Sound Design with Presonus Studio One

1. Introduction: this course is going to get you up and running with the tools in Studio One so that you can design your own sounds and instruments. You'll learn the basics off san design and how you can edit these instruments and audio files to get the sounds You once this will cover everything from creating your first bass sound, creating transition effects, lack swells and reverse sounds to building up way more complex, multilayered instruments. And this will give you the tools to shape your own instruments in your productions. Don't just simply settle for the presets, build up your own unique instruments and sounds. So basically, you're build up your own unique sand palette that you can use in your productions. A prerequisite is having a good understanding off the basics off music production, like how to record and it Joe mix and audio tracks and instruments. And also you need to know your way around Studio One. So let's jump in and see how we can design our own sounds 2. Audio and MIDI Devices Setup: in this video. Let's quickly go through how to set up your audio and muddy devices to set up your audio of us. Go to the Studio one menu on Mac or the edit menu on the PC and then choose the preferences , Then jump across to the audio set up tab and then audio of us. Yeah, you can select what audio device Studio one is going to use for the playback and recording . And this picks up any audio devices that you've got installed on your system. That's recommended that you use either an eso DeVos on the Windows system or cool audio device on the Mac. This is my beer. Injure IFC A 16. I've got that selected as my playback and recording device, but you can see that I do have a selection off other devices. I conflict. And then also, another thing to check is to click on the song set up menu down here, and they into the audio Roo, sit up and this is just going to simply show you how things are recent. So this is the inputs. I have a stereo input, which uses input one and two amount of us I can choose other inputs if I want, and enough also got to extra monitor inputs. I can double click these to rename it. Maybe I want this to be input one, and in this in pretty and then set which inputs is going to use on the hard weight of us. You can go down here to create extra inputs if you need. For example, I've got six inputs on my device, but it's only got to monitor inputs and hysteria whenever here I could go in and add extra ones and then just click on this button to choose which one you want to send it to. With the reaching to the hard way inputs and on the outputs. This is what is going to be used for playback. So my main I put is going to my line at one anti. If you've got a multiple speaker configuration set up, then you might want to choose different outputs or create extra ones. So that's a quick run through on the Order of Arsenal. Now for your money device set up, you need to go to the external devices. So for this, go to steal one in preferences and to external devices. You can see here I've got my Medi keyboard controller. But if it's not picking up your device first, make sure that you've installed the creek drivers for it and then you can click. Add at the device. I'm gonna remove this and demonstrate what you do if you haven't added one. Ready? Oh, click add. You could list off pre configured many options here. For example, Maybe you've got the audio XY, Um, when you slate that it comes up with sittings off the device model manufacturer and a vast name, and then you can select the money channels. If your device isn't listed here, you can click new instruments or new keyboard. I'm a gun, you keyboard, and I'm gonna give it a name. Salmon is the innovation launch key 61 and I want all the many channels. If you've got multiple, many devices and they only transmitting on specific many channels, then you can choose which many channels you want to transmit on. Now, in this course, we're going to be covering a lot of synthesis techniques. So ah, highly recommend sitting up a muddy device so that you can correctly inputs to these tracks , and this is going to receive MIDI from my launch key Midi, and I want this to be the default instrument input. What this means is, when I create an instrument track by default, it's going to slick this one. Cool, So that's will sit up now if I create an instrument track and open up the inspector properties for it, you can see on the input it's using my default instrument. If he had multiple many devices, you could click this drop down menu and cheese from them here, and I just want toe quickly. Add an instrument onto this so that we can test that everything is working. I just go for an instance off mojito, uh, great stuff. So we're getting a signal. They, for example, if this was set to a different many of us or none when I played, there'll be no signal, so just make sure under the end you've got your MIDI keyboards selected. Ah, great stuff. So that's a quick run through on how to make sure that your audience of us and many devices are set up quicky. Now let's jump in and see how we can do some sand is on techniques with in Studio One catch in the next video 3. Creating a Synth Bass with Mojito: starting off. Let's take a look at how you can create a synth bass sound using mojito. I'm just gonna drag an instance of it over here. It's created track with the instrument. Ah, so that's the default patch that comes with it. And it's our kids. Not that great, but I wanna navigate you through this interface so you know how everything works and show you how I can create very simple but strong synth bass sound. Starting off this is a single oscillator instrument and it works really well of creating based science with one single us later, you could use it for Leeds. But where it really shines like I've really mentioned is low short bass notes. So this us later, is what generates the sound, and you can change the pitch of it yet, so this is at the standard pitch. But if you go down ah, you can pitch all the way down or all the way up, but we'll keep it set to its default pitch over here, and then this is set to a triangle way full. But you can also turn all the way to the right for a square wave form or blend between the two. For this video, we're going to stick with a square wave. Then over here you can change the width old way of here. It's very narrow sounding square wave, and as you increased with then you've got these knobs over here that can add extra modulation. So, for example, when you heard the sound over here, that's actually quite a common technique heard in a lot of synth bass. And that's called Pulse with modulation. As you increase this, it's causing that modulation off this guy with the with. If you got the reverse direction, it's gonna much late the other way, and that's determined by this LFO speed. If I changes to a foster interval, you hear that the modulations faster there or even faster on this increases the amount of LFO that's being applied to the modulation. And this is just changing the timing, the snub. But I prefer actually just jumping here and choosing what speed I want. Likewise, the LFO speed can also much late between the away form and the pitch, so you really can get some quite drastic sinks. But for this video, like I said, we creating a very simple baseline that's gonna work across a multitude of different styles . So I'm actually not going to touch on any of the pulse modulation, but just want to show you what they did. Then, over here you can add a sub oscillator frequency. So even though it's a single us later, you can add some extra low end with us because of its settled. But it's they now. I want to jump across to the filter because it's probably the most important aspect off the synth. So this is a subtract of synth with a cuddle filter. Sit all the way to the top, you hearing all the frequencies, and as you drag it down, it's cutting out or subtracting the frequencies on the synth generally with the base on you actually going toe wanted to sit in this area over here. So you cutting out a lot off the higher frequency range when you get to Yeah, that's actually sounding more like a lead synths, so we are gonna be focusing on this era and subtracting a lot of the frequency content. Then you can do a resonant notch, So this is notching an area in the frequency at where the cut off for. Sit. If I pull us down and let's just drag the stand and increase the resonance so you can hear more clearly you can hear is that sort of notched side and with a higher cut off frequency , I definitely hear that reason Peak they will that reason notch, and then you can add some extra drops. A saturating the resonant frequency on it to this actually done for now, in the key scale is just gonna add some extra scaling too hard. This kind of frequencies working, you can see as I dragged it up, it's sort of shifting the scale off. Hamas frequency is being cut off. We're gonna leave. It sits of full, and then for lusty. This determines how hard you having a key on your body controller. Drag this up head harder. You getting more frequency content coming from the color filter travel all the way down. You're gonna pick up no velocity. We'll leave it at the middle and tweak this later. Been going over here? This is the envelope. So as you increase this, it's choosing how much off the envelope, which is actually this an envelope you would apply to the filter color frequency. So speaking of that, let's jump across to the envelope. Now the empty envelope. First off this against you choosing how lad the amplification on the envelopes gonna be. Ah, and in the same with of lusty man show, you can add a velocity, man. So how hard you hit? Your key on your keyboard is going to determine how much that gain opens up. But more importantly, this envelope is going to shape your base side. So you've got this a DSR, which stands for attack, decay, sustain and release. Going through these, there's no attack or very short attacks Time. As I drag this up, you can hear it fade in or collide in with the attack. Julie with the base and you're going to have a very short attack taken here that trans into the bass sound kick in, then pull the decay Very longer decay. You're gonna have a longer note and with a shorter take, a very short tonight, some way around here is gonna sound good and then sustains obviously gonna be the sustained off the night longer sustain. Sure, it's a sustained. And then you release. This is when you let go over key How long it's gonna take to silence it. Yeah, it's instant now here. If I had a key liquor, the key and it's still sustaining out because there's a longer release, says Organ, depend on the top of based on that you want. But I think generally the envelope is gonna look something like this. Short attack, a short release, a bit of decay, a bit of sustained watch as you push up this inflow parts going to increase the sort of scaling off this an envelope across the cut off it's gonna accentuated and reverse the shape of that envelope across the swelter. We'll leave it in the center and then you've also got another LFO here That's gonna low frequency modulator the cut off with a team by set to coordinates. Watch this. What that's doing is it's modulating this up, so if I just take that off, it's gonna go like this. But instead of you having to do that, the LFO is modulating it for you, and this is often heard in a lot of electronics. Don stars. Maybe I'll tweak this a bit later, but I just want no LFO because I was want this clean, very simple Baseline e Finally, you've got some effects to enhance your base. You can increase the depth. So some sort of chorus population, that's quite knows, just giving some extra eternal differences to the sound change the color of it. And they dropped that. That gives you a rundown off the premises. Now, I've got this drum loop over here and over this I just want a program in a very simple baseline. So here is the drumbeat. Cool. Very simple. Now let's darling the bass sound. What do you wanting issue? Cut off a lot of the high end. Maybe a little bit more so you can actually see over here The man that you using. So this is about a 500 hertz filter cut off. Maybe add a little bit of a notch. Let's check if we boost the envelope a little bit, you can hear as I slide between notes, the holder notes, and then another one. Is this point aumento Glad actually wanna turn it off with this number over here and this is set to Lagardere mode so you can either have Lagardere's only one no place at a time or re trigger mode. There's gonna re trigger from the beginning. I'll even say to look artist. There's no clashing of notes, so that sound. Okay. Now let's just tweak this. Flushed him out. Yeah, is a slight bit of a click of a chicken Here. Five increases attack that will get rid of their click. That's something. Okay, I think we can pull the cut off, man. Got a very slight amounts. Are the invalid? Maybe. Let's increase the decay. Let's increase this attack very slightly. Now be quiet, not sister. Add some several states of frequency. Just add some extra land interest in hands of space sound. Let's add some modulation. Changed the color and some traffic. There we go. That's quite a good, simple bass sound. Let's check it within context. Are the sleep just doing some tweaking here to the parameters increased envelope? And how about some LFO modulation, foster timing and maybe some pulse with modulation? Let's see if this works to maybe more trump. Show me of the modulation and more sub. So there you go. That's how to build up a very simple but solid baseline that you could use across a multitude of different styles. ID may be removed. This LFO I was just having some fun with that and remove the pulse width modulation. Having the with all the way up is actually quite mass, giving some extra danced. Eat to the sound. If you're just thing that they send out, just dragged us down you and for some extra with. Really, it's enough detail to your base. So that's how to use this mojito instrument to boot up some of your own unique bass sounds . Tiffany pull the full to turn off down. So you in the base region and you cutting out any of that high in detail. That's really just gonna clash with other things and then tweak some of these other premises to fine tune that bass sound that you want in your song. 4. Layering Synths with the Multi Instrument: now an important part of any san design is the art of layering. Sounds together to create biggest sounds from the past themselves. So, for example, taking two cents and layering name together to create a bigger sense. It's as simple as that. But now, in Studio One, you can really create some very interesting multi lead instruments using this new multi instrument track of it. Here in this video, let me show you how you can use this to build up your own unique layered sand aside instruments. So first off, take the new multi instruments under here under instruments and just drag it to a new area to create a new multi instrument. Then, from this, you can choose the instruments that you wanna has within this container. First, I'm just gonna load up an instance of mojito. And if I play here Ah, there's the default man. He's a sound and they just quickly doll in a base odd like I showed you in the previous video. Change it to a square wave form, change the with. Maybe it's, um, effects. Maybe increased the cut off. Oops. They regard a simple quick based on, not is add some extra instruments. I can click here again. It allows me to choose an instrument. And this time let's go for the motto that brings up the default interface. I was going to close it. And as you can see now, you've got the mojito instrument and in the mata and when I play on my keyboard, you've got the two instruments playing together on each instrument. You've got your channel strip, so I could go into the mojito, pull the volume down and let them together from a volume level. Also, I can bypass any instruments and turn it off if you need to. And if our go in and record a money part Now there's one many parts. But this may be part is triggering both these instruments that are has within this multi instruments. So you get an idea of where you can go with this. You can even take this further on each instrument. You can create your own insert effects. Maybe on the mojito. I want to add a week you so good on here, go for the pro que cut out the high end and maybe do a low mid frequency boost. I'm just quickly just dialing in something here and then on the Mata. Let's add a different e que. This time we're gonna kind of the learning detail and you have high frequency boost. Maybe at one more picture this time, let's go for a chorus, maybe go for the double. So you've got the bass part in the mojito synth. And in both together, let in this multi instrument take off that course for now, you could maybe even pan them two different sides. So that Marty and mojito over here, the listening on headphones. You're really here, The mysterious sprayed on these two instruments. I'll put them back to the center. Now, as you can see, these are being split up by the sort of chain of here You can see the changes down, and then it splits. And on this chain, you can add a notes effect. I'm at AARP JSA, but that's going to both instruments. I can change the reading, maybe add the LPGA Tour here. So is the single notes going to the mojito in the single notes are passing through the Arpege ater being processed by that and then going to the martyrs, try different Patton and place them courts, and you can even split this up even further. So let's add a another instrument. I'm gonna add the presence, and for this I want to load up a Rhodes keyboard. It's closed this instruments interface and go back to the other window. Don't add the roads keyboard. I'll go for this roads full vintage. You know Bob Foster Mojito, the appreciator in the my pheasant. So you've got this turning everything back on. Now watch this. You can split up how everything's going. If I drag this year, it's splitting up the signal change, even war. So good. The mojito going here. Then there's a splitter, and the splitter is then splitting it up into the Montas, Um, and the presence. So I could, for example, add a different note effect, maybe a cord over here, the quarters passing records all the way through to all the instruments. But maybe I don't want the cord going to the base so I can sit there bare. Then maybe I want to add a repeater just on the roads and adjusting each of their volumes. Trust in panning just to really make things interesting. Maybe have more repeats, they say more steps and scale, they repeat shape. And remember, we're playing chords so and this is whole from one instrument. So you can see can you actually get quite drastic with the settings that you've got? And obviously, when you click on each item within this multi change, you've got the settings to change over here so I could go in here and change their page later, Then go here and add some effects to each instrument's Now. Another thing to point out is that you can also change the range or key range done here. This is also strange ranger. Maybe you want the base to play across the full range of keys, but the martyr only for a specific range and in the presence even higher up. So you got your base and that's playing the martyr synth. But then, if you play the bass higher up, you couldn't get the presence instruments up to check that at. I'm just playing octaves on sea and noticed the different types of tonal qualities I'm getting from all the different instruments being triggered. And obviously which can also do is once you've built up the most instrument that she liked using. You can always go in and save it will stole the presets so you can record it later and other projects. So that's how to use this multi instrument to build up your own unique layered instruments . This one was just a very simple and when we took a simple base, then we add the mata sent in the presence, then added some different note if it's across and split them to different instruments. But you can really go quite crazy by taking it even further by adding extra inserts and sends to each instrument and then editing and adjusting the premises within each object. 5. Creating your Own Sampled Instruments: in this video. I want to show you how you can create your own sampled instruments. And then in the following videos office, I'll show you around the interface off the sample instruments and what other options you have to further process and immature sampled instruments. I'm going to be using the mojito sound again. This is an idiot. Off that base sound. We created just a few videos before, so I want to use this mojito instruments and bands down a part of instruments and then pull this into a samba on this Instruments on Adam, Any note so that we've got some money, no data spans down. I can simply do this biologist painting in a midi region, then going in there and just making notes. And I want to make this on C three. So I'm just gonna grab the pencil again and make an Earth Day on C three, and I want that to be a length of a bar. I'll just drag that out. So then we got this, and without the looping, it'll play like this. Now I want to bounce this down to a new audio file. I can right click on this and go band selection. We'll use the shortcut command Be so it makes an audio waveform for me over here. Off that note. Don't be too much about the clicker name. We'll fix it up, then only creates a new instrument track. And on hia own ad the sample one instruments. So this is the symbol instrument that you get with Studio One. This is someone X'd. Now I want to pull this audio file into the sample. I could just simply drag it from my arrangement here. All I can go to add samples and never gate to a file that I want to include in my projects . I'm just gonna drag sense, simplest thing, City said as the audio file in and you can see under samples the audio files that have been added into the sampler. But Defoe, the roots is set to see three, but it's extended the range. So now if I play c three a place that notes. But if I play down on the keyboard is pitching it down and up, you can hear that go up. That note is very short. So basically the principle behind a sampler engineers is when you pull an audio file in as you shifted down and purchase, actually stretching it longer to accommodate for their pitch fluctuation and lock was going up. It's shortening, the note says, compressing it. That's why when you playing higher up, you got a very short note, me playing further down. You've got a very long note, and this is basically just how samplers have works for decades Now this principle has just being applied to software samplers. But suffering samplers have taken it to another level and have added different types are functionality. And that's what we could be looking at in these fee videos. The way that the file has played can also be changed. So this is the trigger mode for normal. It plays the notes, but as soon as I let go of the key on my keyboard stops the playback. Now the other option is one shot. I hit the key, but it played throughout the whole note. Now this works really well with drum sounds. We just want to hit the key once, and it plays the length authority a sample, then the other option is Tuggle. Now, with this, what this does is I can hit it once it starts to play back, and I can hit it again to stop the playback. Now this week's really well if you've added a very long sampling here, maybe you've got something like a sustained chord. You can trigger it and then stop it when you don't want to play anymore. So those are the three most. I'm gonna leave it set to normal. And then I can also reverse a sample. If I wanted Teoh. So watch that play it as I playback. It's reversing their playback. God asked of it. Now, if you pull the audio end and the levels would load, you can normalize it. You can see that increases the level. Just quite nice is to give you that extra gain if you need be. And then, like I said, you've got the reeds and in the range, not at this range. If you go across to the mapping area, you can see it. Maps crush here, so that's changing the low notes Issa read night they with the Dhaka ble and in the courage we'll get a bit into more of the mapping in the next video. Then there's also looping points, So currently it doesn't loop. But if I sit to a loop mode, let's say sustained. I've got these left and right Lou pillow cases. So watch now is a playback, not loops between that section. And as I let go, it stops. And that's just sustaining between me and sample One is pretty clever as you drag. It's actually finding the zero crossing points off the audio. Now the reason for this is if you want to create a smooth, looping section, gonna find that zero crossing point. If I zoom in here, you'll see what I mean as a drag Each time it's finding that Syria Crossing Point just makes for smoother transitions between sounds. If I increase this cross fade section is just gonna make a smoother loop between them, and you could just drag this around to find tune high one that to sound. You can also change how it's working. So now when I let go, it plays off the release off that sad. And then finally, I actually like this mode here. Ping pong Watch now in this loop air, what happens Zona Ping pong between those left and right sections. Very handy try this out with some really long sampled sounds that you pulled into your sampler just loops between the two and ping pongs between the left and rotten works really well, then obviously you consider to follow the song tempo. If you've got a specific Timbo and maybe the sample track sounds like it's out of time, just click this and force that sample and specifically the loo points to follow the tempo of the song. Then you've also got the start and end points so I can change way. I want that start to be. Maybe I don't actually want that initial attack. I just want somewhere else and maybe I want the in shorts or a swell. I'm pretty happy with the whole sample sound, so I'll just track that in so distracted in now with this, I just used one sample and it's reached to a Reekie and then extended the range. If you wanted to, you could get more complex and add a different audio sample for each key to have more diversity and complexity to example instruments, for example, this was just on C three. If I had to copy this across UN meets it and make it on T D on two d three and in bands that down to new selection. So here I've got C three and have got D three. Then open that sampler. I could drag the sample in, so I've got two symbols, and then you can sit these two different ranges. So for this that's gonna be on C three. Let's go to the mapping, and we want that only to be on C three. Stay in this one. I want this to be on the three and sit the range accordingly. So now there's two samples and it's just go to the track. Make sure it's armed. That's triggering C three. And in this mystery gang, D three are slated. Each note to a specific sample now. The reason you might want to do this? You might want to capture the human performance of attract more specifically like a drum where maybe you wanna hit the snare a couple of times and grab different samples and then hit the kick a couple of times and have different samples that then you can map these old two different notes and have different samples, triggering them. So just lying to get more complex. With your sampling in this instrument, you might also find, for example, I can instruct this when you go higher up that it starts sounding not quite accurate. Then you might want to. Then you might want to bounce down a new notes at a high region and then pull that in here and map that across a range, so decide how you want to work with this. Personally, I actually didn't mind just having this one sample and increasing the whole range, which is the simplest way to work. And I've got my whole face along the whole keyboard. So that's how to pull an audio file into a sampler and map it to arrange. And then we just looked at some of the properties with hard. The audio file is played back and how you can create some loops elections. Next up, I'm gonna focus more on the samples area here and show you how you can SLUss a and audio beats and map it across your sampler catch in the next video 6. Slicing Up Beats: Welcome back Now in this video, let's continue where we left off in the last video. We re talking about the sample one x t and how we could use the slices functionality. So over here I've got a beat that I've pulled in to my studio one project. This is just an apple leap that I have on my system and it's a beats at 100 bpm I'm just played back with now. I like that. Be like the drum sounds, but I want more control over it on a programme my own beat. But have the 10 lt off the drums from the sleep. So in here, I've got a sample one x t instrument and I want to add a sample. So I'm gonna take this and drag the sin. I've got the sample here if I just play back and that's met to see three. Now watch this. I can right click on here and I can say create slices. What this is going to do is detect every transient heads in the audio file or beats or loop and map itude its own individual sample or SLUss. Now you might I see exactly what's happened over here, but let me scroll over to the top here. This has slashed it at that Beats of a day B two. Is this next transience and so on, As you see. So now if I just look yeah, that's meant to see three. If I play that, then I can pay the next one and playing through all those samples. So now what I can do is I can program my own Tremblay using the samples. So now what I would do is find a kick hat ensnare. So I've got Machicura. That's quite cool for snare and in here Now, that's quite cool for a hats. Anything I'd like to do is maybe change the in time for this one. I contract this in. As you can see, I can go in and find she knees and the heads and the heads. Let's take a look here. So there we got it. We got a kick and a hat. Let's program in sort of kick and half pattern first, and then we'll put in some snaps. I'm just gonna create a leap section, meet that and Abel the Metro name and just sit up a pre counts off two bars and then this record something in. Obviously, it's just fix the clintonization or timing of that and turn off the click listening again found that these old just a bit too early. So we've got something like this, and then perhaps that it's recorded it and obviously fix the quantum ization of those notes . So just going back to what we had this was the initial Drumlin theme, and then we pull that into the sampler, mapped it two different notes on the sampling instrument and then programmed in our own beat. So that's how the slashing functionality works within the sample. One. It's quite easy just to pull in an audio file and then to create Slash is for all the different transients. And as you saw, you could go in and tweak them. Two. Lacking. For example, With this kick, I found that it was too long and I could just bring that in time in a lot of flexibility with us, but really cuts down the editing time off, creating a quick sample instrument from a drum Lee. Now, in the next video, let's start exploring the restless interface, looking at the different envelopes and processing that can be applied to your sample instruments. Catching the next video 7. Processing your Sampled Instruments: welcome back in this video on expand upon the sample on X t and show you how I can process the samples that you pull into this instrument. Starting off. I've just got this. My tie instruments over here. It's quite a rich, complex sounds that's gonna work great pulling that into the sampler and on the money notes . I've just gotta playing octaves. So c three and C four and have extended it out over. Quite willing. This is what it sounds like. So I'm just gonna bounce that selection, got it there, and then I'm going to create a new instrument track. And on this, I'm gonna pull the sample one. This just renamed that sample of one X t. So we know what we doing. And then I'm just gonna simply drag the sound onto his instrument. It's now when I play it, I've got that play back off that sample just uneaten things up. I'm just going to normalize the levels and then let's create a loop selection. So I'll choose. Sustained. And then let's choose where we want this to leap. I'm just looking at maybe some of the bigger transience over here and just add some cross fade between the two. So you got this, Maybe drag it around here, so you gotta biggest selection, but little work for demonstration purposes. Now it's look hiking process the sample that we pulled in. First off, you gotta pitch in flip so you can picture it all the way down. Really Works world going to create some really deep ambient pieces and you can pick it up. Obviously, that's a bit loud. You can find tune. It works really well, if you just want to offset the training about from the original chilling and then you got the picture envelope. So these are idiots are so you can change the attack, decay, sustainer and lease. So if I increase the attack time, it's going to pitch up with a slow attack. So I'm gonna increase the attack, increase the pitch and increase the envelopes that envelopes being applied to the pitch transposition reverse it the other way, change the attack, have a short of sustained, and you can see how this shapes that pitch shifting. So this is going to go in the reverse direction down yet And this and the increased direction. So pitching, death pitching up. You get the idea. I'm just going to reset all those premises. Then we've got a filter envelope. So this is like a cuddle. Falter. If I play this note, I could cut off the Haase and then add a reason Peak. Likewise, I can shape the envelope for the filter in Reverse it. So you really got control on shaping the sound with these modules and the envelopes. That's why I liked doing this complex sound with the martyr synth so that with the filter all the way open, you've got a rich sound and you can filter out the frequencies that you don't want. Then there's an empty envelope. So this is sounding quite light so I can actually drop the gain on it, change the panning and like the other two sections, you've got your envelope. The difference with the empty envelope is that you don't apply the envelope. That envelope is shaping the EMP, so I want to slow attack all. I want a very slow sustain or a long release as I let go. Still playing out that notes jumping back to the fault. I didn't actually go over the section of the bottom here. These are just three extra parameters that helped give some extra eternal, shaping tear falter. So with this, you can give some drop, add some extra punch, which will sharpen the transients on the sand. And this key in is going to key in the note that you're playing in in comparison to where the cut of full trees. And then over here you can choose the different shape off the cut of falter. So these are different slopes. You got your low boss band parts in high pass so I can flip it around to a hard pass. Try the band past 12 Nash letter so they all different shapes to how the filter cuts off the frequencies by default. It was low past 24 nights. Zero falter. Now let's look at the LFO So the L. A foe's air low frequency oscillator. This uses a very low frequency that can modulate the other parameters you can see on each one. You've got an LFO doll there largely to apply of the LFO to that parameter. First off, looking at default, I'm just gonna drop the cut off and on this I can sit a rate that in hurts or I can sink it to an interval value off the project to listen there at quarter notes, and then this is a delay. You'll see how this works in a bit. So starting off with the cut off I've played with at any elevate maybe increase. I cut off, then apply telephone booth rate. Now watch. When I add a delay, the sun comes in and then delays for a bit and then kicks in. If alibi, you can change the shape of the L A vote. Maybe once a triangle way form. And that's just a telephone. The filter. You could apply the LFO on the empty envelope or even both them reverse the direction. So definitely some great sternal shaping with these filters and using the Oliver. And then, obviously you could just bop us any section by clicking this button here. So I'm gonna leave the L A vote or, for now, going down to your effects sections. You can add some modulation effects in the form off course, Flandreau and fazer. There's really with nasty a delay as I let go the night you can hear the repeats thin. Is Areva hearing the tail of that river and is even a second section of fix. Now these are pretty interesting trinkets at this is a gate effect, so it creates a gated step sequencer, change intervals or even jump for some process and change the mounts off the gate that's applied, Then shape it with an e que maybe only want the high content detail. Add some distortion with different tops off the social mates. And finally, you can use a panna effects that's panning around the steer. A field at quarter notes. So there you go. That's giving you a quick run. Three off the different modules that are available in the sample. One. To process you audio. As you can see, you can take it quite fall from pitching kind of falters in Globes L A. Foes through to the different effects. Marshall sections some very cool stuff, So test this out taken instrument that using in Studio one, bands down a selection of the sound, pull it into sample one and then start testing out some of these modules and how they can process your sound even further. 8. Using a Multi Oscillator: Now let's get into a bit of synthesis and heart works with oscillators and hard. You can modulate and process the sound. I'm going to be using the Marta's son to demonstrate this, as is quite a complex instrument. And by narrowing down what's available, you're gonna get a very good understanding on how synthesis weeks. This is just the default patch on instruments volume down slightly, and it's quite a bit good on you. So we only show us hiking narrow things down to get a bit understanding on how synthesis works. So summing up this instrument you've got three are Slater's to our Slater's a noise us later been a full cessation, some Ella foes and also some envelopes to the right of this and then effects and modulation . Now let's turn everything off. Anyone used us later. One. Some in a bar boss us later to the noise. Us later bypassed the l A. Foes the filter this character falter. Turn off any effects and on this modulation section I'm gonna get to it. But later, But I just want to turn everything off here as well, so just selecting so just selecting nothing there so that We've really got nothing going on with anything on this instruments. So starting over from scratch. We've got us later. One and you can choose away form that this instrument is playing. This is the Solway form. This is the sun, this is a triangle. And then this is the square way for eyes lose down active so you can hear the difference Square triangle. So I m in Sahn, Let's work with the sun. First off, you can set the octave range going lower. It's quite some be. And in going up, jumping up actives, it's even at 16. Then you can use the semi doll to doll between a pitch down by 11 semi turns and up by 11 Symington's or smaller values with the fine Xining during 100 cents one way and 100 since the other way you can set the level. You could also set the spread so that's spreading across the steer. A field you can hear here. It's very modern, and here it spread across lifting rot can really hear it with some headphones. You can add a sub us later to this oscillator, so it's increasing the sub frequencies, and if to hear that and then obviously panning it round in the sterile field. Now I want to jump across to the forces. This is your kind of faltered like you saw with sample one introducing the high frequencies . If I got up on the sun wave, I can full to the that maybe has changed to a different way form going for a soul, cutting off that full to frequency. You can see it. A resident, our and then like you saw sample one. You've got drive and some punch. You can change the shape off the full time, Theo shoes that fall to shape, which is the low past 12 db letter. And in character is just another way to totally shape your sound going through some of these process. Ah, so just think of it as another sort of filtering e que It doesn't give you much details of them just choosing the preset and then applying the sound. Then you've got your elbows. So you got LFO one and you consider rates. Obviously, this is not modulated anything. It's not set to do anything. So to do this, you need to go down to your modulation area here and I want to show you how you can use LFO one to modulate the full to cut off. So this is the rate. But I wanted to sink to the tempo. Said it to quarter notes being down here. I want lfo one to modulate the full to cut off and this determines the amount. Reverse the changes speed, change the default way. So that's using the other for and how to use the modulation section to modulate different parameters and, as you can see, got quite a selection of things. Can you use your mud will and cc controllers to do some of the editing off the parameters And in the destinations there's quite a few you can assign here I think you get that deal in the general just of high to do that. Now let me show you how to work with a multi oss later synth So with Marta, we enable us later to you can choose a different way form But firstly stood enough that Lavoe increased the cut off way we do a son away form Change the level So this is us later to at some sub and the first us later maybe find she name. There's you different. Getting more richer sound. Yeah, it's just with on to us. Laters. Adding some noise, uh, changing the color. Maybe, Let's know, finance change the level, Just want that very subtle before ending with some slap noise. And then with the l A vote pulled on me cut off. And you can take it even further by using the's extra envelopes that you have. Your you can draw in different shapes with these end lobes. So in the last video, we saw attack, decay sustained release. And that's basically the same that you're getting with these shapes. Here is the attack. This is the sustained. As you can see, you've got the decay and you've got the release time. You just got this extra dial here, which is the delay. So you basically just moving down the shape of the envelope and then in your modulation, you can assign these envelopes to modulate other parameters within yourself. So, looking at that, you can see the complex tee off using a multi oscillator instrument like this. What I just wanted to do is narrow everything down to you so you can hear the most basic form off an US later using away form and in Heiken build it up with the other modules to build up a complex sound on. From this, you'll start appreciating the other presets when you jump for them. So, for example, let's go to a party patch and choose this blade. Bross sounds quite simple, but when you look at it using a multi loss later, a filter is using some Ella foes and some envelope shapes. And look how complex this whole modulation matrix is here. Over here, you've got envelope to using a voice velocity and modulating the filter cut off You got L. A for one, changing up the pitch on us later one and so forth. So, as you could see, it can get quite complex. So as you jumping through presets, just do what I've done over here. You let up the patch and then just take a look around and see what might be happening with the different modules and the modulation matrix with the instruments. And through this you'll get a really better understanding off synthesis. Now, I know this was a very quick run. Three. This was just to give you a very basic understanding off synthesis and hot works. Throughout this course, I'll be showing you other examples off synthesis. She'll get a much better understanding chicken the next video. 9. Creating an Evolving Pad Sound with Synthesis: So let's expand on what we learned in the last video on Marta and the multi oscillator set up off the scent and build up our own evolving style pad sound through the form of synthesis available on this plug in. I've just lived up the default patch and like we did in the last video, I'm just gonna go and it's able everything else and build it up from scratch. So turn off all the oscillators, the filters, l A foes and any effects just her nose off and on the modulation. I'm just going to also bypass oldies. So starting over the US later one and thinking about what sound we want to go for. Let's dial in Assad. So this is going to be a nice, smooth, long pad. And when I mean evolving our meaning, we're going be adding some forms off modulation and to create this changing effect on Assad . So starting off with all state of one, I see that the noise are serious. Lansana, turn it off and this is what we've got with the Stevo patch that son patches signing with harsh So I'm no switch over to a sine wave and it's dropped the octave range, sitting at 16 sounds nuts. Then let's add some sub just airing some extra low and and then spread out that son, That sounds good. Now it's go. It's all state A to that's using the square wave form. It doesn't sound too bad. I'm gonna change the level and let's check out this pulse with modulation. What happens when we change this at some? Some oscillation. Just giving some extra low content detail. Then what really works Glasses to have some noise in there. The level does need to be loud, so we can drop that for the character. How about a character saw? Listen here. Can you hear each time I play a chord heart. It's changing that character off the notes that sounded good there and then on to the Folta . Bring it all the way up first and then cutting out some frequencies. Some residents playing higher up. That's okay. Now let's add some modulation, and this would be in the film off NFL one, and this is going to modulate the kind of frequency so going to the modulation matrix over here, let's say they say LFO one is changing be full to cut off, increase the race, and it could be very slow instrument standing. But, lads, I'm just gonna drop the volume. It's quite now, does it? Very nice, then for LFO two this. I want to modulate the reason in style, so LFO two is going to change. Be cut off. Resonance sending quite knows, and that's just using very low rates. I couldn't sink it up to the project, but just to be slightly different, I'm believe it off the sinking certain but more random when actually uses in a track, then onto the effects. Let's add some chorus to thicken it up. Maybe so. Those rates down even more. Some delay to pen around the story of field. You can hear the tale, and in some river, that river really makes it way more ambience. Never Any trick is to increase the amount of voices. So you've got this on increase the voices just to make it sound a bit richer and in the quality, add too high or extreme. Add some extra content detail to the resolution of the sound, and you're different here in the high frequency range. Listening back, I could actually pull this kind of done even done more. Very nice. Another thing you could do to make it even more evolving is to increase the attack on the envelopes. I don't think envelope twos assigns anything. So it's just this EMP in flip. Very nuts. So there you go, building up your own sort of evolving pad sound Adapted from the default patch motto synth and that complacency over this drumbeat that I've got you. So here's the drumbeat, and I'm just gonna drop that level and in place coming over. So that gives you good idea of how you can pulled up your own patches by getting rid of all the modules and in building up from scratch, doing this way, you learning about synthesis and you creating your own sounds. So go in there and try it out again and build up your own son and see where it takes you. 10. Sidechaining Synths: now in this video, let's take a look at how you can create that classic pumping side chaining effects on your instruments. So this is sort of the same scent that we had in the last video. I've just done some. I've just done some tweaks to some of the premises, so it sounds like this and I'm gonna justice pants on. But I'm just saying, the steps that you take it creates a pumping side chaining effect on the strike. Over here. I've got a four to the floor kick, and we're going to be using this as a source for Assad training. Now I have to admit the process off sitting upside Chain compression is a bit different than other dear W's, but once you've done once, it'll make sense. It will be easier to do in the future. So first off on this might hasn't let's add a compressor, set up some sittings. We've got a ratio pull. The threshold may be done. I know we're not hearing anything but was going to set some dressed, Exiting said. We can hear when it kicks him, then on the compressor. He needs an able to side chain, say click the side chain button over here, and then it enables the external side chain. Without that, you see that there's no side chain selected. You can use a full tous an e que area for a side chain. But that's not really what we're going for in this video summer. Turn it off and enable it here. So it's looking for an external source being jumping over to the kick track that be using as the source on here, go to the send section and then down the side chains and choose the side chain that you want to use. So it's going to be the side chain that's enabled our that compressor. Now, if we play back now, if we play back, you're going to hear that side chaining. But before I show anything, I just want to meet that kick. You can hear the side chaining going over to compressor changing some Viet second release sittings. I quite like the slow attack and short release can see the action of the side chain being input there so far, bypass that compressor. This is it. With at any side chaining. I'm gonna meet the kick as well, then enable the compressor and kick. Now that kick is just a source. I don't know if you want to hear it, so how do we get rid of that? Are put off the kick so you hear the side chaining occurring. It's using the kick as a source, but you're not hearing it. So basically, the kick is acting like a dummy clip. To do that. Instead, off having the kick using the sins, you need to change the output to the side chain. So let's buy parts that send and over here choose the side chain and she's that. So now when I play back, are you hearing that side chaining? But not the kick? Now the recent you might want to do this is maybe if you've got a different rhythm. So, for example, on this track here, I've got a drumbeat that isn't playing a four to the floor kick. This is what it sounds like, so this might ascent is going to be using the four to the floor kick over here as I side chaining input source, and it's going to deck every beads, but it's going to be playing over a different drum. Patton it'll sound like this, so it really works well. You can take just a very bland pad, sound or sound with a long sustained and add a different source as a side chain and use that to duck. This and thoughts create a sort of pumping effect and works really well to push the song along and give and instruments some ocean, so trying out new productions and seaq wicks. 11. Using Reverse Sounds: in this video on a shaken use reverse effects for transitions in your songs. I'm gonna be using the same song for the demonstration as the one that I used in the side chaining since song and over here have added some extra tracks. I've added a bass part that comes in at Bar 24 plus some studio drums. So it sounds like this for better transition. That's gonna happen over here at 25 on a show you how I can use reverse sounds. It's creates a bit of buildup and swell into that section. And what works particularly well is a sort of crash swell sound. So that's we've got this swelling up off the crash symbol, and then it plays the crash and fades out and gives a really nice, smooth transition to changes in your composition. Full this. I want to use an instance off the impact instruments so our creates an instrument track. Then I will add impact X Tian sets in your own a load up a drum kits. I'm gonna scroll down and I want something that's got a crash. It's in it now. The studio work patch over here has a crash on C two. So I'm gonna use that. I'm going to create a MIDI part. I can simply just draw it in If I double click this and go inside. This is showing the drum editor and I can see on seed to is the crash. And I want that crash to hit on bar 25. So I will draw a note in over there. They got that Your crash. It's so what you'll do is you'll hear this. So got the crash. But the best way to work with the swell and the hit is when you're working with an audio part. So I'm gonna slick this part right Click on it to bring up the contextual menu, and I'm gonna bounce the selection down to an audio track. Now I've got my crash swell over here. I can rename the track just to make things but more care. So that's crash. I'm gonna say forward now on to create the reverse swell part off their crash. Well, so I'm gonna un meet this part again on the impact extra instruments, and I'm gonna go into the patch. And with the crash well, you can see I can click here Reverse. Now, when I play this back, it's gonna play from the end toe the start Exactly what I'm looking for. Now what I'm gonna do is the same thing I'm going to right click on this part and band sit down to a selection so they I've got the reverse. But to make a smooth transition from the reverse into the Ford hits, you need to actually pull us back. So if I zoom in, you've got this. You got the swell and into the crash. It's. And just to make things clear, it's also renamed this. Do you have a Crash River into crash food? Now, to really see things a bit more clearly, I'm gonna increase thes track hearts and I'm gonna this able snapping. If you look here, you can see the highest transient they So I'm going to move that in, and I want to sort of these two tracks to hear what it sounds like. Let's cut off some of these in bits and just smooth out the transition between the two. I'm going to do a slot fading and take a listen again. What you'll probably find will work better is decreasing the volume on the swell. Yeah, I'm a decrease it too bad. Minus seven db. And this crash Ford track is still a little bit loud compared to the mix. Something drop of bar minus four db So we've got this. It's still not selling completely smooth. So let's really fun itchiness. I'm gonna zoom up a bit more. And what if we also fade that in and get those transients exactly on there? That's something pretty good to smooth it out even more. Let's add some reverb on to these tracks. Live on this track. Let's send it to the River Channel. If you take a look here, I've got a reverse effect off the opening instance inserted on if x one. So add some reverb, send it to affects one and do the same full the Ford track. They We got this maybe a bit less on the board crash, so doesn't sound like much now. But now let's take a listen within the context off the song. Very nice if I just had to meet those parts, this sort of sound like before atyou can hear with at their transition, you don't really notice the difference so much going from one section to the next. But when you pull those back in Theo very crazy, sort of like tension and release. As you hear that swell, it feels like something's about to change. And then you have that hit and gives you that release off the attention that was built up by the swell. Now that's is using a crash interfacing it, but you can also use other types of sounds. But also it's pretty well is to use a piano key. I'm going to take the route of the song, which is in C and just play, too. Active notes on sea on a piano. I'm gonna add an instrument track, pull on the presence instruments on tits. Just pull this down So it's on the way being load up a piano patch so under piano's let's add piano hard on actual hard piano notes, and I want to record in two notes. So I've got see playing here on the low active and in the high active. So let's record this end Perfect. I'll just take the quant ization of those notes. Everything's on there and, like we did with the other one I'm first going to take this and make the Ford part. And in the reverse part with the previous tracks, I did that using the impact instrument to reverse the sound. Now for this when we first create the Ford one with the bounce to selection. So there's the Ford piano. Then I can duplicate this just right, clicking and duplicating the track, cupping that part down there often. Right click on this part Goto audio and reverse the audio. All use Qanyare. There we go. The is the reverse piano, and there's the four. Piano renamed them accordingly, and it zoom upon these tracks to hear how they sound going from one into the other. She can hear there's that slot gap because you've got that initial transition off the piano . So what you want to do is actually takes snapping off. Pull this NC, getting that first transient there being a slot fade in between. And if you look at this one, actually, what I'm going to do to see this more clearly is to zoom up even more, and there it is, right over there. So at Bar 25 we want both transitions to be happening said. They is that transition there, and then this one and there and if a dots. So we've got this saying pretty close and like we did with the crash, Well, let's just send the tracks to the River. Channel does need so much on the Ford, but a little bit more on the reverse and also with the levels. Let's drop this down to minus five and the piano note to minus three. Just that's not too loud in the mix. So now let's take a listen to both the piano and the crash. Well, actually, before I start playback, they're piano is quite a long held note of the nd. So let's pull this in. If you just eyeing the SATs, the crash well, starting somewhere here. So maybe do the same with the piano notes. Just line it up. And with the end of the crash, well, it's right about there, matched up as much as we can with the piano notes. Then we've got this very nice. So as I showed you before, let's hear with add anything going on starting at about 21 giving a bit of a longer run up and listening three thats really feel like much is changing, and when you pull those back in, let's hear the impact now, Theo. Very cool. So just a great weights. Create some, build up some tension and in the release and the hits when you play the Ford Parts said, If any, try these out in your productions, especially where this is a change in the arrangement. For example, where is going from a verse to chorus section? Add in a crash swell or some big hits they reverse the sound around, matched the two together at a slap it of reverb just to blame them in together and hear how that creates some extra interest in your productions when there's a change in the arrangements.