Transcripts
1. [INTRO] - Sound Design Basics 101: He was said, I'm gratuitous and welcome to my newest course called Sound Design Basics, one-to-one. In this course, I'm going to be teaching you the three basic fundamentals that you have to know to do sound design on any of these types of since k, That's oscillators, envelopes and filters. And inside this course, I'm gonna be using silence one. We're gonna be using serum, and we're gonna be using pigments now you don't need those since I just use them because it makes it really easy to learn. So we kind of bounce in between each of them because sometimes it's easier to learn off of one synth than the other. But then go and show you inside of each synth that you know how it kinda works. So, you know, by the end of this course, you're going to be able to use pretty much any synth. Okay? Now before we actually cover a little bit more inside of this course, I first want to talk about how I learned sound design. So I have actually found sound designed to be so hard and actually forced myself to learn sound design. And I did that by releasing a bunch of free banks on YouTube for Serum sounds x1 and stuff like that. And over the years they've gotten such positive feedback. And so because of that, I was like, I'm going to create a course to share with you how I do the sound design. Because again, I found it very, very hard now producing a beat. It's totally different from sound design. In my opinion, I've always kinda found sound designed to be hard and kinda boring. I, honestly, I get really tired with sound design. I might be able to sound design four or five sounds and it's just kinda like OK, I need a break. But whereas producing a beat, I can produce it to be for like, for hours, like I love producing, right? But sound design, again, I've always kind of found it boring. So in this course I'm going to keep it super simple but fun. Okay, we're gonna be learning about the three basic principles of oscillators, envelopes and filters. And as you can see, oscillator envelope and these are like your filters and stuff down here. Okay, heard occures at your filter in the case of sands, one, in the case of like Serum, again, oscillators. You have your envelopes and you have your filters. And as you can see, it's like that is in every single sinth. So after I teach you about the basic fundamentals of sound design, these three basic principles, oscillators, envelopes and filters, we actually built a little beat together. We actually do some sound design over top of that drum loop. And I'll share with you how it actually do sound design for a beat, okay, so we actually do the theory and then we kinda get into it the hands-on. So if that sounds interesting to you, and if you guys want to learn sound design and you know, if you're looking online, Nick, you just can't find your answers. If you do research on like what is synthesis and you learn about subtractive synthesis than additive synthesis, wave table synthesis. There's so much information. And again, sound design is a totally different industry from like making a b, even though it's still tied n. So again, if you want to learn sound design and the three basic principles more in depth so that you guys can start creating your own sounds. You guys can enroll and I'll talk to you more inside the course.
2. 1 - Mindset Before Sound Design: Okay, in this video, I want to cover with you your mindset behind sound design. Ok, now you may think, oh, whatever, and you're going to skip to the next video. But the reason why I want to talk to you about this is because this is something that I didn't really realize. Intel was kinda tired and burned out. Okay, so what I mean by that is sound design is a totally different industry from anything else within music. Okay, so when you go to make a bee, when you first start, typically you go buy a sound kit. Let's say your drums are claps, You're snares like you know, these are already premade sounds which you've purchased and how you're going to use, okay? The same thing with like the since, you know, if you load up a VST, you're just trying to make music. And really at that time in your production career, you're really just trying to learn the basics. Like you're trying to learn how the software works, how you can make a beat, really right? You're not really so much interested in how you can create a sound. Because really when you look at these VST is like they're very, very intimidating. And just because you learn one VST doesn't mean that you can just go to the next VST and you instantly know it. Because especially nowadays with coding, right, the sky's the limit in what they can do back in the day when you had like hardware and stuff, you know, maybe they're a little bit, you know, maybe they were a little bit handcuffed and a sense of like, you know, how much money it would take. And, you know, but nowadays with like coding, it's just, you know, it's just if you can think about it, you can pretty much do it. But what I'm trying to say is sound design is a totally different industry, okay? And I just want to write this, the different things, the different stages of production, right? So really we have like beat making and this is like where you're actually making the B. And again, this is a totally different job within the industry. You know, there's Beat Making. These are producers. These are like your favorite producers who produce four different wrappers or different singers just along the way, like they're the people who actually know how to play the keys and make that beat, make that composition right? And this is also another career within the industry, is an arranger, right? So someone who actually goes and arranges delicious put arrangement, okay? So, you know, this is someone who specializes in getting the most out of your song. Because when you've got, when you actually go to make a song, you know, you might have a catchy loop. You might have, your song might have so much potential, but if your arrangement isn't done well, it really hinders the potential of it, okay? Because really a good arrangement really helps enhance that song. Ok. Now, after an arranger, there's like mixing. Ok. So there's like a mixing engineers. But I'll just put mixing k. So this is a totally different industry. And if you have discovered so far, you know, like if you're, if you're right here, that's totally cool. But eventually you're going to have to learn this and you're also going to have to learn this if you want to do it yourself. Otherwise, you're going to start hiring out these skills and these people are not cheap. They are, they are expensive because they're good at what they do, right? In addition, there's also the mastering K. So mastering, if you do not know, it is the last stage of the production process. And what you're doing is you're just really getting your track. A, a polished commercial level in a sense of loudness, just frequency, balance, and you know your fate in your Phaedo, as well as adding in any special meta data into that file so that, you know, if someone sends it to the radio like they have all the information within the file, it's been like tagged and you can get your royalties properly, okay? And you know, a mastering engineer, like it requires a lot of knowledge and a lot of kind of nerdiness. Really. It's a really, really cool industry, but I'm just kinda preparing you as you go along. Okay? Now let's change the color here. And we're going to talk about sound design, okay? Now sound design is like I'm saying, it's a very, very tiring industry in my experience because again, I've personally really don't enjoy sound design. I really don't. And the reason why I've learned to is because, you know, I've been doing this for awhile. And I stated my reasons like no silence one, on the version three, I ended up opening up their pre-made presets and it was just kinda like mass. Some of these sounds are AUTO-TUNE and some of them just like just didn't suit my workflow and it was just kind of like yeah, but making beats for awhile, you know, I want to take that next step in this music industry and, you know, I want to be a very versatile producer, okay, so if you're kinda like that, then this is, this is exactly the same path that you're walking down too. And so the main reason why I want to make this video is just so that you're aware that sound design is in its own section of the music industry. Ok, so if you are wanting to make it a beat, Well, there's tons of pre-made sounds. And if you use pre-made sounds, it doesn't mean that you're about producer K. You know, you're just using pre-made sounds to make your own baby. You can always mix it yourself. You know, use EQ and compression to kind of mold the sound in your own way. But someone who is a sound designer, you know. And I just want to talk just a little bit more into sound design. So for example, like there's like your one-shot samples. These are designers that make drum loops or drum samples. So for example, this would be like your drums are claps, various percussion elements, and they actually would actually record real sounds with microphones, right? And many times people really like, like when they use high-end gear, high-end preamps, hand microphone's right, just to get that really high-quality sound and it just helps it sell better. But recording one-shot samples is one thing. So you actually go and record the sound. And then what they do is they, they're gonna layer different sounds. So for example, if they have a drum, they might have, you know, other sounds such as like a clap or something and they might EQ it and it'll affect it in such a way so that it's a layer on top of it. And again, that's a huge industry all in its own, in itself. And it's very, very time consuming. And again, you know, I've tried this, I've done it lots. And for me it's just very, very tiring. But it is something that, you know, it's something, it is something to try and just kind of see how it goes k. The next one is BSTs k. Now these are like your instruments and This is what this course is focused on, is you know, your synthesis k. So for example, these are things like Serum Psalms, one. Inside of FL Studio you guys have like Citrus hammer, there's like toxic biohazard, sicker, I think is what it's called. Right? There's all these different synths. And again, some of the most common ones is sonnets one and serum. And I also picked up a recent obvious T is called pigments by arteriole, okay? And this is actually a super, super cool one, so its pigments to k. They recently updated it. Very, very cool. Now you do not need to go and buy the old tons and tons of different VST is k. These are honesty like my main ones. These three right here, you know, sure. It might cost maybe like 200 bucks, 200 bucks. I think this one was around two hundred, three hundred kinda too. But it's like I don't need to go and buy tons and tons and tons and also look for deals like sometimes, you know, older VST, sometimes they go on sale. You can pick them up for like $14. Sometimes there was one I think it was called expand. I think you spell it like this. Expand and it was like by air. Okay. I think I picked it up for a dollar. It was on sale and I was like, super good deal. Okay, so again, I just want to get this mindset across to you that you see I made this line. And each of these have their own category within the industry. And, you know, being a producer, K, So again, there's a person who makes up there a beat maker. They make the B, they're going to pass it on to all these other people. A producer is someone who really has an ear for what makes a track sound good. And if you want to be a good producer, K, someone who has the ear, you know, it is important that you at least have a general sense of how these different industries work. And then again, the sound design, right? For example, if you want to do sound design with these, since you know how do you create like a bell sound or how do you create like a violin sound? And also a cool fun fact. I don't believe that technology at the moment that you're allowed to, or that you were able to create a piano sound with one of these digital sinc k. In the next video, we're gonna be talking about the different types of synthesis. And if you want like that piano sound, what they actually have to do is just take like a pretend this is, let me just change color here. Let's just go for like a blue k. So imagine we had just like a little microphone here, okay? And this is a car. Our piano can do something like this. K. So this is our mike And it is recording the different sounds of the piano. A type of synthesis is like sample-based recording. And what they would do is they would literally, literally record each note individually, and then they let you have that. And then now you have a high-quality piano. But what they really did was they just recorded each note individually. Okay. But for a piano, I don't believe it's possible yet. For a synth, you know, such as like seventh one or serum to create like that real piano kind of sound. So that's kind of a cool, fun fact for you guys. But yeah, as you guys will start to progress, you know, you guys will learn to how to create a bell sound or how to create these different sounds. Because, you know, it's just like any skill within any industry, you just kinda have to learn the general concept. Okay? What I'm going to get across to you guys in this course is again, I'm going to stress this over and over and over again k. So what's your oscillators, your envelopes and your filters, your oscillators, your envelopes and your filters, that's it. The three basic things that you have to learn it, because those are the tools that you use to shape different, various sounds. Okay, so again, just this is important. I wish I knew this when I first started up because I got burnt out like I was trying to I was working a full time job. I used to be an electrician and I was like, I want to get into sound design. So I had this little recorder was a manual like portable record that you can bring it around. And I went and recorded all these different sounds like a recorded like I had like a fence out. Here's like a record like the fence that record like my dog barking eric, record all these different sounds. And I was like, well, I want do sound design, but just the process of sound design, like it takes a lot of time. So when you're learning this is actually pulling you away from all this stuff ok? And again, it's just important to know that because if you're getting into it, just be prepared that now you're jumping into a different industry which you may not even need to learn. Because, you know, if you want to sell your beets, Well, that's cool, man. Like you guys can just go and buy sounds in a sense of like different presets and stuff to compose your melodies and stuff, you don't have to learn sound design. But this course, why it will benefit us, because I'm going to teach you right from the producer's standpoint. So let's say you went out and bought some high-quality sounds. You can use these sound design techniques to further shape those sounds, OK. And really that's what it's all about being a producer. It's okay you hear something, you want to tweak it a little bit. Well, how do you do that and what tools do you have to do that? Okay, and that's what we're going to break down once we kinda get into more like the hands-on. Okay, our next video, we're gonna talk about the different types of synthesis. So it's going to be me talking again and just listing, listing out the different types of synthesis and just a quick talk on them. By no means am I like a super professional with sound design, but I do have enough knowledge to get you guys up and running and to tell you guys what you need to learn and what you what you guys can kind of brief over a little faster.
3. 2-1 - Basic Waveforms: Okay, in this video we are going to be discussing the basic wave forms. It's really important that you see them. I'm also going to share with you how they sound. And then I'm also going to reveal to you what's called the fundamental and harmonics. So I'm just gonna write waveforms here. Okay? So these are the basic wave forms. Now before we get into these waveforms, I just want to reveal the three basic principles of sound design, okay? And again, these are your oscillators. So this is what is generating these waveforms. Okay, so what happens is we have this waveform and the oscillator literally just keeps repeating this waveform. So for example, if we just had like a sine wave and it just looks like that k, this oscillator is constantly looping this waveform over and over k. Basic principle number one, basic principle number two is an envelope k. And we'll get into this a little bit later. But it's very, very important that you understand that these are the three principles which we are covering in this course. And this is a filter, okay? So oscillator envelope filter, very, very important to understand. Ok? So we are pretty much right here at the moment, and we're learning about waveforms and the basic shapes K. So the oscillator loops over these waveforms, so we need to create some type of sound source, okay? And this sound source is the base foundation of our sound, which we will then further process with something like an envelope. Or we can even process it with a filter, or we can do with both and you create really cool sounds k. So let's talk about the sinewave. Okay, let's actually get a different color and we're going to, you know, give us, give us some color. Okay, so I'm just drawing a line across here. And this is a basic sine wave, k. And here is the positive and here is the negative. Ok? Just, that's something for you to be aware of as we continue drawing these wave forms. A cool fun fact is, I believe positive pushes like your speaker cone out in the negative, i believe pulls it back. So this is a sine wave, and I want to spend a little bit more time on this sine wave than on the three other waveforms. Katie's like your basic, basic wave forms, but it is a sine wave, a triangle wave, saw wave, and a square wave. Periods like your basic wave forms. Ok? And what's really, really cool about a sine wave is that it's actually a single frequency. I'm actually going to write that. So single frequency k. And when we hop into FL Studio, I'm going to show with you the fundamental and the harmonics, okay? The fundamental is the actual base pitch of that sound. And it's really important that you're not affecting the fundamental too much. Because if you do, it's not going to be in pitch with your other instruments. So it's really important that this fundamental, that you don't really touch care. You can mess around with it a little bit. And then what's called harmonics. Okay, these are the extra frequencies on top of the fundamental. So when you play a sine wave, you're actually just playing the fundamental. Ok, imagine years playing a single sine wave. And let's just say it was like 72 hertz K. So what's happening is this oscillator, is this looping over this sine wave over and over and over, okay? At 72 hertz. And it's going to be that fundamental. Ok, I'm just going to quickly draw the other three waveforms and then we will hop and FL Studio for you to actually hear them. Okay? So this is a square wave of k. So that's just the line again. And we're gonna go positive, would come back to negative, and that's square. Just like that. Okay? We're gonna go to a triangle. So same thing, and it's just kinda like this k and these are symmetrical. Ok, so imagine this is the exact same as down here. But again, this is the triangle. And if we go like this, so this one here is a saw wave, so a saw tooth waveform. Okay. And it just kinda goes up and it cuts right down, then it goes over again and it would just kinda continue like that k. And also just put like a picture on the screen here. And this is what the actual waveforms look like, k, you know, so that you guys will have to look in my drawing. But yes, this one is a saw wave form. Okay. And before we hadn't F0 studio, I just want to share that your square wave and your saw wave. These ones are going to give you like the most harmonic sick, the most aggressiveness. Ok, so again, the sinewave, your basic fundamental. Then you start adding on these harmonics. Once you start adding in a triangle wave or square wave or saw wave. Okay, so here we are in FL Studio. I'm just gonna play a single note for you. And as you can see right now, I'm on a sinewave K, So I'm actually using this synth serum K. And if you don't have it, it's okay. You guys could be just learning off of it. Ok. You guys do not need these since I'm just, you know, they're really good to learn off of the really visual, but you can apply this knowledge to any synth, okay, so serum is a wave table synthesizer. And so what that means is if I click here, we can actually see the different waveforms. So when I use this knob right here and go through the actual waveforms, and if I click again, we can actually see that's how I'm switching them. Okay, L, so click the peer went to analog and I went to basic shapes. So let's first talk about the sine wave. Because a sine wave is actually a very, very special wave form because it's, it's only a single frequency. So over here we have the analyzer, okay, so this is 20 hertz to 20 thousand hertz. Supposedly, humans can only hear from 20 hertz to 20 thousand hertz. And as you start to get older, your high-end starts to diminish a little bit. So maybe you can only hear like 16 thousand hertz or something like that. Okay? So when I play this sine wave, you're gonna see the fundamental. Okay? So if I just hold out there, you can see that this right here is a single frequency. This is the fundamental of the sound that is the actual pitch that this, this sine wave is n. Now what I'm gonna do is I'm going to hold down that note. And I'm gonna change the waveform. And you're going to see that we still hover fundamental, but we're adding on these harmonics, which is adding brightness into the sound, okay? Because, you know it's higher frequencies. So here is the fundamental. And his hold on the note that's a sinewave. Let's go to the next waveform. This is a saw wave. It uses, you can see all the frequencies that added on, but we still have a fundamental right here. This is the fundamental, okay? We go to the next one. This is a triangle wave. So as you can see, it's not as aggressive, but we still have our fundamental. We go to the next one. This is a square wave. This is the fundamental. So you'll at about 259 hertz. And then all the other frequencies are the harmonics on top of that fundamental. And one other thing I wanted to talk to you about, and this is important because we're talking about the waveforms is inside of pigments. If I click just engine to, so inside of pigments, you have these different engine types. So there's wave table synthesis, sample-based. Ok, we'll cover that in the next video. The different types of synthesis, but for now, analog, so analogue, if I select it, you can see that we have our different wave forms. Ok? And this is the reason why I said, it's really important that you learn these basic wave forms because they're in every single synth. Okay? And another thing you're going to see is an oscillator. And the oscillator, all it's doing is it's just looping over this waveform a want to reveal to you this width novel k. Now this is what's called pulse width modulation. You could actually only use it, I believe with certain wave forms of well within pigments anyways. But as you can see, I can't use it to width knob on a sinewave. But again, the basic wave forms we have sinewave, triangle wave, saw wave. Now we go to the state, to the square root of K. So where this width knob comes in, and I'll play this for you, is it's called pulse width modulation. So you can actually take this square wave and you can adjust the width of it and it gives you a different sound. Delicious. Listen to that. Okay, now again, if we are going to be doing sound design, you know, maybe I'm going to adjust it there, an alloy like it there. Okay, now you can actually add on another oscillator and then you start increasing the volume. And the really powerful thing about this, you can just kind of layer them gently, okay? You don't need to have everything loud. You can kind of pull it back a little bit and we'll cover that stuff more later on. But again, the basic wave forms was the sinewave triangle wave, saw wave, and then the square wave.
4. 2-2 - Different Types of Synthesis: Okay, so welcome back to the drawing board. In the last video, we talked about the basic wave forms, right? Sinewaves, square waves, sound waves, triangle waves, right? And it's really important that you understand those basics because with sound design, everything compounds. Ok, now, I want to talk to you in this video about different forms of synthesis. And these are the ones that are most common To me. There's tons of different types of synthesis out there. But I want to tell you this first before we get into this video. If you're like me, when I was first starting up, I tried to research all these different types of synthesis. You know, I would, I would, I literally went into Google and I typed like different forms of synthesis. And then you click on the first page and you're going to see a title about subtractive synthesis. And it's gonna give you a paragraph after I was done reading that paragraph. Like I really did not know the difference between any of these. It's taken me years to at least start grasping the concepts of what these different types of synthesis are. Ok. Now the reason why I've listed these ones here is because these are, these are the ones that I commonly use, except for addictive or, sorry, except for additive synthesis. There's a plugin called addictive keys. But yeah, so additive synthesis is a type of synthesis which I have never used, but I added it here because you're going to read about it. And there are also sends out there. And I also read a really cool fun fact about additive synthesis. So let's reference back our three basic principles. Oscillators, envelopes and filters. You have to learn these to learn sound design at a really decent level. So with oscillators, our whole goal here is to generate a sound source. Okay? So when we talk about the different types of synthesis, all of these, like what they're doing is they're just creating a sound. That's all they're doing. K, You don't have to worry about, Oh, I want to create this type of sound or that type of sound. When you're first learning, just think about these. All they're doing is creating a sound for us, a foundation. If you want to add a sine wave, a square wave, okay? And then what happens is the oscillator constantly loops over that wave form, and that's how you get the sound. So the oscillator is your sound. And what we talk about these more in depth in this video, you're going to see that all that we're doing is we're just creating a sound. Now to take it to the next step, then you can start adding on those envelopes, those filters in Really create some really powerful sounds. Okay, so let's first start with additive synthesis. So the cool, fun fact I learned about additive synthesis is that you can in theory, create any sound in the entire world just by sinewaves. Okay? So again, the theory is you can use an unlimited amount of sine waves at different frequencies and at different volumes. So amplitudes, again to theory says that you can create any sound. So obviously I've never tried that. But again, that's the concept behind additive synthesis. So, so when you hear the word additive synthesis out there, it's sinewaves. That's all it is. Ok. Now again. I do not own any since that do additive synthesis, but I do believe Native Instruments has one and it's called razor and it's just spelled like this, I believe k. So if you want to look, if you want to get into additive synthesis or whatever, you guys can check that sent out. Okay, so let's move into subtractive synthesis. Okay, so subtractive synthesis is actually our most common form of synthesis. And what you're doing is you're using a different waveforms like, you know, you're, you're a square waves, your saw waves, k, stuff like that. And what you're doing is you're creating tons and tons of frequencies, okay? And then you use a filter to subtract to remove frequencies. Ok? Again, I'm gonna keep referencing these basic principles as we go. But the thing is with subtractive synthesis, if you just set the filter just manually, whenever you press a no, the filter just stays there. And with sound design. And again, the reason why subtractive synthesis is so powerful is because we use the envelopes k. So for example, the envelope is ADSR, okay? We will cover this shortly. So this is a common shape that you're going to see. You have the attack, how long it takes to get to max volume, you have the decay, how long it takes to get to this sustain. You have the sustain. If you hold down the note, It's going to stay at this sustained forever, and then you have the release which goes down. So the release only happens when you actually let go of the note. More of that when we get into it. Okay? So with subtractive synthesis, we use different waveforms, K, this is a square wave, this is a saw wave, okay? Again, positive and negative, right? Same here, positive, negative. So this would be for this waveform. And whenever we press a note, the envelope can open up. If a filter, it can make it go fast, slow. And this is how we can start designing things like plucks, pads, and stuff like that. A cool fun fact is, I do not believe that we are able to create a real piano sound out of any of these types of synthesis, okay, well, sample-based, which we'll get into because you actually have to record the note. Anything else though for my research and from when I was first starting out like, oh, how do I create a piano sound? I don't believe that a piano is able to be created through synthesis. We're gonna get into wave table synthesis in this video to you literally load in a file into the plugin. And you can actually go through like the wave tables. So it takes a little slices of the sound and you can loop through these different waveforms. Pretty powerful. I'm going to go through this quickly and then we're gonna hop and FL Studio. Okay, so with FM synthesis, how this works is Let's say we had two oscillators, k. I'll put numbers like this. So these here are actually called operators. And so what happens is one is a carrier. I write it like this, and then one is a modulator. Okay? So what happens is you can send the modulator into the carrier and imagine this was a waveform, you know, like a sine wave k. And then this here, it could just be anything, right? But let's just say we'll go for a square wave k. So what's going to happen is we actually send in the sine wave into the square wave and you can create a totally weird kind of sound. You'd just be like. You know, kind of all weird. I'll show you that once we get into serum, okay? But with the modulator, you can send a 125% percent, you know, that kind of thing and you can make it aggressive and not, you guys can read more into FM synthesis is something that you do want to read into because there's something called harmonic and enharmonic. Harmonic. Again, just like we were talking about the fundamental and the harmonics. Okay? In harmonic, I believe is kind of, it doesn't really relate to the sound and it can, it can sound on a pitch. But I believe within sound design, that's how you can create like metallic kind of bell, kinda sounds. But again, I'm going to leave you guys to read more about it. I'll show you what it is though, like once we get into FL Studio, sample-based, What this is is, imagine you had a guitar, you recorded a note to a microphone into your computer. Now you're just going to drag that guitar file into a plugin and you can affect it however you want with this ADSR stuff with envelope will, this is an envelope. Filters reverb plugins all this different types of stuff that's sample-based. So let's say we actually recorded our guitar sound and just looks like this k. So one thing you have to be careful of with sample-based is your sample could be out of pitch. And when I say sample, I mean that it's your guitar note that you record it into a microphone, into your computer. Your guitar is your sample. Okay, so if we have our guitar note here, and now let's say we have another synth that say this is like Serum or just SQL-like asked, okay, this is serum. So let's say we're all are, since all are presets from like serum is 440 hertz K. So in other words, it's going to be in, in pitch with all the other presets that say with solids one or whatever. But let's say our guitar wasn't tuned, right? So like we just played the note on the guitar into the microphone. And let's say it comes out at like 419 Hertz gay. Let's just say that this guitar was AUTO-TUNE unless you have one of those digital guitar tuners. So for example, like I'm just gonna show you right here, you really don't know what pitch it is in. I'm sure you can probably download on your phone to like a a musical tuner or something like that. Okay. But what I'm trying to get at is when you record the sample, it can be oughta pitch, so it may not be in pitch with the sinc k. So this is a problem. What you can do to resolve that is, while on your sampler. So when you drag the file into the actual plugin, you can just correct the pitch. You know, you could raise the pitch to make it 440 hertz K. That's gonna take a little bit of time to kinda get it right. But it's important that you do so that you can use this sample with other sounds. Okay, so for our last one here before we hop into FL Studio is granular. Now in my readings, again, I'm still pretty new to sound design to like I've been doing it for probably five, for five years, so I know what's going on, but sound design has such a huge history that you really have to read into it to know really what's going on. Okay, so again, when I tell you these things, I'm going to tell you that this is like what I read in an article so that you could do more reading on. Okay? But supposedly granular synthesis is like based off of wave table synthesis. But anyways, what it's doing is let's say it takes like that waveform, okay? It slices it into what's called grains. And then with those grains, you can play them in various different ways. Like you can make them go forward, you can make it go backwards. You can pitch them up, pitch them down. Really powerful stuff. Okay? So a lot of talking in our next video, we are going to be getting into what these actually are. Ok, so again, I don't use additive synthesis. Okay, so we're just going to be covering subtractive wave table, FM synthesis, sample-based synthesis, and granular. A quick recap though, additive only sinewaves. Okay, that's the theory behind additive and we can literally create any sound within the world. So they say subtractive, what you're doing is you're using these basic wave forms, okay? Again, these basic wave forms are important because they're going to be in every synth that you're going to be using. Ok, so square wave, saw wave, we are creating these oscillators, is generating our sound inside a subtractive synthesis. And then we use envelopes and filters to remove that richness, removed that high-end K, remove those extra frequencies in a sound wave table. You can just create these different wave tables and you can actually go through the sound K once we get into serum, which you saw in the last video when I showed you the like, the basic stuff K, That's a wave table. And again, you can load in any sound you want. There's tons of tutorials and even how to create your own wave tables if you want to get into that. But again, that is kind of a different path of learning this stuff. If you just want to learn sound design and that's what this course is on wave table. Like. Someone could make a huge course just unlike creating your own wave tables, like it's a totally different industry. So if you're wanting to make, you know, if you're wanting to be like a beat maker, then you know, I would say, what I am going to teach you here is what you need to know and then keep going. But if you wanted to learn this in depth, right, that's the stuff, that's the route you'd wanna go. Fm synthesis. So what it does is there's operators, and in this case, I have two operators. One is a carrier, one is a modulator. We can actually wrote the modulator into the carrier. And it's also important that you can't hear this, OK, so you actually mute it. And then you can still send the signal through. Sample-based is actually recorded samples and it plays through the whole sample, okay? But what happens is now you can affect it with things such as like, you know, your attack. So this again, this is like envelopes, filters, effects, and you can create really cool sounds out of the sample. Granular. What you're doing is you're taking a sample and I believe it, you're just kinda slicing it up into what's called grains. And you can affect those grains in, you know, not even music K, You can affect it to the point where it's like do like that's a weird sound. Kate, let's check it out in FL Studio.
5. 2-3 - Synthesis Types [Listening]: Okay, so in this video we are going to be covering the different types of synthesis and what they sound like. I'm going to cover them briefly. Nothing too intense, but enough information so that when you go out there and you're doing your own research, you've seen them. Okay. So like, you know, what's up. You know, for the most part if I talk about FM synthesis or something like that, you're gonna be like, okay, well I understand. So we're first starting with subtractive synthesis. Okay? The whole goal for my understanding of subtractive synthesis is we're using these oscillators to create. Again, we have to squint you, turn this down, turn this up. So we have our fundamental, OK, go down lower. So this is our fundamental gonna remove oscillator a, enable oscillator b. So this is a saw wave if I play it. So the whole goal behind subtractive synthesis is we create these rich sounds just like this. This is a rich sound, right? We ever fundamental than our harmonics, nice and rich. We can then wrote this stuff to a filter. Okay, so let me enable the filter. Now, when I play a sound, you can see that it's actually cutting off frequencies. Ok? So just quickly, what does a filter? A filter is just an EQ and it's all these different types of bands that you can create. So this is a high cut filter. This is a high cut filter. Okay? I'll cover this more Romans who get to filters though, okay? But in simple terms, a filter is just an EQ and we can start doing creative things. For example, it's going to envelope to, I'm going to lower the sustain, and I'm going to drag this onto the cutoff knob and watch when I play a note, see how it starts opening up, right? Okay, so I'm going to right-click here and I'm going to remove this stuff, but I'm just sharing that with you to show you this. These are oscillators, these are envelopes, These are our filters. Those are the three basic principles. Okay? So filter off. I just kinda thought this analogy, okay? It's kind of like ice cream. So if you know what Neapolitan ice cream is, it comes with vanilla, that comes with chocolate and it comes a strawberry. Ok. So that fundamental is like the ice cream itself, but the frequencies on top of that are kinda like the different flavors. Okay? So you have strawberry chocolate and vanilla. So that's the flavor. But if you were to take a bite into the strawberry one or ten, or take a bite into the vanilla one. It still has like the same texture in your mouth, but the actual flavor is different and that's what we call timbre. Now tamber is again like the actual character of the sound. So when we have our fundamental pitch, this is the fundamental, kay, that's what is actually making this synth in pitch with other sounds. But the frequencies on top or like the flavour. For example, if I hold this down again, we go through some more wave shapes, right? So as you can see, this is just a different flavor, but it still has the, you know, that ice cream right here. This is the fundamental K over here. Like for example, let's say we're on Vanilla right here, okay, we come back. And then let's say this is like strawberry, but we still have. That same fundamental. Okay, now the whole goal behind subtractive synthesis is we are creating these rich wave forms, and then we are using these filters and these envelopes to mold that sound. Okay, now the next one is wave table synthesis. So again, you can just load any sound into something like Serum, because serum is a wave table synthesizer. And if you click, this is the 2D view right here. And if I click again, this is a 3D view, okay? So since this is the basic shapes, it really doesn't give you a great insight to what's going on. So again, I'm just going to share with you another one. So if we go to the 3D view k, So again, this one's a crazy waveform and I'll let you listen to it. Ok, so again, the filters on. But this is the general concept where you load in this wave table and then you can actually go through like the position and super, super powerful stuff. Okay, so that's just wave table synthesis, FM synthesis. I can show you really, really clearly on here. Okay? So I'm gonna go to the basic shapes again, and we're gonna go to the 2D view, and we're gonna go to the sinewave care. So again, I told you in FM synthesis, there are what's called operators. So both of these are an operator. One is the carrier, one is the modulator k. So in this case, this here, I'm going to make the carrier, and this one is going to be the modulator. So I'm actually going to send oscillator a into B k. And then we can actually modulate our wave form. And you're going to see that because it starts adding in high frequencies k. So again, this is a sine wave and I haven't done anything special to it. So if I were to actually play the sound, again, we're going to trump the volume. This one is up an octave. We're going to bring it down. So I'm going to press the NO is going to be the exact same fundamental note. Because again, what's special about a sine wave? It's only one frequency, right? So here we go. So that's going to be loud, but that's because it's double. So I'm going to disable won it a little bit quieter. Actually, so sorry. Let's put those about the same volume. Okay, so again, I play that. So this is the volume. And if I enable this one, So you've got louder k Because that's both oscillators, but you can see is the fundamental. Now what I'm gonna do is inside a serum, I'm going to click right here and you can see fm. So again as FM synthesis, frequency modulation, okay, that's what FM stands for. So what's happening is a, I'm gonna send a into b, so from a, OK. So first of all, I'm actually going to turn this down. Now this has become the modulator. Now, when I enable this, what's happening is this sine wave is being sent and it's going to start modulating it. And in addition, you're gonna see extra frequencies. So again, those are the harmonics. So we have a fundamental right now because this is at 0. Okay, so let's turn off the filter, and now this is FM synthesis. Okay, so I'm gonna play this. Here is the fundamental, okay? Because this is a sine wave, because that's what makes us sinewaves special. That's just the fundamental to single frequency. I'm going to send a into B. And now this is FM synthesis. K. You see that the harmonics are being added on to the fundamental kills turned on the volume a little bit and it'll keep going. Okay, so for example, if I were to play a melody. For example, if we add on effects, just for example, because affects are super powerful, right? So this is a, we haven't done anything. All we've done is this is FM synthesis. I'm sending the same frequency, so the same sine wave into here, we can actually change that in a second. But now I've added some reverb on and if I play, okay, so let's turn off the reverb and then we are going to change the actual shape here. And let's hear how it sounds. Okay, because again, right now we're sending a sine wave into a sine wave. But if we change the wave shape, so okay, so what's happening is we were sending this triangle into the sine wave. Ok. And again, I could do more or less. So right now we have just a sine wave because oscillator aids at 0. So we're only hearing oscillator b, but we're gonna send oscillator a into B because I've clicked here, I have selected frequency modulation, okay, from a. And then we're just going to turn it up a little bit. Okay. So again, that's FM synthesis, okay, now we're gonna move onto sample based synthesis. So what I told you about sample-based synthesis is super powerful. It creates really, really beautiful music, really organic music, because it's like a real sample. And what I mean by sample is again, if I recorded a guitar, loaded that guitar into here, that is your sample that you're working off of. Okay? But what I want you to be careful of with sample-based synthesis is pitch. You can actually tune your actual sound here with fine ok, so you can adjust it until it's in pitch. This is a little bit more aggressive pitch, okay? So that's one thing you can do. Or what you can do is imagine you had this piano, OK. So I would use this piano to create one instrument. I would come here, I would clone it. Okay? And so I'm just going to drag it over so you can see that I have pigments and pigments. So I would send these two different mixer inserts. For example, this could be mixer insert one. This can be mixer insert two. And then I'm going to mix them differently with EQ compression, different effects, and I can create different instruments out of the same sample. So let's continuous sample based. Ok. So inside a pigments you just click up here and we go sample. And you can select tons of different types of samples that they've given. You select There's bells and I'll go through some of them in a second. Okay? But again, so this is a real piano sound. That's just what it sounds like. Ok, but why sample-based synthesis is personally like my favorite type of synthesis. I like to load in my own guitar sound ok? And then I can manipulate it however I want, but it's going to be in pitch with my track. And you can do tons of cool things again, such as like, you know, so if a play like The Sound here, or if we increase the attack K, You can create tons of different sounds out of this piano. So let's go through a couple of different sounds of the sample-based wanted, I wanted to try that bell one. So in bello analytes. So these are pretty cool. I played at these before. Okay, so this is what this sounds like. So this is actually a sound that they recorded that they've given to me. If you purchase it, you'd get it to, you just saw how I went into there. And it sounds beautiful. Rate, super, super powerful right now again, imagine now going and adding on effects and processing. It is totally different. So this is where sample-based synthesis comes in. Again, just make sure that your sample isn't pitch. If you're wanting to use it with things like serum and silence one, it's gonna make your life a lot easier. The final one we're gonna talk about is granular synthesis. Now, I've, have never touched granular synthesis. Intellij got pigments, and I only got pigments recently, and I love it. I love pigments so much. It's, it looks a little complex, but it's a super, super nice sent once you start learning it. Because again, if we look into the menu or I think I have to select it first caveat. So here. So again, we have analog. These are all, all of our basic wave forms, k sine waves, saw waves, right? And we just have to enable it to see it right there. That's just like your basic oscillators if you choose to have that and you can play them both at the same time. K, if I disable it, k. So this is where synthesis, you know, the larynx starts coming in. But in addition, you also have the wave table. So this is just like serum. And then you have sample-based which is super powerful, not many since have this, okay? But let's talk about granular. Ok. So the hole, I guess theory behind granular synthesis is it's going to take this sample and it's gonna put it into what's called grains case. So right now this is what it sounds like. Sorry, let's disable engine to go back to engine one to this sound. Beautiful sound. And we're just gonna enable granular synthesis right now it sounds like this. Enable it. So how it works is again, it puts it into what's called grain. So it slices it up into grains. And I can put way more grains. So let's pull it back maybe a bit. So without it, but with it. Okay, so that's granular synthesis. Again. That's just kinda how it works. It takes this sample, slices it into grains, and then you can have more greens, Les Green's put them forward, putting back, pitch them up. Again. It might just be this synth, how they've approached it. But that is a general idea of how granular synthesis works. Okay, so those are all the types of synthesis I use. Subtractive wave table, FM synthesis, sample-based, and granular.
6. 2-4 - Envelopes Explained [Drawing Board]: So I think envelopes are probably the trickiest thing to learn as you're actually learning sound design. Okay, now you're gonna see this common shape when we talk about envelopes k, no matter where it is, a k, tutorials, whatever. Okay. It kinda looks like this and then we drop it down. Okay? So how it works is the attack, which is a, is how long it takes to get to the maximum volume. So this could be fast or long, and that's all it is. How long it takes to get to maximum volume, okay? The decay is how long it takes to get to the sustain, OK. And so the sustain is you actually have to hold down the note on your keyboard. Okay? And once you let go of that note, then the release kicks in. Okay? And so the release can have a tail to that sound. Let me cover this over and over until it gets ingrained in you. The attack is how long it takes to get to max volume, okay, it can be fast or it could be slow. The decay is how long it takes to get to the sustain. Okay, the reason why you would want a decay within your envelopes is because it makes us sound more natural, okay, when we hear sounds in the real world, you know, many times they're not just immediately on in there at full volume forever. Okay. You know, usually if they go loud and then they kind of decay in volume in that they hold for a little bit. And then the release is, once you let go of note, okay, at the sustain, you actually have to be holding down the note and it's going to literally stay at this sustained for ever, okay, because we have these digital instruments. Ok? So for example, if we have serum or silence one or pigments, those VSATs, which we already covered, because they're digital. They have the ability to play a sound and if you hold it down, it would literally loop that sound forever and tell you what goals that note when we're dealing with sound and that the real-world, For example, again, that snake, that guitar. I record the guitar into the microphone. It's going to vibrate, but eventually that vibration fades away, right? But with synthesis at this actual sustain again, max volume is the attacks. So how long it takes to get to max volume that decays, how long it takes to get to the sustain. Again, you have to be holding down the note and it's going to stay here forever. Okay. As soon as you let go of that note, that is when the release kicks in. Okay, so for example, let's say you're holding down the note, and let's say you let go of the note right here. What's going to happen is it automatically kicks into the release. Okay? So for example, let's say you're holding it and let's say you let go right here. So it hasn't yet reached to the sustain. Ok. What's going to happen automatically equals rate to the release. You actually have to hear this and you have to play around with it. Now the release again just to confirm is how long it takes to get to silence. Okay, so if we're right here at the sustain, again, that means that we're holding down our key as soon as we let go of the key. Now it's gonna take time to fade out depending on how long you have set the release. And that is the basis of these envelopes. Okay. So it's ADSR. Now, some of them have Kayla do this. And then it goes down to the decay and then sustain and then release k. So again, this would be the attack. Ok, now again, only serum had this one. This is the hold K and it's kinda like right here. Then we have our decay. And our decay is how long it takes to get to the sustain, which is right here, Okay? Now the sustain again, we have to be hold them down or note, and it's going to stay at this volume forever. Okay? Then as soon as we let go of the note, that is when the release kicks and depending on how long we've set this, that's how long it's gonna take to fade out to 0 volume. So let me just write these out for you. Okay? So we have attack, kay? So again, attack is how long it takes to get to the maximum volume, the decay. This is how long it takes to the sustain, OK. Again, the reason why we add in a decay is because it makes your sounds a little bit more natural. So rather than it goal, for example, like this, we're going to attack kit. And it's how long it takes to get to max volume. If our sustain was at a 100% like this, then we would also have a release k depending on when we look well that note. So this is actually the sustain, which means that there is no decay, because the decay is how long it takes to get to the sustain. But if we have our sustain at a 100%, that means that our attack is going to go to max volume. And since our sustained is at a 100%, that means that it's going to be at a 100% volume for however long we're holding down that note. And as soon as we let go of the note, that is when the release kicks in. And again, this does not have a decay. K. You only have a decay if you've lowered the sustain. And that's what creates more of a natural sound. Now, the next one here is again the sustain. And again the sustain is you actually have to hold on the no, and it's gonna loop there forever. And then the release is how long it takes to get to 0 volume once we actually let go of that, no. Okay, so attack, decay, sustain, release this as ADSR. So I just want to throw one more curveball here at u. Ok, so let's say on the sustain we had 0 volume and we also had 0 release. Okay? So what's gonna happen is, let's say we had our attack, okay? This is our attack. How long it takes to get to the max volume. And then we are actually going to have our decay. And that's what's going to happen now. You're decay could be longer or shorter, but the decay is how long it would take to get to 0. Okay, so let's go D for D. Okay? So let's recap on that. So let's say our sustained is 0 and our releases 0. Our attack is how long it takes to get to max volume. Our decay is how long it takes to get to 0 volume. Because again, the decays how long it gets to the sustain. And if the sustain k, If our sustained is at 0, that means that our decay is going to go to the sustain at 0. Okay? So again, this stuff is going to take years to really grasp and really comprehend for myself. This stuff took me about a good 34 years to really grasp and get my hand around or get my head wrapped around it. And they say that because, you know, I was always interested in learning about production, like you'll making the bee. And really so I was more focused on learning about chords, learning about how to make a drum loop, how to write. And I always kinda put sound design and synthesis and envelopes and filters. Kinda off to the side. You know, I'd always kinda play with them and kinda tinker with them. I had a general understanding, but Intel, they really took some time out to really practice with them. I never really grasped it. Okay, so one last recap, and then we're going to actually go into the next video. We are going to actually hear the effects of each of these. Ok? So again, the attack is how long it takes to get to max volume. The decay is how long it takes to get to this sustain. In order for the sustained to stay here, you actually have to be holding down the Nope, still, even if that's like a chord or whatever. Okay, so it's actually staying here. And as soon as you let go of that note, that is when the release kicks in. If you if you have a long release, that means that it's going to fade out quite long until silence. Now again, if we're playing the sound and if we let go right here, all it automatically is going to kick to the release and then the sound's going to fade out depending on your release setting. Okay, and that's it. That is how these envelopes work. Now what gets really tricky with these envelopes is when you start using envelopes to control different knobs or different filters within your synth. And that is where you can start making your since really dynamic in a sense of when you press a sound, you know, at first maybe it's go slow and then all of a sudden, you know, something opens up and it swells or, you know, just stuff like that. Okay, so envelopes are the key to learning really powerful synthesis. So one more time. Oscillators, envelopes and filters. Ok, let's hop into FL Studio. We're going to listen to this envelope.
7. 2-5 - Envelopes [Listening Example]: Okay, let's just listen to how these envelopes sound. Again, attack, decay, sustain, release. So the attack is how long it takes to get to the maximum volume. That decay is how long it takes to get to the actual sustain. But if I increase the decay, this is doing absolutely nothing. And you may ask why. Well, what is the decay? I told you that the attack is how long it takes to get to the maximum volume. And then I told you that decays how long it takes to get to the sustain. Well, in this case, the sustain is at a 100%, which means that there is no decay. Ok, so it doesn't matter if it's, you know, 26 seconds or if this two seconds or if it's 1 second. In this instance, the decay does not matter because our sustained is at a 100%. But as soon as you bring it back, even to 0.1 or 0.2, okay? Now, the decay actually works. Ok. Now, you wouldn't really notice too much of a difference here at, at all. But if we bring it down to something like this, so again, our attack is how long it takes to get to the maximum volume. The decay is how long it takes to get to the sustain. If I'm holding down the note, it's going to stay here for ever. And then if I let go of the note, then the release kicks in, which is how long it fades out. Okay, in this case is 15 milliseconds that super fast. So let's just bring it back to the way it was. Again, decay is doing nothing unless you actually have lowered your sustain. I'm going to click this lock here. It assumes it in so we can see it nice and big always. And if I press a note here, what's going to happen is the sound is going to immediately go to max volume. Okay? It's going to stay at this loudness, at this sustained forever because we're holding on the note and as soon as we look well that no, it's going to have a very, very fast Phaedo. So here we go. So you can hear that that is max volume. It's there forever. Watch this. If I take the sustain, if I bring it down, you can see that the actual volume is coming down because again, I'm holding down the note and it's staying at the sustain as soon as I let go of the note. That is when the release kicks and okay, now I'm going to put this back to a 100%. Let's first start with the attack. This is the easiest one to here. And then we're actually going to move to the release because this is very, very easy to here as well. And then we will focus on the decay and the sustain. I'll also throw in the hole there afterwards. Okay? So right now, again, we have a very, very fast attack. As soon as I press that no, it turns on right away. Let's put a long attack and let's say like almost 1 second, okay? And you can actually watch the little blue ball as it actually goes case or watch it k. So it took time to get to the maximum volume. Again, watch that ball. Okay? And again, our sustained is at a 100%, so it's going to stay at that loudness. If a bring back the attack. Now we have a fast attack care. It's on right away. Takes time. It's taking time to get to the maximum volume. So that's it. Very, very easy with the attack. Now I'm going to have a fast attack. Just saw it turns on right away. Okay, and now let's focus on the release. So I told you that the release, once you let go of that note, is how long it takes to fade to 0. Ok? So or like to silence care. So let's have a very, very long release and this is what it sounds like. You hear how it's fading out. So I'm going to pull that back. And let's just listen to that again. K Longer, bring it back. So let's make it like 0. So as soon as I let go of the note, it's going to immediately start playing. Now when you are dealing with these envelopes, if you have things at 0, such as the release or the attack, sometimes you can kinda have like a click sound or kind of a pop sound. So if you listen, I'm hearing the click here, that click as soon as you increase a little bit of release, it's gone. Okay, this is still a very, very fast release. So again, the attack is how long it takes to get to maximum volume. The release is once you actually let go of that note, the release kicks in. Okay, so let's focus on the, the decay and the sustain. So again, since this is sustain isn't a 100% while the decay is not working. So let's actually lower that. And now you can actually hear it OK. We're going to actually going to have a faster decay. Now again, I told you that you want to have a decay and sustain in here because it makes her sound a little bit more natural. Now, not all sounds have to have it decay or whatever. Okay? Every technique is different to get to the end result of your sound, okay? But most sounds in general do benefit from having some decay and, and, you know, a lower sustain because it makes us sound more natural. So let's first talk about what's going to happen and then let's listen for it. So we have a very, very fast attack. Kay? So as soon as I press that, no, it's going to take 1.3 milliseconds to get the maximum volume, okay, the decay is how long it takes to get to this sustain. So it's actually going to turn down in volume over a 132 milliseconds. As I hold down that note, its going to actually stay at the sustain. And it's gonna loop here forever because I'm Holland on the note. As soon as I let go of that note, the release kicks in, which is the Phaedo. Okay, so let's just try it. And again, watch that blue ball and you're going to watch it, okay? Now because our numbers are so fast, you're not really going to hear much care. So let's have a longer decay. And I'll bring the sustained on a little bit and just watch the blue ball. Okay? So I play the sound, its maximum volume, and then it's going to take time to get to the sustain. And again, if I hold the note here, it's going to stay at this sustained forever so I can increase the volume. I can bring it back. Okay. Now, typically you're actually going to adjust this in. Then you're actually gonna play the sound. Ok. And again, it's going to stay here at that sustain us. So as soon as I let go, the release kicks in. So let's have a longer release and you're going to see as a place of notes. And again, I'm holding down these keys. As soon, as soon as I let go, we're going to have a bit of a release. Now again, this is going to take a lot of time to really wrap your head around. Ok, again, this took me many, many years to really, really grasp and really get the concept of an envelope. Now, let's throw the hold in there. I don't want to confuse you, but this is how it works. Okay, so again, we go to max volume. The hole is going to hold that maximum volume for, in this case, a second before the decay kicks in. And again, the decay is how long it takes to get to this sustain. As, as we actually hold our note down, it's gonna loop here forever. And then the release kicks in just like normal, okay, wherever you look all that note, the release kicks in. So if I press and hold down a note, it's gonna go to max volume is going to stay at max volume for that 1 second and then the decay kicks in. So listen. There you go. You saw ok. So washer here. You see that the blue ball, Amartya wash the blue ball. And I have a hold on the note. It's at the sustain. If I let go, there's the release. Okay, so in the next video, I'm going to break down this oscillator a little bit more because I wanna get into further envelopes. Okay, so you might be asking, you know, why do we have all these different envelopes? And let me hop over to silence one k. So as you can see, here is the amp envelope. Here's other envelopes, they're mod. So these envelopes can allow you to control like this filter or allows you to control all these different things. Okay? I don't want you to get overwhelmed. So how it works is envelope one is actually our volume envelope. Okay? So it's what's controlling how our sound plays out. If we wanted to make more of like a pluck sound, or if you want a sound that kind of place slowly, such as like a pad. For example, if I play the sound or here, okay, so the sound is turning on right away. And then if I increase it, so here's more of a keypad sound. Now this is controlling the volume and that's great because that's what these since Do they have a volume envelope, okay. Or an amplitude envelope? Again, silence one, they have an amp envelope and this is what's controlling how that sound is played out. Again, if you want to be plucky, if you want to be more like a pad, you can do that. In the case of serum, That's envelope one. Now you might ask, well, why do we have different envelopes? And that's what I want to get into. So for example, we can actually drag envelope to, onto a different knob, okay? And you can actually shape how that knob plays out off of the envelope. Okay, That's going to be in two videos from now because I want to actually talk about the oscillator. We're going to go back to the oscillator. We're gonna talk about the detune, the blend, the phase, the wave table position. We can also hop to silence one, and we can look at these two again. You can see detune, we see phase, we see Pan volume. Okay, let's hop back to serum again. Detune phase. There's PAN, OK, your levels or volume. So as you can see, all these, since they're very, very similar, it's just learning the basics. And then when you hop to one synth to the next, not to say that you can pick it up right away and become a pro at it. But you'll have a really, really good grasp of what's going on, okay.
8. 2-6 - Oscillator Knobs Covered: Okay, so I've structured the videos this way on purpose because now we've talked about oscillators. You understand that an oscillator, all that you're doing is you're creating some type of sound, okay? We need some type of sound source so that we can further process it through our envelopes. And then even further our filter, which will be in later videos. Ok, so in the last video we talked about envelope one. And in the case of serum, this is what's actually controlling the volume envelope, okay, so we can actually control how that sound is shaped. But I want to talk to you about these different knobs inside of our oscillators. Okay? The reason why I'm doing it this way is because I'm going to explain to you that we can actually be using these different envelopes to control these knobs in the next video. But it's important that you understand, you know, what these knobs are doing before we're actually controlling them. So let's talk about detune. So what does detuned do? So first of all, we got to talk about voices, okay? So right now it says unison K. Again, if we go to silence one and I'm gonna keep bouncing back and forth so that you get a better understanding. You can see that right here. We have voices, okay? And we come back to again serum. They're calling it unison. Okay. So what's happening is when I press a note, we're actually only getting one voice. We're getting one voice k. If I start to increase unison, you can see that it's adding voices in. And then what's happening is Detune is the next. Okay, you see how they go together. So right now we have three voices. So we have two greens and then one in the center, which is three voices. Okay. And I'm just pressing one. Nope. And so what detuned does is I believe that it pitches these voices differently. Okay, so in this case, let's just say that it keeps the yellow one, it doesn't touch that pitch. But then if we go to the green one on the left, well, it's good to maybe let's say pitch it down. We go to the green one on the right. It's going to maybe pitch it up a little bit. And depending on how much detune you use K, it's going to be more or less prominent. So for example, I just have three voices, I play a sound. There should be no difference. Okay? I'm gonna increase detune here, how it starts wobbling. If I start increasing more voices, we start getting a really thick kind of sound, like seven K. Bring back at the detuned just a little bit. And for example, now let me go to a different waveform is going to make it more prominent, okay? Because a sine wave again is only a single frequency. Once we get into other wave forms, you know, there's more frequencies as you can see in the analyzer. So let's turn down the Detune. You can hear that it's a dead center. Okay, let's increase that Detune. Okay. So again, detune depending on the amount of voices you have, k unison is what serum is calling it. Then we adjust our detune, ok, and this can make a really thick kinda sound. If you go to much sounds out of pitch, it sounds bad. But this is how you get a lot of those kind of dance kinda leads again. So that is detune. The blend is just how much you want to be like. You can make it really, really out of pitch and just kind of bring it back. Or you can have full. But you can hear that sounds really bad rates out a pitch. So in this case there's too much detune. Bring it back as sounds not bad. Ok? Now how the phase works is this determines whenever you press a note, okay, where it actually plays on the waveform. Okay? So for example, if I were to play it right here, it's gonna play at the very, very beginning of this waveform. And I bring it over here. Okay, it's going to play right there. And that's all phases k where you are actually playing on the waveform. Now I believe that random goes in hand with phase. So if we have random up, I believe that I don't even think phase matters that much. But if we bring it all the way to 0, k, that means that it's going to play here every single time. Okay? And if random is up, you can hear that it's a much smoother sound. When I first play the sound and her brain Random back. It kinda has a weird kind of sound to it at the very, very beginning of the sound. Okay, so again, that's just phase. And the reason why recovering those, because again, we go to silence one, you can see phase. So it's just where within the waveform, it's starting whenever you actually play that note. Okay, so that's called phase. Okay? So phase where we're actually starting within the waveform. Now the wave table position now, for example, solid earth one, we don't have this because it sounds one is not a wave table synthesizer, but serum is. So again, we come here, you can see that this just goes through our waveform. Now, for example, is disable a. Let's head over to B and let's just select more of an aggressive one. Let's say bottle, bottle blow. And if we look at like the actual waveform, this one looks really, really cool. And you can see that we can actually go through this wave table. Ok, play the sound. Again. Let's turn on some voices. Okay, detuned alert is 0. So again, that's just like the wave table. So it's just going through the actual waveform, okay? Now indicates of serum. Now this is where learning different since, you know, comes into play. So in this case, serum allows you to bend and shape this actual waveform way more. For example, you click here, you have all these different ones and I already shared with you the F M1 K. So this would be f m from B, which means that b can be the modulator and then a could be the carrier, because these would be operators with an FM synthesis. But for example, let's say we just go to the, say, bend k. And if we increase this, you can see that we can actually start shaping our waveform more different, okay? And this stuff can get really, really intense, but this is just how serum works K. Okay? So again, that's just if you want to kind of shape that wave form even more, can the panning that's left and that's right, and then the level is just the volume. Okay. So that's just the basics of how serum works. Lets hop over to silence one and let's just clarify that even further. So the volume as the volume, we also have the octave. Okay, let's surrealist galactose serum. They have Octave. I believe that this case is a semi K And we also have fine. So this is an octave obliviously, all 12 notes semi would just be, I believe just one note. Okay? Again, you want to be careful with pitch because this type of pitch is affecting the fundamental. So they press a note. Okay, so watch if I go up a semitone, see it's affecting that fundamental. Kay? But if I were to adjust an octave, so for example, let's say I enabled B. Let's say I put this one an octave up and then leave this here. So these are going to be in the same pitch because what's happening is let's say a place S5. Well, this one's playing C6 because it went up an octave in this plane, and this is playing C5. So all it's doing is it's just doubling the frequency k. So for example, A4 is 440 hertz. A five would be 880 hertz, but then a3 would be 220 hertz. Ok, that's why you can go up an octave or down an octave, and these will be in pitch. You might be able to get away with a little bit of fine adjustment k. But again, you want to be careful because that's just in the fundamental. Again, we have our Octave or note. So can I believe that's like a semitone? And this is the kind of the fine tuning volume phase. So phase again is where it's actually playing within that waveform detune again. So if we have only one voice, detuned does not work. We actually have to have more voices for detuned to kick in. Stereo is just how wide the sound is with the pan knob. For example, you can paddling oscillator A1, like all the way left, and then oscillator a2 like all the way rate or something or anywhere in between there. And you can create really, really cool sounds, okay? Inversion. So what you're doing is you're actually just flipping the waveform. So you see like this, you would literally just flip it upside down. And that's all that inversion does, k, you can create some sounds like that. Voices again, that's just like the unison inside a serum. So for example, if a place C5 is actually playing three notes instead of one. Ok? So up here you can see voices. Okay, so let's just come here and we are going to go preset and we are going to go clear. Okay, so here's the basic sound. We only have one voice and it is a saw wave and it sounds just like this. Let's just turn down a little bit. So that is a saw wave. So if I just play one note, what's going to happen is we only have one voice, which means that we are going to only have one voice up here, k. If I put this to three voices, you're gonna see that now has three voices with only one nope, K. And that's how these sounds are getting thicker. So even though I'm playing one note, it's actually playing that note three times at the same frequency. And then if you start getting into detune, that's where start kind of spreading out these notes. Pitching some up, pitching some down, and you're getting some really, really thick sounds. Okay. Now the reason why I want to stay on Voices here is because you want to be a little bit careful if you don't have a very, very powerful computer. If you're voices, you know, for example, in Science one, you have oscillator a1, you have oscillator a2. If you put this one to the max, you can go is I believe as eight inside of solids one. So that means that when I press one note, we actually have 16 voices plan. Okay, and sorry, it's a bit loud. That is 16 voices. Now you might be like, well, what do you mean? It's like, well, instead of just playing just a single note, it's actually playing that note with 16 of that same frequency all at the same time. And then again, if we get into detune K, So here we go. So it's just kind of making that sound, just kinda sound wider, will turn off re-trigger. So it's just something to be mindful of. Because again, in sounds wine if we go to part B and if we go eight here as well, and then a here as well. So what is eight times four? That's 32. I press a note. You can see I have 32 voices playing with one note. So if you have, let's say ten of these going on within your song, you have $0.10 and you've maxed, Oh, all your voices. And right now I'm just playing a single note. If I play a chord as 96 voices, okay, and that's all within just this one sinth. So all I'm saying is you can do that stuff, but just be mindful of your computer, isn't able to handle all these different voices you're throwing at it. You know, you can just come here and just kind of dial it back a little bit. Okay. So one final thing I'll throw at you is there's also polyphony. So polyphony is how many notes you're allowed to play. So for example, if I want to play a chord, will a basic chord is three notes. So right now sounds one is limiting me to only three notes. But you can actually increase cysts like 16 or something like that or whatever you want. And now if you play a chord which has, let's say six or seven notes, you can play that. But you can see all the voices k, let me turn that down is a little bit more. You can see the voices are at a 150, and I'm playing 12345 notes. So again, that's just one synth. Imagine you, identity's chaos, so you just gotta be a little bit mindful of that. So let's hop back over to serum. So that is your basic oscillators k when it comes to these knobs. So we have our voices, which is just how many voices when you play a single note. And then the Detune is just going to actually pitch up and pitch down these other voices and you get a really, really thick sound. Now in our next video, I'm going to go back to this envelope. And I'm gonna share with you how we are actually using these different envelopes in creative ways within our sound design to have our sounds be very dynamic. Because right now you can see that OK, I have this sound. Let's just play oscillator a. Okay? So right now the knobs there, static, you know, they're going to stay here forever will within music production, it's nice to have knobs that move and stuff like that because that disallows your sounds to kind of have movement and be more dynamic and have more flavor, k. And that is where envelopes and even LFOs and stuff come in. Okay, we're gonna cover that in our next video.
9. 2-7 - Envelopes for Creative Purposes: Okay, so now that you have a general idea of how these knobs work, and if you don't go and watch the last video and take time and play around with them. Okay. I just wanted to cover those because now as we start to drag envelopes onto the knobs, you have a general idea of how they're going to work. Okay, so envelope one inside a serum is how we actually control the volume. Now for myself, I usually like to be using the envelope to to control like the different knobs and stuff. And then I also would use envelope three, flip the filter. Now the reason why I like to do it this way is because it just gives me more flexibility. So if I'm an envelope one, This is controlling just the volume of the sound. So once I have that shape, I'm happy. Okay, I gotta envelope to now I can adjust, you know, all these different knobs with envelope to, for example, now an envelope three, I can be just like the filter and I can have total control over different things. Because again, let's say, let's say envelope to was controlling all these different knobs. And I bring back down like the sustain here, whatever, right? If I adjust it just a little bit. And let's say this was on the de-tune. Let's say a was on here, k. If I adjusted just a little bit while I'm adjusting actually two knobs and you just got to be a little bit careful because, you know, one little change here can actually affect something large that you're not intending. So let's get into how we can actually use these envelopes to do cool things. So I'm just going to click here and I am just going to select this go digital disks, you know, find a cool sound k, this bottle blow one was pretty cool. Kayla's school further on into the wave table. Okay, so we're just gonna leave it like that. Okay? Now, again, unison is how many voices? Okay, and so when I play one note, Russia gonna get five voices with that one, no. And you can see that right down here. We actually have five and because I have detune on, we're getting it to Sundays and wide right now, which is going to sound dead center. Okay, so let's say we want to use this envelope to just kinda mess around with the wave table, as well as de-tune, all you have to do is come here and just click and drag it on. Now when I press any note down, this envelope is still following the basic principles of ADSR, like I just explained in previous videos, attack is how long it takes to get to the maximum volume or the maximum value decay is how long it takes to the sustain K once it's out this sustain, if you're holding on that note, its going to stay there forever. When you let go. That is when the release kicks in. Okay? Now again, it's just really important that you're understanding the concepts of envelopes because it's gonna take time. And I personally found for myself that once I understood it from the actual volume envelope, like yeah, the attack is how long it takes for the volume to play out or whatever, right? When you come to envelopes that are going to start controlling knobs, it really stretches your mind, okay, that's just one thing that you have to be aware of. It's gonna take you time to learn these envelopes. So I'm gonna try and go slow. But if you get stuck, just come back and watch the video. Okay. So here I am on envelope too. I've dragged it onto these two knobs. Now we're going to follow the basic principles of ADSR with this envelope. So if I press a note, what's going to happen is it's gonna go to the maximum value and it's going to stay at the maximum value because our sustain is at a 100%. Now, if I come here and click, and I am controlling the maximum value that we're going to actually be allowed to go to in this wave table, okay? The attack is still the maximum value right here. So if I put this all way to the max, that means that this wave table is actually going to go all the way to the maximum and then it's going to follow our envelope. So if I bring this down, okay, and let's just say this is our general envelope. Envelope T2 is going to be like this. Okay? So let's bring our backup a little bit and let me walk you through what's going to happen with the knob. So if I play a note, what's going to happen is it's going to take, you know, a 182 seconds to get to the maximum value right here with the decay is going to pull back a little bit, but then to sustain its going to stay around here. Just for example, when I let go of that node, it's gonna take time to pull back. Okay? Let me play a note for you and show you that k. So I play a note, It takes time to get to the maximum value, and then it pulls back and it's going to stay there. And I'll move the sustain what I'm actually holding down the know. You can see that it staying there at the sustain. Okay? So for example, if I increase the sustain, you can see that it's actually changing where it's going to hold. So now it's up here. If I go more forward, it's going to be of higher k. So again, we're getting into some really weird sounds as also because the Detune is on. So I'm going to pull that pulled out backwards a bit. Okay. So again, I'm going to bring the sustain down. Okay? So again, you know, you might just be kind of like, well, what is going on here? Now, the whole goal here is to create sounds that are really dynamic in a sense that there are always moving and they're kinda doing cool things. Otherwise, you know, your knob, for example, it's just going to stay here forever and it's not going to move. In addition, you can also make it go to a minus value to k has kind of a cool thing with these since. So let's talk about the detune K and we're going to follow the same envelope because again, envelope T2 is controlling the wave table and the D2 knob. So again, this is the maximum value. Now in this case, with detune, you probably don't want your detuned going all the way to a 100% because it's going to sound super AUTO-TUNE, okay? You know, the whole benefit of Detune is it gives a thick sound, but you're still able to have your sound in pitch. If you're all the way up here to the max value, you are going to be really messing with that fundamental, OK. You know, your sound isn't going to be in pitch, which means that you're not gonna be able to use it with other sounds. So again, the attack is how long it's gonna take to get to the maximum value. In this case, well, this is way too much D2 and let's say we want it around here, okay, so we can come here and we can say that this is the maximum value that we're able to reach with our detune. Okay? So again, I press the note down, it's going to take a 182 seconds to get up to the maximum value, then it's going to pull back over. Pretty much 800 milliseconds on the decay k. So for example, it's going to come all the way up and then it's going to pull back and it's going to stay at the sustain right there. Let me play that for you. There you go, is staying right there. So again, you know, the sound does sound a little bit weird. We can adjust it like this. And we can say we're just going to bring it just a little bit, okay, which is a little bit of movement and watch, it might sound a lot better. Now, for example, let's go to the effects. Let's add on some reverb. Okay, you're going to see how big and beautiful assailants. Let's maybe just adjusting selected different wines, something that's a little bit more aggressive. So there we go. So good. Turn down just a little bit. Okay, so for example, now if I hold down control and alt and just left-click on these knobs, it's the same thing as right-clicking and just removing it and stuff like that. Right now the sound's going to sound static because these knobs are not gonna move. Okay, if I now re-enable them, holding down Ctrl and Alt and left clicking kit. You can see that we're getting movement. Okay, one more time. If I have a fast attack, lists have more detuning there, I'm going to pull back this, the actual sustain here and will go much faster decay. So what's going to happen is it's gonna go to the max value. It's going to call back really, really quick and it's going to have some detune. Okay, so let's try and go way more detune. Now one final thing, I'm just gonna throw it you quickly is just the filter. So right now, oscillator a is enabled on the filter. If I was using oscillator b, I would actually have to enable it here for it to go into the filter. Okay? So right now if I am able to filter and if I play it, well, it's like this is static and this is what I'm trying to get across to you that our music and sound design, we want to be able to open up this knob, for example, with an envelope, and that's where I would use envelope three. So just, for example, just going to drag it onto the cutoff care. And what I've told you so far is again, back to the ADSR. That's how he's envelopes work. What's going to happen is it's going to open up the filter right away to max value. So it's going to be like this. And as a whole that down is going to stay there. And then when I let go will then it's going to come back to whatever position I've left, the knob that. Now that doesn't really give much movement in the track. For example, let's pull back the sustained is a little bit here, okay, give it some release as well. And though let's play this sound. Okay. It is say not, you know, I don't want it to go all the way to the maximum. We could pull it back a little more. So maybe something like this and will go faster on the decay. Okay, you can see how we can start shaping a sound rate. So for example, turn off the filter, sounds like this. Turn it on, gives him driving there. Know it's always nice to have a fair volume comparison. So K And that's because of the filter. The filter is, is doing this for us and we can actually have a little bit of an attack in there. So C is taking time to open up that filter because that's the attack, how long it takes to get to the maximum value. And again, this is like how I dubstep and all that stuff with a LFOs. Like what they're doing is they're effecting active filter and they kinda get that wobble sound altered you with this filters envelopes, LFOs stuff it that when we are dealing with the attack, like I'm telling you that they don't even ten milliseconds, especially when you're in like the lower numbers, really can have an effect on a sound. So okay, so quick recap. In this video, I talked to you about envelopes and how we can use them for various things. So we talked about the volume envelope. This is what's controlling the actual way that this sound plays out. And in this case, you know, our sustains all the way at a 100%. I usually never have a satellite that usually I would have it maybe something more like this k. So it goes to max value, takes a little bit of time to just lower in volume. And it just creates a little bit more of a natural kind of sound that you hear more that the real-world now envelope to an envelope three, in this case envelope to, I used it to affect the wave table and the de-tune. And again it's just following ADSR K. So attack, decay, sustain release. That's all it's doing. And then you can select how aggressive it's being. And that's just with envelope too. And I just selected the knobs and, you know, if we had oscillator b, you can, you can do the exact same thing and you can even select other things like that, like the actual level are and stuff like that. Okay? And then in my case again, this is just my workflow, how I like to flow with envelope three, what I did was I just used a different envelope and I dragged it only to the filter. So as you can see, we're only selecting, we're only affecting one knob, whereas this one is actually affecting four knobs, 1234. So again, you have to be a little bit careful. If I adjust this to this, It's actually affecting the four knobs K. Whereas with envelope three, this is just the filter. And now it's doing its thing with the filter. I don't have to worry about if I adjusted it like this or like this. It's not affecting anything else, but this cutoff knob. Okay, so that's just the quick recap. These are the envelopes, These are fundamental for you to understand. In the case of serum, this is only the volume. These ones you could be using for various knobs. This one I like to use for the filter. There's no rules. You can do whatever you want. That's just how I flow. Okay.
10. 2-8 - Filters for Power: So this is going to be the final video in this section and it's going to be on the filters. Ok, so it is turned on, the template is a little bit, and I turned on the volume. If we just listened to this with that loop, you know, with what we have, it sounds like this. Turn off the filter, churn on the filter, ramp down. So another thing that's happening is oscillator b is not being routed into this filter, which is why we're not really hearing that filter effect even when I went really aggressive with it. So watch this and I wrote it to be as well. Listen, turn off the filter, enable it. So again, I just want to recap. What I did was envelope three. I just dragged it onto the cutoff novel k. And so what's happening is it's just following the envelope to open. Okay, so I don't wanna keep repeating that. I want to actually show you how to use this filter in this video, okay? Because again, when you're new, you really gotta kinda take these baby steps to understand. Now, I'm just going to start doing things and start showing you how you, you know, this filter is so amazing how powerful it is. And to take it even further, I'll show you later on in this video. There's tons of different types of filters. There's tons, tons, so many in serum and same with like others since to, okay, so let's just listen to the difference. I'm gonna keep this loop going and we're just gonna play around with different oscillators, play around with the knobs and just show you how we can actually kind of play with this. Okay, so listen. So the attack, since it's about 61 milliseconds, that's how we're kind of getting this kind of swell sound. Bring it back though. The Savior, the sustain, bringing the decay back. Bring, bring out the amount back a bit more. K. And then again, you can even automate this type of stuff within your track. You know, for example, if you like this, you know, imagine this is the intro of the track. Case there's building. Okay, let's just leave it there. And this actually just select a different filter type. Now again, I told you that a filter, all it is, is it's just an EQ, okay? We have all these different types of shapes on an EQ. Again, you can select like a notch filter or whatever. Okay? So a filter is just an EQ band that you're moving with a filter. And again, we're using an envelope to move that filters. So for example, this is 12 db slope. If we come normal, we can go 24 d b, so which is more aggressive. This decay. And the attack opened up a little bit more. And again, we also have a reverb on. So for turn that off style back a bit on that reverb and the decay a little bit and the size, just so it's just not so aggressive. Okay, let's just change our oscillator here, our wave form. Ok, so now again, instead of envelope to, so this is really, really aggressive. Do something like this. With our voices, have more voices, which is seven. And this also do the same thing envelope to is gonna go to the de-tune, bring that back. Serum also has two different modes for how it plays out. I believe there's like the bidirectional, a unidirectional or something. So to adjust that, you just hold down Shift and Alt. And if I click on the knob, okay, so it just adjusts like the two different ways. So again, we don't want too much detuned going on, but I'm going to bring it back and do something like this. Okay. Do something like that and the blend. So and a cool thing you can do too is with the octave, bring this one up a bit. Kind of bring it back a little bit. We can even use envelope to adjust the volume. Get kinda really cool. Pluck sound. Go back to envelope three. This is going to adjust the filter cutoff. Go back to envelope one. This is the volume envelope. Okay? I just want to make sure that the actual sustain was playing. So it sounds a little bit short, like a little bit too quick. So if we bring up the actual sustain, OK, maybe a little bit longer release. Here, we're going to increase the release on the volume envelope, okay? Okay, so let's play around with, with, with a different filter types. And we're also just going to select just the random, random one of these, something like this. Okay? So different filter type, let's just select here. And there's so many different types. So groups like this. Now, maybe we don't want to be as aggressive with these types of filter types k. So first of all, we kinda gotta figure how it works. So as you can hear, really cool sounds already rate. Drag the envelope and book three. Okay, I'm going to adjust the direction k, So maybe too aggressive, right? We can also adjust the resonance. The resonance is just like, for example, if we take our EQ here. So again, this is a high cut filter. The resonance is just that peak. That's all that the resonance is okay, so if I adjust the resonance here and you want to be always careful with resonance, it could be very aggressive and very harsh on your ears, but it's a very cool tool for effects. So too much. Let's bring this back an octave up and off to change the waveform. Let's go something like val or something. Go down an octave. And for envelope to hear, just bring it up a bit. So random prenup back. Same here. Obviously you want to find the right sound for your track. But as you can see, you know, like how I'm just kinda playing around with this and getting some really kind of random sounds. Now not to sit at this filter and this sound is going to flow. Okay, so what we're gonna do, let's hit menu, let's hit init preset. And sometimes this is what I do when I cannot get a good flow going on. Okay? So for example, let's create like a pad. Okay, I'm going to show you just kinda quickly how I would do a keypad. So we're just going to select just a random selling. This sounds like this. K is a bit loud. Bring it back. Going to envelope ones is our volume. We're going to have a long attack because as you know, it takes long for a pad to get to max volume cash like that's a PAD. Okay. Something around here. And another thing was a PAD is you have typically a long release as well. So it's kind of it's on both sides. Ok. We're also going to bring back this, the sustained Just a little bit, okay, something like that. Make it sound more natural. That decay. Let's make that a little bit longer to so do like this. Maybe a little bit of a longer attack and we can adjust it so that the tension isn't so aggressive. Ok, so we have just our basic oscillator. Ok, again, this is our sound source. What I'm gonna do is I'm just gonna increase some voices on here. Let's just put it like this, say seven. Okay. Just kind of bring this back a little bit. Sounds like this. Crazy how powerful that is already, Right? So what I'm gonna do is I'm gonna wrote this to the filter. I'll have to do is just turn on the filter and sounds like this. But again, it's static. We need to actually open up this filter with this sound. Like don't get me wrong, has still a beautiful sound. But we can affect it even further with an envelope. So I'm going to drag this envelope onto the cutoff. So let's actually adjust this. Okay, and again, here's a cool trick inside a serum. With envelope one, you can actually hold down Alt, drag over the envelope and it's going to copy it over k. So now if you go to envelope one, where envelope three, right now, they are the same value. So really cool, right? Okay, so let me just play that for you here. So K, So without the filter, sounds beautiful. But with the filter listened to how emotional that can get. Now, this is where you have to start tweaking your volume envelope with your filter. Okay, so, so for example, maybe we can actually have that attack a little bit longer k on the volume envelope. Let's bring that back just a little bit, okay. Okay. We can bring it back a little bit more and opened it up more or, you know, more or less whatever you wanna do. Because sometimes when you're designing a pad it can be almost too aggressive, right? So maybe take that rushes to much. So I hope that gives some more clarity into how we could actually use these oscillators, these envelopes. Again, this is a volume envelope and just an envelope to control a knob or a filter, okay? And then we also have our filters. And hopefully it gives some clarity into how we actually use these three basic principles to do some sound design.
11. 3-1 - [BONUS VIDEO] - Beatmaking Presets: I'm going to throw in a little bonus video here for you guys just to help clarify all this all in one. Okay, so what I've done is I have created a little drum loop here. And what we're gonna do is we're going to create two melodies over top of it. Okay, so I'm gonna start with silence one. I click on it and I already went to menu preset and I went clear, ok, so this is just a default slate of silence one. I'll just open this up bigger so you can see it. And so right now what's happening is we only have one voice, which means that when I play one note, we only have one voice. I'll turn down as little bit. Ok. So again, if I want to add more voices on, I'm putting five voices on here. This ASM detune on. B triggers, turn it off. Okay, let's come over here. Let's get a square sound, k square, a square wave. I really like square sounds or square waves. Again, we actually have to add on a voice to hear it. Let's put it up one now up an octave. Okay? And let's just turn it down a little bit in volume, and we'll actually get some detuned on that too. Let's put it maybe like seven voices. More detail. So, so far it's like this. Sounds not bad. Now let's add our volume envelope. Okay? So how silence one works is it looks very confusing. And it honestly it is confusing until you kind of get your head wrapped around. So again, I told you that in order for your decay to work, you actually have to lower your sustain. So right now, the actual sustain is at a 100%. Let's bring that back. Now. We can actually have some decay, maybe a little more release, make a bigger sound. Can maybe turn off, retread. Sometimes that can kind of skew with the sound. Ok, cool. Now what we're gonna do, we're going to add on this filter. So how did you do that inside a silence one, and I know it is confusing. So if you come down here to these other envelopes, k. So again, let's hop to serum. So a serum, again, we have these different envelopes just like this, okay, in the same way with sound, it's one, these are those envelopes right here. Okay. I guess you're able to kinda copy things over and stuff like that nice and quick. So how this works is we're going to click here and we can say filters. So we want to control a filter with this envelope. So I'm gonna click here go filter. In this case we're actually in part a. So I'm just going to select cutoff a, which is here, here. Okay? So here is the type. We're actually going to left click on it. And here is the low pass. Now again, all this talk is kinda confusing within the audio industry because you know, a high cut filter is the same thing as like a lowpass filter. You can do a little bit more research on that. Same thing with the high pass filter is the same thing as a low cut filter. As you can see, it's cutting off the low frequencies. Same here, the low-pass. So you're actually allowing the lowest pass through. I usually like to just call it a high cut filter, just way easier. Okay? Again, we have our different slopes. So how, how aggressive it is. And so what I've done is we have our filter, okay, we've actually enabled a filter type, which is again, I'm going to call it a high cut filter. Okay? We're going to bring this down a little bit. And then we actually have our cut-off. Now in order to actually make this work, we actually have to increase some, you know, the amount that we want this to affect. Okay? So if I play it right now, nothing's going to happen. We actually have to bring this sustain all the way down. And now we can actually start playing with our decay and stuff like that. If I leave it as it is, this is what it sounds like. Ok. Let's open it up a little bit. Okay, so sounds cool. Let's add on some reverb. Okay, lets the size, I'll bring it down a bit pre-delay And then we're going to add some compression on to that. Okay, so I'm not gonna go too much into this stuff. I'm just going to just set this up so we want a lot more reverb than that. I guess bigger size. More sighs, I guess. I'm just looking for like a really big sound. Okay, so that's not too bad. Now again, with silence one, you can create a Part a and Part B, and you can mix them together here. We're gonna keep this simple. I'm just going to say that we're happy with this, OK, maybe just a little bit of distortion onto that. So so too much, kay, pull it back a bit and Bree here. So maybe a little less. One other thing I'll quickly talk about is many times these filters have something called Dr. So what's causing this distortion? But it's distortion in, in an, in, an intentional way. So in other words, that you actually want the distortion and what it's doing is it can just kinda add frequencies and just more fullness to the sound. So let's just say we increase that a little bit. So we have this k. So over the drum loop, shoved the volume just a little bit. So, so for example, so cool. Now here's a cool trick. Since I just played that loop, I'm just recorded a new pattern. I am going to go to tools. We are going to go dump score log to select a pattern. So I don't have to actually record that. I actually just played it already. And we can come here. So I started on c, k. So if we start on C, that would be like let's just say here, okay, so I'm just gonna grab this and I'm sure somewhere in there, I can make it work nice and quick for you guys case. So we're going to bring that back. Actually, that wasn't on C. This is on Syria here. Okay, so delete this, bring this back and something like this. So I'm going to press Control and Q to quantize that. I usually to quantize it makes it easier for editing cache. So first of all, what I'll do is I'll just press control an x plus three minus one number pad, pattern control V, paste it in there. And now let's just listen to the drum loop with the melody together. I can also loop that k. So here we go. Maybe I'll just duplicate that too. Okay, now again, we can start working on this a little bit more like, you know, do we want to have certain stuff adjusted to our sound here, okay, so I'm not gonna go too intense with this stuff, but again, this is where synthesis that you could spend hours and hours and hours doing this stuff, right? Let's listen to that again. Turned on the volume just a little bit. Let's turn off this distortion. Okay, cool. Let's go to serum Now. I'm going to come here. We're going to go and knit. And now we're just gonna create a little melody over top of what we just laid down. So I'm gonna go, let's say spectral go, monster, gaps, voices in here gets detune. I'm just doing this quickly because typically this will give you a kind of a cool sound. You know, just, I just know that from working with this for a couple years now. So let's go to, let's say I wanted these ones. This looks absolutely crazy. So as pretty aggressive, but that might be what we need to create the sound that we want. Okay, so here is our volume envelope, which is maybe bring it down just a little bit, give it a little bit more of a natural sound. I increase some release. K. So again, sorry, that's so quite loud. Let's just add on that filter. Okay, so I'm just going to drag this right onto here and bring down the sustain, open up the release a little bit case, let's just hear how it sounds. So again, this is a really common thing in serum that I always forget to do. I forget to route later B to this filter K. So it's opened up now. Okay, let's come here to the effects. Let's add on some delay. Okay, a little less feedback, but louder in the mix sometimes that can give some kinda cool effects, some reverb and then compression I'll put afterwards because that will help glue all the sounds together. Okay? Are they all like the effects together? Ok, so less, less. Take out the low end of it. And compression. That's just be very, very aggressive on this compressor. Just to really glue all this stuff together. Show the volume of that little more in the reverb. Mourn the size. One dk, k. So little less on the school, less than the feedback. And it will do something like this. Again, let's play this drum loop and we're going to hear what we're working with. Shoved the volume on this thing so we can hear it. Okay, so let's pull back all those effects a bit, little bit aggressive about tort filter is open that up quite a bit as well. Maybe this is saying, oh filter, so little more filter. Let's just work on this a little bit. So the filter, we gotta kinda tweak this a little bit, so a little bit more aggressive. And we're gonna pull back a little bit, so it's just not so aggressive. The decay will go a little bit longer. School a little bit longer than this attack. Something like that might be cool. A little bit longer on that attack, maybe. Try it. Okay. Again, you, sometimes you just don't know until you try. So so I'll throw a warm or cool trick at you guys. So one thing I didn't tell you about serum is, yes, there's these two oscillators here, but there's also the sub here, okay? This, this is actually another oscillator, but you're not really able to do as much with it, but you can still use it. For example, you can send it to the filter and you can do stuff with it. Okay, so just playing around with this, one of the biggest things that I can share with you is really playing with different octaves on oscillators. In addition, you want to play with different octaves on your keyboard. So for example, if I play a little bit higher, so right now it's bent like this. Okay, watch if I go up higher. Now, this actually suits the track. Now watch. So for example, the lower or higher. So again, there you guys go. I just wanted to create this video just to give a little bit more clarification in a quick up and running of how we were actually using these different oscillators. Detune. I didn't even really get into like the envelopes and start doing stuff like that. But I did that in the previous videos. You know, again, our volume envelope just to kinda shape the sound, sent it to a filter. I wasn't too happy with this filter. I'd have to spend more time on it. And then with South one, you always kinda created a sound like that. Okay, so that's just a walkthrough. Again, I wanted to give you as more clarification to kinda wrap the whole thing all together, okay.
12. 4-1 - [CONCLUSION] - Tips to Learn Faster: Okay, so this is the final video in this course. So I'm going to be just two quick wrap-up conclusion. As well as I want to talk about a couple fundamental things for further reading and further, you know, so that you guys can get up and running nice and fast. Okay? So two things which I can suggest to you is reading the manual of your synth K. If you read the manual, you guys will learn so much faster because you're actually going to learn like you know what, in this case, what is silent one doing? Youtube tutorials and even courses can only teach you so much. But when you actually read the manual, you guys are going to learn a lot k. The next thing I want to talk to you about is audio flow, okay, so I'm just gonna keep scrolling down here. And again, this is like the actual help manual for silence one. I don't believe serum had an audio path in their manual, but again, read the manuals for these different sense. So I want to look at the audio path and what this is, is it actually shows you how the since work. And it's important to understand because for example, like, you know, we have oscillator one m. So this is part a and it has oscillator 12 within a. And then it talks about like the filter. Then make the amp envelope. And then here's the effect. So as you can see, the effects actually come after everything. And it's just really interesting to see how the actual developer behind the plugin approached it. As you can see, they have set up the plugins are like the effects to go in this order. Okay, so again, I'm not going to cover this, but if you want further reading, I highly, highly suggest that you guys read the manual as well as learn about the audio flow of that plugin because you're going to learn, you know, how things actually work. Ok? So I just want to say thank you so much for taking this course. Okay? Again, this is sound design basics 101. I hope it really revealed to you about oscillators, envelopes and filters, ok? If you guys ever have any questions, please reach out to me and tell me, you know, if you have a certain question or if you like to see a course with, you know, further into sound design, for example, if you'd like to learn about paths and plucks and how to actually create those sounds. So I'm gratuitous. Thank you so much and hope to see you guys in future courses of mine.
Riley Weller, FL Studio Trainer
