole bunch of editing tools in here. We don't need to use too many of them are just show you the main features we need to achieve what we're after. For our example here, we want maybe four hits of the piano reward that to be in synchronous track, to play it back. Just for argument's sake, let's say we've decided we just swapped these first four chord faint here. What we do is we would click in Edison's and drag. That gives us this red marker here. This is going to highlight and allow us to drag adjusted this particular area away. So we get that roughly to where we want it to be and we'll press play. Hopefully you had that little pop at the end. I really wanted you to hear that this is something we need to look at straightaway and try and mitigate as much as possible. So this has to do with the audio being caught while something else is still playing. We can mitigate this by finding what's called a 0 crossing. If we use our mouse wheel on Edison, we can zoom in. We can grab the handles of the bottom here. We're gonna zoom right into this point here. This here, this is what's causing the heart because this sounds are started and then suddenly stops. But we need to do is bring it back to a point where it crosses the 0, which is the middle point here. So if we do this here, we should no longer hear that pop pathway. To bring this piece of audio onto the playlist, we use this icon just here. It says drag copy sample selection. The South was selection is the area highlighted in red. If we click on here and move them out, Edison minimizes and we can drop the audio and you are on a playlist. So that is how we can bring a loop from Edison onto the playlist. In the next video, I'm gonna show you how we can understand in Edison what some of the keys are being created and how we can use that will then look at how we can manipulate the leaked for onto the playlist and sync them with your project. 4. Find The Sample Key: In the last video, we learned how to loop samples in Edison. Find a 0 crossing so pops don't occur and drag those sounds onto the playlist. In this video, we're going to look at how we can get the key or sounds of certain samples, which it can be really useful, and how we can then sync them to our project. So the example piece of audio I brought in is a 172 BPM. And our project here is set to 90. A way that we could very quickly get that into the right space is two times stretch, it stretches the icon here with the clock. And if we click that, if we get some options up here, the time stretch options inside Edison are not musical, like they are on the playlist. And we would have to understand how are we going to adjust them. A 172 BPM. If we were to have that time, it would give us 86 BPM. We've got the time multiply here, we could drag that down to minus 50% and accept. If we were to set our project now to AC six BPM and drag the sample. Next is hurt now fits within two bars. Later, we will learn how to do that within the playlist and make it somewhat more musical. We can also go to BPMs that aren't exact fit for the current BPM. The other thing we were going to do is use Edison to tell us the pitch of some of the notes. Now the reason I've chosen this loss pianos because it's cord is combinations of multiple notes. However, Edison can still help us find out what some of those root notes are. There's a really simple feature. If we right-click on the piece of audio, we can go to regions. We have detect pitch regions here. That's gonna give us a rough idea of the root node of each part of this court. Knowing that we've already brought this part of the sample in, we can shrink Edison down. Let's make a pattern here. Let's see if that fits. Slayed the sounds right down here. Let's go back up to 172, which was the original. Let's see if that fits. That sounds good to me. So that's a really easy way that we can find out the notes of things we've solved board to create things like a baseline below it and add extra intimate instrumentation with it. Another quick tip. And what we can do here now that we know these individual notes, if we double-click on the note itself, it will come up for us like that and have it highlighted. Use what we know about 0 crossings. We find a nice space to take that whole sample. We can take the individual samples out just as notes, which can make it really easy for something and playing them, bringing everything together in a slightly different way. In the next video, we're going to look more at the tempo and time stretch and getting samples to work with our particular projects. 5. Match The Tempo: In this video, we're going to look at how we can manipulate the time of samples in different ways to fit with our projects and our idea often that we sample something and it'll be in a different tempo BPM to what we were trying to create. The example here is 172, which works really great. If we go back to 86 here, I've set the project to 92, knowing that that's gonna be six dB different to the halftime. So we're gonna need to play around with it a little bit and get it to fit in with what we're looking to do for contexts. I've just put a drum brake in the track as well so we can really hear or feel what's going on. This time. Let's use the 174 BPM stuck Cello. Those two. I think they'll fit in nicely with the drugs we've got this time, we could just bring them straight into the playlist instead of using the time stretch in Edison, we're not even going to need it. It doesn't take much to see that these are pretty out of time too, what we're after. They definitely don't fit at all. So let's extend our drumbeat to cover what we're looking to do here. Now, there's a couple of ways that we can approach this. We happen to know that this sample here is 174 BPM. We can adjust that by right-clicking here. We can go Fit to tempo. We can type in BPM as 174. It's going to adjust for a swift fixed correctly. But it slowed it down so much that doesn't sound correct anymore. What we need to do here is half stretch enabled. And we're going to tie that back so that it does fit correctly. Now, at the moment it's stretched so badly is potentially double the time. Let's have the time. We can do that by looking at where the sample ends and where we would like it to end. It's currently ending here on the start of bar nine. We'd want it to actually end right here. You can drag it back like this. We wanted to make sure that everything else stays roughly on beat. It might be the case, but it's come back too far as it starts to drift off it. Bring it forward like this. Looks much better. Let us see how that sounds. That is pretty much what we're after. Now. That all came into the assumption that we knew the BPM of this and we were able to have it. Let's bring in another sound. I think we'll do the cello is one instead. As we can see, it's out of time again. Now, let's pretend this time we don't know this is in 174 BPM. We need to figure that out. So if we right-click up here again, we can use detect tempo. Given an estimated of 90.4, which is not hugely far off, it would be a C7, but it's taking into account our BPM. And the fact that there's a tail at the end that puts it a little bit out. Let's use the estimated date. Now, this is asking us if we would like to set our project tempo to the same as the sample. In this case, no, we want a sample to a dare to us. So notice here that the sample hasn't actually changed from what it initially was. It still going to be out of time for us. A lot of the time you'll have that kind of thing happened when you're using the estimated and the auto detect. So here's how I prefer to do this. Let's just have a stretch on, will generally start the sample right towards the start here. And I'm gonna use these transients to keep myself a rough guide as to where I think that she'd go I think would probably go for something like that. Then once I've got a rough idea and that's a bit slow, I think I'll double time. That is our hit C to get the slice, slice, slice the end off straight like this. Press P to get the paint tool back. Now this is going to be exactly on here. It's going to snap to the grid. So I can really easily double time and can even go further. One last thing to look at is the algorithm being used. If we double-click a few different variations, we've got mode up here, and it's still re-sampling the minute you quite often find that y3 is going to be your best option. How that sounds much better. Spring the cello. That is just a few ways that we can manipulate the time of our samples to get them to fit in place. Making use of that and the ability to find the key in Edison can be two very useful tools to get you started when working with your samples. In the next section, we're going to have a look at more ways we can manipulate the samples on the playlist like we just have with the tempo here. 6. Using The playlist to edit samples: In this software in FL Studio video, what we're going to look at a sampling of the main playlist inside FL Studio is actually one of my favorite ways to work. And we can take sapwood and cut them up very, very quickly with this method. So you've got yourself will pack, download it, and you've now put it in the browser. Elizabeth, the right of the left-hand side for you. I like to work with it on the right. What are we going to do is take the software, it's a 176 be PFD, soft Rhodes. Sounds like this. We're going to use that switch to click and hold and drag it onto the playlist. Now we can make use of some of the editing features in side of her studio. Up here at the top left-hand section has been playlist. We've got this little icon that says stretch right now we want that to be switched off. We're going to go to the end of our piece of audio here we see that drag over this side. It's a way we don't need that. They're absolutely Zoom. It can hook Cho and you should mouse wheel, or you could use these bars and bring that right down to the antenna. Now, let's say we're going to work in about 88 bps. This is gonna be probably, we've never really nice for barley that however, if who are working at say 90, be a little bit of time. So the first thing I want to share is just how we can bring ISAF will really easily back into the title this way. I'll zoom in here. It's just the exhaustively yourself where it says 176, just next to it as a small wave icon. If we click on that guy, we can choose Fit to tobacco. We know the tempo is while 76. We're going to high-paid BPM. We're gonna go 176. Made the most sensible adjustment. It can remember where it is halftime, so it's doubled the speed of it becoming nearly a bus. It's going to be really slow now. Actually gives a really nice sound. So let's say we wanted to go through the original speed. Before it said stretch, we made sure it was obtained. Take that now we get to the start of a piece of audio. We can drag it back. So it's not going to work on the BPM. Just to build upon this example, I'm going to bring certain drugs here. We've got a rhythm where he has the defects. We can really hear what's going on. I've just put a really simple jobs live underneath our sample. Just sounds like this for the type. If we hold the right mouse button, interact like this, we can get ourselves a perfectly death to worry about all these overlapping partner. Now I want to show you some of the really powerful features in this editing tool. We can use C or click up here on the standing with his sliced the audience different paths which has got to slice. It says two samples. And lots of individual sections. Press P to bring up into two. Separate these out. Just so we can see the software changes. Every half bar. He's made up, play seamlessly. Smallpox. He has pledged as possible by using this hip 0 crossing at secrets, but it isn't always perfect. What we're going to use here is the slide to tap on our keyboard. Well, we now hover ever peaceful year. We get these two arrows. What this allows us to do is slide the piece of ODA. This means we can create the loop repeats very quickly. Bringing this back to the original note that we can make a new pattern very, very quickly. Start being a bit more creative. These can be slit and based on the quantization of the grid. Over here in the top-left we have this little snap to grid icon and the moment is set to sell. Let's say to something like one over four steps, I can move this by smaller static routes. This allows me to make adjustments like where subsamples might not sit perfectly. If, for example, we could start for it to this node. This has a slightly off editor as well. We could bring this forward. Now, hello thing to note, this note here, it's partly why I've chosen this. It gets a lot louder and it stands out more. We could go fix that with compression, but we could fix it right here. What we could do here is again, click on the little wave icon next to 176. We're gonna choose Bake unique. This particular wasn't only function on its own, we double-click on it. We can simply turn the volume down for this particular one. We just leave it in with one of the other sounds that used to be closer to it. We can get closer to the sound we're after. If we remember this, we can make copies of it. And then any other louder lives that we might use as well will be gained accordingly. That guys is a really easy way to use the playlist to quickly solve for something that you chop it up around, you create a pattern. 7. Cut And Chop Samples FL Studio 20 Quick Tips 1: Shopping samples. So what I've got here is just a sample of drum brake, load it in. Awesome source, we might want to cut that up a different job roles in take the drummed out and put them on separate parts. The natural way to do it would be to put it in something like sex or even use the Cut tool and slice like this. But that can come with its own problems because if something's got a bit of swing on it, it can be slightly off beat and you get these crazy at transient cut here. This is definitely not what you're after. Just rejoin that survey with some undo what we can do this a feature of Bill in here to detect transient uncut at the transient points. And we can do it within the playlist window right here. Where I've got this little thing says kill them all this little icon next to it, you see how it changes when you overlap. If you right-click on that, you get a bunch of extra IP options. What we'd use this loads as we go through different videos. In here, we've got shot. Now, chops got a couple of cool features in it that let us do really complex things very quickly. But what we're going to use it right now is the DDL auto slicing. And what that's gonna do, it's gonna look for the drum hits and it's gonna make a cut at those drum hits. You see now it's separated the file up into all the separate hip. Much better. Really quickly now, grapple with our snares out if we wanted to, and we've got them ready to rock as we like. That's cool. Now, once we've done this, we can flip things around a little bit further if we use the Slight tool highlight over here, I'm under pencil. If I press S, goes to this little slide to an O&M hovering over. Whereas if it was on pencil before, it went to the little arrow, grab a look. I'll press S. We've got this slide tool. Lets us slide this piece of audio only within that slice. So if I wanted to do a double kick where the snare would normally rolled in and actually do this. Yeah, it's really easy this way too. Then just flip up samples and chuck them around. If we're doing something other than a drum kit, for example. You can get your sample cuts work in this way as well. And it's also really useful for finding loops. And we just found that little hi-hat lived there, for example. Maybe we can now get that to run across the whole track and how this will work. Or we can give it a right-click at the top. We're going to make it unique. We're gonna write something again. We're gonna fit the tempo. We're just going to snap it to its newest grid marker. Let's just roll this out and see what we got crazy. I reckon we can get something out of it. Stretch. So extreme that if we were to do this with any sample is a really easy way to cut it, chop it, and flip it around in a couple of minutes. 8. FL Studio 20 Fade How to Fade Audio in FL 21: A really quick, easy fade tip in FL Studio, so it's not glaring the obvious how you do this in many DAWs, you can take a piece of audio and you can just click and drag back on the piece of audio and it will introduce a fade. For example, if I open logic here, we've got this snare with a little bit of sound either side we can just drag you up. And if we wanted to keep the host snap, but just have this fade away, we can just drag up here and introduce a audio faith In bend and curve it any way we want it. However, in FL Studio there's nothing that simple. However, we say select this little piece of audio here and we do some Zoom in. What we could do is take this heavy ARA, hit here. We'll stick a good leap around it and it rolls over a little bit here. Maybe we wouldn't want to fade the end of that just a little bit. So I've put it over the bar hip, but maybe we want to stop it dead on the ball to do it in FL Studio, a little bit different. Wave icon just up here. We need to right-click on here. We need to go down to the section that says automate and we need to go volume that is now going to overlay that piece of audio with a really specific volume automation overlay specifically for that bit of audio. If you have a look up here in the options, you need to make sure you're on the Automation Mode. And you can now introduce that fade, but it's a bit drastic and it's just faded the whole thing in half. What we actually need to do is use right-click, introduce a secondary point. We can now introduce a fade depending on what you have on your snap to grid, it will snap to that grid. Unlike regular automation, you can use the handle just to fade it off. That's your way to really quickly introduce audio fades in FL Studio. 9. Default Sampler Basics: So let's use the simple salt that instrument to create our own instrument that we can play using midi from another sample. I've loaded a nice sample in here and I found the regions so we can see roughly the key, the sound is found. We can see right at the start here we've got this sort of hit on G. We're going to try and find a note among this. Probably here. Presuming we try to find a 0 crossing. Gonna be a little bit harder because it's the very stereotyped somewhere around here might be okay. That's a pretty good single note. I like that. Let's drag that in, like we would have before. We've now got that single note and we know it's a G-sharp. Actually delete that from the playlist. It's loaded up here for us. It's always going to show it was the most recent one. We can see it's just a single sample. What we need to do now is just set up so it can work as a midi instruments during tough settings before we've got this keyboard at the bottom here, and it's currently set to C5. But we know our note because it shows us in medicine, It's a G-sharp where this is C5, we need to go to G sharp. So we should be able to go across our keyboard and figure out where that's gonna base. We've got C, D, E, F, and G. G sharp is gonna be here. We can just right-click on that and you see it now sets the root note to be on G. This is important because when we play anything in midi, it's going to pitch it from that position. So if we were to open the piano, roll down and up here at the top, we can change to the right sound, but just make it a new pattern as well. We're a bit low to high. Hopefully somewhere around here that we have this up and see roughly where we've been doing it from C right there that's triggering the sample. This is, we can all say most of that octave prey, well, we know it's in G-sharp. If we choose some kind of scale that leads off of G-sharp, see if we can make a really quick melody with it. One thing that's making this difficult at the moment is the whole sample plays each time. We need to alleviate that a little bit. We also don't want it to be able to play over itself. So here where it says group, we want to cut and what we want to do, we wanted to cut it by itself. So we do group one, self. It's gonna do this for us here. Two cuts by two, meaning it won't ever play over itself. That's going to change how our playback sounds. It's not laying them over each time and we can do much faster runs. That's an introduction to the really basic version. There is a further version of the software that we can add in. We can create this and then bring the sound straight into it as well over here, unless step sequencer, we're just going to use the add one feature and the soft blur shows up here. So we're going to add one and we've got a soft lead to here. It looks almost the same. Just notice that there is this little handle in the middle. We're going to take this a step further. We're going to bring this original sound and we're going to drop that into the new software here. We're going to switch to this section here, and this is our ADSR envelope. So in the next video, I'm going to explain what a DSR does because it's really important as we dive deeper into more of the surplus. 10. The Default Sampler: When we import a sample from Edison or a software library into FL Studio, by default, it actually opens up inside a plug-in. That might not appear that that is the case. But actually this here is a plugin called sampler, quick bit of navigation. It shows the file that's currently hosted. Just hit, as you can see, we just dragged and dropped this, but we could go select any other file because it does just work as a sampler is an instrument. Below where we've got content, we've got load regions, keep on disk, re-sample, load slice markers. Keep on desk is really useful for large samples. If we've got a really long piece of ODA, it can stream it for the hard drive instead of putting it in the RAM by default, FL Studio puts everything into your round load regions. So remember in Edison where we tied to the different regions with the key, for example, this would allow those regions to show up and we can see some of them showing up here from this sample. If I turn it off, they disappear. Simple as that slice markers is a similar thing for when we've sliced up jump samples, they can show up with the slice markers, the clicking mode, there's a couple of different modes. If we're careful in getting a 0 crossings, it shouldn't really occur. When we play multiple notes though it makes use of these if you do transient no bleeding most of the time that's gonna be okay. We've actually got the time stretch settings just here as well. And when we time stretch in the playlist, it actually does make a difference adjusting these. Remember we looked at the different modes in that video. We've then got some precomputed the effects and we'll dip into those. And shortly up here in the top section, we've also got a settings menu. This sort of settings menu allows us to build an instrument using this software and it's really simple to do. In the next video, I'm going to show you how we can take a sample and make into an instrument that we can play a melody with. 11. What is ADSR: Okay, So going forward, as we get more and more in-depth in solving, we started to do more complex things. There's gonna be some areas that we really need to understand. Now, the first thing we're going to look at here is called a. D stands for attack, decay, sustain, release. And who see this in a lot of different samples as we just go ahead using the default basic salt block. It's that as an envelope. Then ADSR envelope allows us to shape the sound in things like volume and filter over time. First is attack. Attack is the time it takes for the cell to get to its loudest peaking using amplitude. If that was attached to a filter, it will be the most open point of that filter. So if we think of attack that first, initial sound as it comes in, think of a string instrument that has quite a long attack. In most cases, the string gradually rises up in level two, the hint it's maximum altitude. On the flip side of that has been pluck that string is attack is very, very quick, hits its loudest amplitude. Almost instantaneously. After that, we have the k. The k is the time that it will decay in the volume until it gets to its sustained point, which is going to be a point of a **** amplitude. We have our attack. It goes nice and up to its full amplitude decay and it's gonna come down and we have a sustained by the, the reason we use to sustain it. If a long note is held, this will be its level that is held at. When we look at sampling a sustained point, we usually be quite good point in a loop level or something to repeat over and over. Last thing we have are his release. Again. It's the length of time that it takes the cell throat sustained point to get back to 0. In ADSR attack decay sustain release is the overall amplitude and how a sound is for them works and we call them envelopes and enrich can be linked to lots of other different parameters. But usually I can choose gonna be the main thing with a capital. I can say, I think about that, pluck the string. Very, very quick attack happens literally instantaneously. Writing the decay from that decays very quickly. There's not much of a sustained release tells us really quickly. Put examples of what that looks like next to me, right now. Slightly longer string sound, you will have a much longer ramp up. It all hits a top amplitude and it will decay quite slowly into sustained. Sustained could be quite a long period. There might only be a little bit lower than the full attack and volumes. The full amplitude is the reach and the release that I took a really long time to fade away. If you think my voice right now has a very short release, you can hear it, but if the room that I'm in, and that gives it a bit of a release and reverb. Or somebody like his strength was very slowly stop playing it. That is how release work. So next video we'll have some examples of how we can use envelopes to shape our sound, will make use of that ADSR. 12. ADSR Examples With Basic Sampler: We know how to open up the additional sampler rather than the default one here. And we can see the difference where we've got the envelope section here. We now understand about ADSR. So if we click on this envelope section here, remember we need to set our rootlets back to that G-sharp. To activate the envelope where it says envelope, we're going to click on it and we're gonna get the little red icon just here. And now things are gonna be slightly different. How it's taking time to get to the full level ATT here, which is our attack. We can dial that right back and will instantly be at that for velocity. We tie that in just slightly. If we can wind up into that. This can be really nice when working with Saab was especially if this drums in there we can work ways to make it so the drum transient state Chi through by using this. Now in addition to the ADSR or there's something we have delay. This is a timing delay. So by pressing this, it will just delay when the salt will stops if we just have a tiny bit of it in play. In this case, we won't let right at the start. We've also got a hold in this instance. And hold maintains the level here that the maximum amplitude, longer sound we can just hold out for the whole song. We got to k. We can reduce the K right down and make it more of a clock. We need to reduce the sustain and release to really get that flock fill. I would take some time now to have a look at the software in your own projects and really get a feel for how the ADSR works because we're going to use it a bit more as we go through these sample videos. Because where you're going to use it lots more as we use other sampler instruments inside FL Studio. 13. PreComp Effects: So let's look at the precomputed effects section. It's this section here. There's a Settings icon and a little valve icon for two different options. The first one is removed DC offset. You sometimes, very rarely though, nowadays see a DC offset on the recording. You'll see this recording. It won't be central like this is if everything will be skewed to one side. Now, don't be mistaken because this can often happen with brass recordings due to the nature of them. If generally they removed DC offset, you're not gonna need it unless you specifically need it. And then you'll know, normalize what normalized as it brings the loudest point of a peaceful year up to 0. And this was recorded pretty well. But if I normalize, it does increase by just a little fraction. If the sample you've taken is really dynamic, and then the bit you've actually decided to sample was really quiet, normalized might help you just bring that out and make them mixing a little bit easier. Bear in mind if you've recorded it. Low bit rate, it's not going to sound great when you normalize it. So it reverses. Let us have a good, better flex. It reverses that sample. However, it's not going to take effect while we've got things like cross fades and salt offsets in place, if we were to take something else, we can flip that quietly. Really great for just quick reverse effects. Next, we've got reversed polarity. This comes into effect when we lay off lots of sounds. Snares are a really good example. If we have a couple of snares lead together, sometimes they start to cancel each other out because they've come in and out of polarity with each other. Reversing polarity or reversing the face can resolve that for us pretty quickly. You can just see that it's doing the complete inverse going to sound the same. It would behave a little bit different fates stereo fades from the left to the right channel. Super-easy effects of throwing that swap stereo swaps the left and right channel. If we click the valve Ico, we've got some effects in here. Boost is kind of cool, especially if you book clip on, you could really slab jump samples and make some crazy things happen in hair. Clip off. I don't want to push it much past that because it's going to get really loud. Experiment with it. It's really cool on kick drums, I have EQ. It's sort of a bit of a skew of an EQ goes one way or the other. It's kind of like a til it lifts everything up a little bit. Shovel, listen to it. Next we've got ring modulation. Modulation is taking the signal sending out and back into itself to modulate itself, we've got the frequency just next to it, and this can cause some crazy effects. It's great for lo-fi beat creation. Next week, filter cutoff. Let us how this affects the sounds. So this is actually creating the effects of them, redoing the sound to correspond with it. We've got a resonance for that photo. Next we've got some built-in reverb. There's an a and B switch. We can just dial it in as such. We can combine that with stereo delay. Lost the pogo effect. Super quick and easy tape stops. Those are the precomputed effects and how you can play around with them. Pogo effects. It can be really cool if you make a copy of a sample and just pogo effect to one and just give a quick slow down before going back into something else. We're maybe looking at doing that further on in the course. 14. Example Make a Patch with Sampler: In this video, we're going to put everything together. We're going to get a sample, put it into Edison, find the part we want to use, bringing that into a software or build into something that we can use, making use of ADSR, sort ourselves out. Preadapted sampler info unless blank on hedge could soft palate to find the sounds that we're going to use. Let's see what we can get out of that. So we open up Edison. We just drag that sampling then drop it in. I think we're just gonna take that first part here. Just before it changes. Remember we need to zoom in, find the best 0 crossing that we can. Very stereo sounds really much struggled to find somewhere too far off. We'll go with that. Just play it back. Now we maybe don't need the intro, so we'll have a look at that in the software. Let us try to find out what kids were gonna go regions. Each region. Lesson a sharp that made sense. I didn't name the file a sharp minor, say a shops or lead note. Let's drag a bit that we want to use into our sampler. We can close it. I'm going to go into our settings. We need to choose a sharp cut by itself so we can just play it. Kind of. Mother is not going to overlay itself all the time that we could introduce some Hollywood with organic. We're going to make use of the sample start here. We're going to start it a little bit into the sound itself. Takeaway that false in trade. As you can hear, it, cuts in a little bit. Now, just make a new pattern real quick and assign that to our new swell. Let's say we want to make that extend a little bit further and not start quite. So. Let's look at our ADSR here. We're going to activate that and just have a listen to what the default envelope does. Okay, that's good, that swells in a bit nicer. We can maybe reduce that attack a little bit. Back into this section here. And let's see if we can get it to loop in some way. We're going to make use of the playback and the offset of the crossfade just to try and get this to loop a little bit for us. Start offset gives us a different starting point, whereas the crossfade is going to blend the sounds good and look what it's doing here. You can see where it's trying to fade the sounds together. Doing that, we've been able to take just this sound here, make it into something a little bit more playable and make her own melody out of it. Sure, if we took some more time and we really tweaked the cross fades and tweak the star offset and adjusted. A lot more of what we're doing here is our notation. We could really get that into being something a bit more. Now in the next video, we'll keep developing this, but we looked at some of the precomputed effects inside the sampler. 15. Direct Wave Introduction: So you now super proficient in finding software is creating loops, getting 0 points, and even using the basic software to build up an inch down. Now we're gonna start getting into some of the more advanced things. Okay, this version, as you can see, it says direct wave FL full. Because I have a certain edition of FL Studio, I have full access to use all of the features in direct wave, as you can see here, fruity edition of producer addition come with the direct wave player, but Signature Edition and the All plug-ins bundle come with direct wave full version. It depends on which version you have will be able to do some of these features and some white, but based on what you see, it might be worth you upgrading your edition or if you've already gotten the signature or above, this is gonna be perfect for you. Let's have a little breakdown of the direct wave players when we load up, this is what we get. Literally nothing loaded right now. What are the best things about this in FL Studio 20 is now re-sizable. So this was quite small on sudden displays. But now if we go to a bottom corner, we can make it fairly resizable and really get to see what's going on. So let's break it down from left to right and top to bottom. Over here we've got a folders option in here. We can open program banks and things that have previously made for direct wave. If you're using the Windows version, you can also contact libraries, some other supported file formats as well. This currently doesn't work in the Mac version. You have to be able to have a specific direct wave patch, but that doesn't stop us creating our own thank all of our saves functionality and we can even create patches and save them for FL Studio Mobile, which is pretty cool. We've got online content which takes us to any libraries created by image line that we can download. The question mark opens up our Help section. We've then got one through 16 at the top here. And that's because we can have 16 different variations loaded in direct wave of fonts. We can control them all from one midi track. It's super useful for perhaps building a whole drum kits and sending everything to a separate mixer track to click on multiband that will show us everything that is loaded in there. And if we click on program, it's going to show us the zones and sophomores and things we've gotten that bring a sample in here. We can set the zones and move it around just here. We can see that as we drag it along here, and this is only opens up different areas of the keyboard. If you remember from working in the sampler before we choose its root note and where it would play. This now also applies to the velocity. First put the sample right up here like this, it will only play at the lowest velocity. Look won't trigger, we can see that trigger point showing up that was to bring it so it covers the whole gambit. Play it right the way across. That's where this starts to become really useful. I'm just gonna bring a couple of other hi-hats in. Sometimes depending on the software you bring it in and the values will be set at 0. And we can't see the zones here. Look, what we can then do is look at the high key, low key and values. It. We can bring those out so it doesn't show to us if we make that. You'd like, for example, we can see now we've got some markers here to work off of snow. We've got these two samples lead together. We can trigger different ones by having different velocities. We can also half of them crossover. So somewhere in the middle ground here, it would trigger both. The high. We're just trigger this, then the light will just trigger that sample. We can now have a middle zone that triggers both for us. And this allows us to make pretty complex things. And if we've sampled something in chopped up lots of different samples, we can make it nice velocity layers to have them trigger in different ways and just make it more playable instrument light, which is really nice and useful. And I click on the folder here, we're just going to flush it or just to clear this back, looking now over on the right-hand side, we've got folders and some global settings. We don't need to go massively over the spot. Some important things needs to be highlighted. Monolithic mode, for example, with allow all softwares to play in a mono fashion rather than polyphonic. This means something like a sample patch would maybe want to cut each note off. But if we had a piano samples and we wanted to play a chord, we need it to be polyphonic. High-quality rendering is also quite nice, but switch on and off and see what works it for yourself. If you've got quite low-level recorded samples or something's particularly dynamic. Auto normalize samples. We looked at normalized with the previous software. And it's going to bring the loudest point of yourself. We'll just up to 0. If you've got lots of things at a different level, we can bring them all up to that zero-point so they're easier to play and work with them. In the Folders section, we can literally navigate some folders that we've got it set to fire strings for me in this case, it doesn't actually work because I'm on the Mac version so I can't open up files. Next, let us look at the stoplight itself and I'll bring in a little something different to work with in this case. On the left-hand side here, we've got programmed zoning sample. We're gonna leave it on software. And if we drag a sample into here, notice how this is a little bit like Edison that we were working in before. When we do this, it gives the whole keyboard full reign over the sample much simpler. Next is how the whole sample doesn't play each time, which is really good. We need to set a root note like we did before this particular sulfur was in a, we just need to set that to eight. That sounds better for us. Towards the bottom here we have editor options. There are many of the options that were available to you in Edison from here. Useful ones to note, if we hit this and go into tools, we've got things like reverse polarity, normalize, fade in and fade out. D click if we've got those little pups and we haven't managed to find the 0 crossing. We can see to use the click option, we can reverse the whole sample. We've got time stretching here, as well as the swap channels and other areas. Convolution reverb as well. Many useful things that we can look at it there. We've also got the zoom function. This one's quite useful. Zoom out full. If we've zoomed into fall, we can just quickly go here, zoom out a full page. Home is the home is the shortcut for that. March like an Edison, we can use the bars here says zoom in and navigate around in the sample. We can click a highlight areas as well. Notice that clicking the highlighting, it doesn't change playback at all. To do that, we would use the sample start where we could start awesome, perform here. Instead. We've got a loop stop plants as well. And we can choose where those links would start from, whether this would end from. We need to enable the loop type for that to show up. For. Now we can see those are the point's, just that sustained might work better. Remember that before we need to zoom in, ideally find the best is 0 crossing points that we can for these particular points. Something we'd need to do over time and really get into depth with going forward. We just said disabled the loop again and just bring the stock might write back to the stop, switch to Zoe, a whole world of different settings in here. Firstly, we've got main time and trigger or with the different settings, much like on the previous software, we've got the pitch tune options we can reach in the sample. Regardless of where it's being played. If you hold option and click on that, it will always reset back to 0. Again control and a pen control. Then the posts gain control as well. In time, we've got the beautiful Sync option here. We can sync to the BPM of our track. Now we need to affirm already worked out the timing of the sample for this to be relevant. You can create some very interesting effects here. When we start introducing things like grain, we can get a very new sounds. If we take smooth write down, we can kind of degrading it more of a lo-fi sound. Especially on the more extreme. Again, option just to bring everything by default. In the next video, we're gonna start looking at the filters and other ADSR options inside direct wave as well as how to program a making save our own patch. 16. What Are Filter Types: It's some clarity on filters, what filters do, or they subtract the takeaway from a sound. Eq, for example, is a filter that you'll be familiar with. You would've liked to use the one in FL Studio. It's just a series of different filters that can be taken away or add in different areas. Surplus will always be always have some kind of filter in them. There's different types. For example, we have a LPF, that's a low pass filter. This takes away all of the high-end energy and just leaves the lower frequencies. And the opposite of that isn't HPF, a high pass filter, takes away the low-end, leaving the high frequencies. This one is really, really useful a lot in sampling because you can remove the bass tones from a sample. Sometimes things like kick drums and whatnot can be removed away and we can add up owning given a space to create our own tracking, our own mix, or making a much cleaner baseline or the sample provided. There are usually other prefixes look over these as well. You'll often see something like HPF 6122448. What this refers to is how quickly it cuts off the frequency? No, not how quickly it activates it, but how steep the curve is, everything cuts off. For example, a high pass filter, six means over an octave. So over those 12 notes, in terms of frequency, the volume will deduct by six decibel is, this is a very gentle filter. If we look at a 48, it will decrease by 48 dB per octave, meaning across the 12 notes and that small frequency spectrum, we've lost 48 ****** on level. This being a really harsh macro filter. Some of the others that you'll see are things like bandpass. Well this does it subtracts the high frequency, a low-frequency around a set point, and it just leaves like a pillar of sound, if you will. It is cut and it will do exactly the opposite so that it will just cut a small area out in the middle and leave the high and the low around it. There are many other types, but as we go through this, we'll have a look at those and see how they can be useful in solving different things. 17. DirectWave Filters: So we've just explained what filters are really not gonna have a look at the filter wanted to filter to section here in these softwares, we can select between the two costs ofs gonna be the point at which the filter starts to take effect. Now, we need to firstly engage this to some type where it's got a height. If we put on a lighthouse, it's now only going to give us all of the low-frequency past this cut-off point. Escaping quite feel to the South. If we bring that cutoff in a further back. By automating things like cutoff, we can create great sweet resonance is, I think a boost cut-off. Cut-off and resonance always linked together. Just to demonstrate this. Sorry, short cuts off. Being automated together. A cutoff trends over time. Combined this way, resonance automation has changed just yet, we need to introduce some shape distortion that really pushed this quite get the difference. Directional wave has two filters guy in so we can actually filter the signal twice. We wouldn't want to necessarily do something like lighthouses. But we can also apply something like the vocal filter as well, which would be quite useful. If I was starting to build up a new interesting sound. It just for context, this is the south I originally started, but I haven't done any cuts or chops yet, but we're at a stage where getting quite interesting meeting until the next section we've got amplitude and MLA one, and these are our ADSR and we explained how those work before. If we were to bring our attack right up on the amplitude, sounds a lot longer to get started. This would be per night, but as we have just one note trick, it it starts in almost straightaway, which takes sustained down on, wouldn't stay very long at its loudest level. Have a slightly longer decay will take a longer time to reducing level. We perform however, we discern. In this case something like this is about right. Envelope 12 are also ADSR related. However, they can be linked to other areas within direct wave, meaning we could link them to filters and things like that. When we do that using the program or modulation as we go along and we'll cover that as we go through further into direct wave. The same applies for the LFO 12. So it will look at that in the next video. 18. DirectWave PreComp Effects: So now we're going to have a look at the effects across the bottom here we've got a ring modulation. The decimator quantize, the phaser. All of these have a mixed control assigned to them, meaning we can have them in parallel, so we can be really extreme and then dilate back with the mixed control. Now the ring modulator, it sends a frequency area of back into itself and modulates its own right and creates a pretty interesting sound. It's great fun to try and things like snares and get a really crazy snuff feeling of thought. We're gonna have a listen to how it works here. First, we need to engage it by clicking next to remote. We have this gray area here, this lights up. Ring modulation will be engaged. So let's play this back. It turns out we can use mix by their baskets out of the original ring modulation. Next decimator, which is very much like a distortion software rate reduction. It stays quantized. This is essentially a bit reduction if you're making lo-fi, this is gonna be really useful for you. How it starts to add a bit of noise. This in combination with a decimator is quite useful. This is where you can start emulating the sourdough, old electronics. You suffer from a viable, you need to do this sort of thing. If you want that field from a sample, this is how you would do that. Anyone ringing from the decimates us with all the mixed out, starts to get a low quality film. Lastly, the phase of 60 South and facetime. Those are built-in and precomputed effects at how the mixed control act really useful for low firing your sounds off. If you've got a really pure sound that you want to get that sort of finally texture. Combine it with an LFO trick from before. Use some of that bit reduction can absolutely trick your listener into thinking that listening to somebody that has been sampled from vinyl, even though you made it from scratch. So in the next video, let's have a look at the second effects and how those work. 19. DirectWave Mod Matrix: Let's have a look at the model matrix, which is the next section here. As you can see, we've got 1234 across the top that each one has got four different modulation parameters we can set up as we increase or decrease the value. We can change the right. And by engaging this here, we can set to text and text are gonna be relevant to our BPM. And this is how we can create a pitch World War or vinyl wobble on kind of sounds. That's a bit too extreme, but just a little quiet slag. Give that really old vintage tape wobble. Now let us stop another one at the bottom here. We're going to take zone ever like one. We're gonna assign that to all filter cutoff. It's just going to be filter cutoff one. Now remember our filter cutoff, what is assigned to a low-pass. We're going to get emulate one here, reacting to that, what we're gonna do is get it to dial itself back even against the automation that's already there. Did you hear that I started to open that hose itself back based on the attack from envelope. Using these tools and the MOD matrix, we can really shape our sound needs to make any ridiculous thing that we fail like LFO trick to give the turntable or tape wobble is one that used all the time. It's just not individual samples just to make them move ever so slightly in and out of what they would be, especially public-key recorded Sappho's is a great way to just give an unnatural feel to them without destroying the sound. 20. DirectWave Saving: Okay, So let's imagine we've cut our sample up and we've built something here. I've just bought some jobs in real quick just to make a really quick example for you. So we've just got we can trip us up and we can make our own patches and instruments if we want to recall those are used in other projects. We need to be able to save them once we've made it and all I settings as we liked, we want to keep it the way that we go about saving it. Hit that little folder icon, just stop here. And we're going to do Save As. Then need to choose the location. We're gonna save it in. I organize everything else. I've got a sample archive or a software library. What I could do is make a new folder in the sample libraries. Cool it direct wave. We'll just call this kit name just based on the first sample. And now if we were to open a brand new direct wave, you can see over here on the right-hand side where we've set up to look at that folder. We've got direct wave and it'll have our kit in there. If we double-click on it, it loads. I kicked back up for us. Once you've made these kits and sample chops, you can use them in any other projects. Now if edits to this and changed it at all, we would typically do Save As variation. It would save the same patch, but with any changes, you've got two versions of it. And if you're using FL Studio mobile, you can save it in FL Studio mobile and transfer it over to there as well. That's as simple as that. Once you've made your patch in direct wave and we've got the sounds you like when you use it in other projects, or perhaps build a library up that you regularly use. Like if you found some great piano samples and you're going to use that piano a lot. Save it up indirect wave and then you can use it in other projects, send it to other people, help even potentially sell it if you've made all the samples yourself. 21. FPC Overview: In this section, we're going to look at the fpc, which is the fruity pad controller, has changed a lot over time. If you're still using FL T12, it will be like grayish gold kind of thing if you move them to 20 hits as vector-based system and it's much nicer recommend updating if you can. Fbc is really designed for is assault blur, but for drums and percussion. And it's got a lot of the features we've already looked over the filters and ADSR this later on this 16 grid, given this 16 different samples, which is really aimed towards like the MPC system and the gangrene. You will see that some keyboards have a layer of pads on them. It's designed that you can assign this to those paths, but you can just link it to a keyboard in general, there's a bunch of kits that also come with this and it's well worth looking at them on the left-hand side, these are all our different samples. They change via color and name of what is in there. You can assign these yourselves as well if you like. There'll be assigned to the keyboard. If we press on any one of the squares, it gives us the assigned details that are going on in the right-hand side and beautiful thing in F20 can resize this. We're gonna make it a little bit bigger. Now we've put these three things going on over in the right-hand side here. Let me just explain what they are. Remember in direct wave, we can put two things above each other and then the velocity would trigger a different sample. This is the same principle, but we've got three of the same sound but recorded at different levels. So we're going to have a quiet crash. Slightly loud crash, really loud crash. Depending on how hard we play, it will trigger different areas that sample. Let us have a different feeling as well. So if you are, say, sampling some drums from a drum brake, you could take all of the different hits, workout which ones you wanted to be the loudest and assign them to something like this. And we could be able to play it quite naturally with them and get a really cool groove. Just allows more flexibility to bring extra samples into here. We can literally just drag and drop them. If I just take something out of this free kit, here's what we got. What we'll do because we're crazy. We will layer a clap up with it. You can just drag it in there. Look, now you see we've got this orange bar. This means it's always going to trigger. What we could do is set the club only triggers with the loud crash. To adjust these, we need to make sure the icon just here is disabled. If it's set like this, we won't be able to necessarily have things layered, will always cancel out another sound. Look, if we use spread, even it was spread them across for us. Really good if you've got lots of different sounds all in at once. But we can also set it so that they can be overlaid each other as well in certain areas will then trigger both samples. Here we can now have the loud crash and the clot play together. We have bank a and bank B as well, meaning we can switch this over. We have a second bank loaded up. Bank B is always gonna be blank. We can just set up our own sounds in here. If we'd like to load some of the other presets, lose some of the other presets. We can go in here and we've got presets and some extra junk kits and things in here as well. Very levels of detail. It's a really nice snare hit and it just here where it says pads, we've got this little down arrow. If we click here and go to online content, takes us over to the image Line website. And there were some more free kits that you can download that for the SPC as well. That's a quick overview. In the next video, we're going to have a look at using the ADSR. And we'll also look at being able to pitch and retune some of the samples and kits, as well as importing direct wave. 22. FPC ADSR: So fpc also has the ADSR system that we've looked at. Some of the other soundless is set out ever so slightly differently to what you use to select your pad. The ADSR is at the bottom here and it's displayed via this little grid here. We've got the top control that doesn't seem to show up with doing anything. The controls at the bottom correspond with the point on. We only have two points. What we need to do is right-click. That will now give us an attack. However, it still doesn't move. I'm gonna recommend doing is actually just adjusting it in hit, getting the kind of shape you weren't. We could do this for example. We've got almost an instant cutaway. We can give it quite slow buildup. If we bring the release write down, cuts away really quickly as well. Really good for making the quick open and shut hi-hat. We can make it a lot more drastic than that. That's really as simple as it is. We can click and adding points and create pretty much anything we liked, which is quite nice. It can be really creative with the ADSR inside the EPC. Next thing I wanted to look at is the fact that we can pitch and adjust our samples. So at the moment, triggering the self will just, what we're gonna do here is just make it so that this sample always triggers. Just looking at sample one. Now, we've got these controls here next to it. Fast, we've got layers volume. This allows us to easily pilot the layers. As something triggers with a high velocity, it tends to play louder. It's a balance. Some of these out as we go. Secondly, we've got pad. This can be cool for making cool panning effects at different hit on the drum sound or percussion sound can move it from left to right. We've also got pitch, meaning we can pitch and retune the sounds. This can be especially useful our kick drum. So if we move over to her in bank B here, we grab this super low rumbling right here, right? That's enable our ADSR. Making it says a bit shorter. We can pitch it. Make it a lot lower or crazy high pitch. This is super useful for creating things like rises very quickly, make a quick run here. The same head. Week usually be a bit longer than this, but this will give you the idea of what you can do in your trucks with it. Right now it's just this. We can do is we can move that tuning control ever so slightly. I'm going to go into last tweaked create automation clip. Now we've got control over that pitch. We can do this. Haven't raise up over time. You can hear it changing for whatever reason. Fl Studio, it doesn't animate that not as it gets moved, but you can actually hear it change. Last thing to look at that we can import things we made in direct wave or direct wave patches in here which can be useful. Import direct wave program is available to us in here. If we choose that, it will give us a folder options. Remember before we saved that direct wave patch on the direct wave here, it was this, well, we can just open that up. It hasn't named anything correctly for us, but it has opened up our samples. The next video we'll run down to the very last thing in SPC, which is the ability to use middy loops to control it. 23. FPC Midi Loops: Okay, one of the coolest features about the EPC is the fact that it's got these midi loop pre-built into it so we can really quickly get a feel of drugs, especially if we set out our own drum kit for the same patterns available here. So let's load up a drunk it real quickly. Up here in the top right-hand corner. We've worked currently says FBC poker ten, whatever pattern we've got a quit or set, it can drop in, middle, live into there. So if I just select the next one, we'll see pattern for here now has immediately from there. We can just keep flipping through those. What's cool here once we found a group that we like, but we maybe don't like the kit. We can just simply switch the whole cutout that will carry on forests. From there we can go and tweak everything as we like. Guys, that's an overview of the FAP. 24. Fruity Slicer: All, let's look at the fruity slicer. This is one of the oldest plugins inside the first few days. It's not resizable, it's very small. Generally slice x is better, but fruity slicer gets the job done really, really quickly. I'm just going to use this lost music. One, hope we can track sounds into it. What's the sound has been dragged into fruity slicer. There's a few things we can do with it. From here, we can now choose our slicing options. We could slice it manually or slice it to the beat. I'm gonna do DDL auto slicing. Let's just cut it into two slices. There'll be enough for what we need to state medium water sloshing, we can see that there's a lot more markers. What we can do then is Dr. PR, they wrote a couple of ways, but we'll just do normal for them. You can see what this has done is it's given us lots of different cuts of the sample. Or a play ahead. Chase and speed, pops and clicks that have free slicer. We need to really adjust each one as we go through. Give it an attack into k. It doesn't pop up, click quite so much. But that is essentially what we can do with fruit slicer. Just quickly cut sounds up. I would recommend using a slice x and we've got to look at that next. 25. Slice X Overview: Alright, so as you can see, slice x, there's a lot more features going on with this. Some of this should look familiar by now that, that bottom section there. Absolutely. It looks like Edison. It works a lot like it as well. The top we've got our ADSR envelope, so we've got things like a cup, which has got to be a filter, lots of different things we can do. So let me just go over this license system and how it really works. Firstly, we need something to go in it. We'll just take this road sample right up the top. We've got the slice x. If they said actually it's main controls, also some of its modulation. So the first three sliders here is gonna be our master volume. And we've got a master volume or randomizer, which is kind of useful. And then we've got the LFO AML, as well as the master pitch. Think that an XY modulation control, which we can link to other parameters and we can modulate that so it can manipulate multiple things at once. That we have a smooth setting for that. Because if we do something really quickly, it just basically stops any quick actions happening that might cause an issue that just smooths out that automation. We've then got this layering here. So we can have two decks and slice x. We got two parts that we can slice together in different ways or have different effects going on. And we have something called same deck crossfade for the layering or In Conversation velocity maps or x, y max. So we can switch, switch between the left, the AutoDock been switched off means anytime we do some editing is automatically going to land of the Piano Roll. Remember the slice that we had to tell it to do it? Does that automatically for we can disable it if we don't want that to happen, we want to build up our own pattern. Kv input means we can use a keyboard. Typing shortcuts depends on whether or not you want this on or off. The thallus side of this is it means if you have this selected, certain functions will affect slice x naught, I felt Juliet. Lastly, just under slice x, we've got some different views. We can really narrow it down to what we're gonna see. It's literally just a step sequencer. We can have it so we can see everything. The next area we've got the Region settings. Remember is the sampler right at the start, we've got this cut. So we will cut the same sample or we can let others play, or one sample can cut away another. We've got amplitude filter speed, and we've got articulations for all of these. And then we've got the articulated at next to it, which we can set certain parameters for. Lick them to things like the filter and different articulations. We've then got this area here which is ADSR and the ADSL, it works a lot like the fpc one here. You can see it's automatically linked to a whole bunch of things. We've got an ADSR for Pan LFO volume. We can just select which ones we want to operate on, how they're going to work. So if we choose pan, we can have it in a village or an LFO or velocity trigger which use volume. We can do the same. We choose the resonance, we can again do the savings shoes, how that's gonna perform below here. This is pretty much Edison built into slice x. And lastly, we've got a step sequencer keyboard system going off. Hit. Next video. We're going to load some sample was cut them up assignment, and we'll have a look at some of the features inside the slice x. 26. Slice X Articulators and Filters: So for editing, slicing, we can pretty much go back to the Edison videos. So we can click and drag and we've got the same Zoom functionality as well. We can zoom in with this crossing points. We can add extra points in as well. We really need, and here's like this marker option here we can add a marker, will just name this one too, as you can see this now as a marker and a slice marker. And each time we do that, there is here at the bottom. We've now got two slices. Because we can zoom in and be super precise as well. We can go right in and find the 0 crossing or as close as where it's not going to damaging to having that sample cut that we just choose wherever we want to be with DoubleClick, just gonna get us right on that point. We can just add another marker is called a three. Now you see we've got three slices. We can take this right from the start. We can make use of the fade-in and the click if you liked, it's gonna be a bit extreme in this case, but this is a really, really different fields that were just command Z to undo it straightaway because we've got that keyboard input set up there as well. This one they'll trigger as notes. The keyboard grabbing the pattern. Is that named with the boot given in there. So if it was kick snare, hi-hat, you could name them accordingly as well. Let's now have a look at the articulation and the fact that each individual slices sample here can have its own ADSR setting, which is really, really powerful for looking up at the gray section here, you see where it says region and sayings we've got the names that we were given. These owes to take number three here, which is actually triggering the first set. Now, this can have it own ADSR. So if I was to choose a volume here currently set to envelope, I remember like the other ones we can right-click and add new points in that we can give it its own distinct emulate. Make sure it's activated. Now that would be called articulated one look so before region three here, because it's the one we chose. Region three here is down here, It's tucked. It articulated one. We've got a volume envelope set. That's how that's before we for us. We could also go pan, choose LFO, switch the LFO on. The LFO is going to pan left and right for us based on, based on the speed. Now, side-to-side, it's really up that speed. That like roads wobbles, site-to-site feel really cool right now. Right now that's going to affect all of the other samples. If we go here and choose the but-for sit with the articular is here is still set to one. Set them all to two, which is still blank. And now the first one will trigger with that stereo panning and evaulate effect. But the second one, just play out, right? We can use those articulators and where it's going to affect every single individual thing. Because we've got four, because we've got four different areas that we can set. We can set different articulators. So this goes to articulate a three. Now, we're going to set the cutoff to violate. This is gonna be the filter cutoff here. What we're gonna do, we're gonna go filter here on region for, was that to us circulator three. And now that will experience a cut-off. Now we need to have the filter engaged in a moment. It says off, would you say to one here and there where we trigger it filters that sound, but it doesn't filter first one because it's not set to the articulator. We can vary this up if we now look at the one that was just labeled as tempo, the original sample, this head. That's all articulated one, but we can now have it go to articulate a three and get filtered and have the panning effects as well. We can really set this up as much as we want a mix them up per sample. Really, really powerful using this articulators in the filters. 27. Slice X Layers: Now let's have a look at somebody we can do with the layers and the decks. So I'm just gonna make this reset will bring in the same sample to both decks. Changed debt overhang, the Edison style, as I said, we can switch the deck B. We see it switches the moment. We've now got the same sample on both sides. What we're going to do is rename the region here on deck B, and we're gonna call it B just so we know what we're looking at. Obviously, you can name it anything you like in a region settings. Now, we've got decade, decade Bay, and I've got the two regions in there so I can choose what they're going to deck B, I am going to choose cutoff envelope, so it always has a filter cutoff working on deck be much darker version, the brain both. So they start right at the start of the sample deck set for the, for the articulators too. So it's not being affected by that cutoff. At the moment. What we do, both sounds trigger. That's because of the layering up here. It says layering all. It's always gonna layer the two sounds together. We can do gain compensated, blend them a little bit better depending on what we're looking for, what we can do for velocity mass meeting one velocity will trigger one deck and a higher velocity will trigger the other four we're gonna make yourself is the modulation. Modulation map is linked to x. What we can do is each time it triggers, it's going to play from a different layer. 28. Random And Cycle Layers: So here's an example of something we can do with a drum brake and making use of the layering. Firstly, we just got to cut the end off of this drum brakes or highlight the whole thing. Cut it away. We just need a really a small sections below this. We're just going to cut this down even further. We've just got a few hits it. When they use the auto slice, we just immediate volts, so slice it, we've got the same hips. Now. What we need to do is assign all of these the same note. Just going to highlight all of them here. If we go into the region, the selector here, we're going to assign all to C5, C5, and they'll triggers all of these individual heads in here. We're just going to put all of these on C5. We've just got the same hit happening over and over again here. Now if we set our layering to random and we make sure the crossfade set to none and the same deck is active. We can get this effect. It's useful for creating really randomly chops and jumps out. But we can also make use of something like this cycle. We make these two notes a little bit longer. We can play any pattern that we like, quantize wise. And it will always trigger the next note in the sequence. Most of the other one allowed us to be quite random. We can make really quick random mix up two using the layering. Got lots of percussion sounds, or you've saved maybe got four or five different little percussion hits. We could use this to make that occur. So we've got these two in here. I believe that's cut away everything else and just have it randomly go between those two sounds. Just cut this away. We'll cut these away. Cut away at the end. So now we very simply creating that mixed up rhythm. We can just cycle. Sometimes sink. Really useful for that sort of thing. And that's just one of the ways you can make use of layering. But now you've got an idea of how it works. Be creative, and create your own crazy things with it.