Sylenth Synthesizer - Complete Sylenth Course

1. 1: Hey, guys, And welcome to the silence complete course. In this course, I'm going to show you how to quickly get to know the software synthesizer called Silent One from Leonard Digital. We'll cover everything from how to download silence and get a free trial, as well as getting the full version off Silom for very cheap to creating very well known sounds, most of going deep into the scent itself, without the use of too much words that may not be familiar to you, says this is a beginner course. I will also show you different examples of big producers out there who has been using silence in their productions has remain sound with only built in presets. With this course, you will get from knowing nothing about silence to create your own sounds and find professional sounds. I'll also share my secrets to where I find the best presets that a lot off the big guys out there is using. You'll also get a bonus of free sample packs with a library that is exclusive for you. 10 students offer free. That library also contains silent presets. You'll get free access to them lifetime with the purchase off this course. Alright, guys. So I hope you're as excited as I am to dive into the course and start getting creative with silence. Okay, so see you in the course. 2. Downloading Sylenth: Alright guys. So let's take a look at Silence Website, which is Leonard digital dot com. Solana Digital ISS, The manufacturer off silent one plug in. So here you can see. Um, the latest version as of now when I'm recording is oppression 3.0 for O and ah, yeah, Silent is updating its plugging pretty often, so that is very nice. Okay, so if you don't own silent one, I want to try it out for let's say this course you can go to download here and you can download sided one for both windows and for Mac. So you can see here the limitations off the demo version is that them a reminder sample will be heard about every 60 seconds. So when you play around with silent or if you're not playing, just have it on in your digital audio workstation, it will play a strange kind of sample. So you should not use this demo version on your professional projects. It's also says half of the modulation options have been disabled. Saving and exporting presets has been the same as well, and it's limited to 1 28 presets and only one skin before discourse the demo version is going to be fine, so you can also actually use the demo version in your productions. But you should not, like, bounce out your final project with the demo version of Silent, because it's going to make this strange noises every 60 seconds. Yeah, and then you can also purchase silence off course. And it's 1 39 euros. So around $150 U. S. Dollars, some around there. And ah, it was being price here before on it's actually gone cheaper. So that's nice. But the very nice thing and the the thing that I did myself is that you can actually pay silent per month basis so you can take this, um 1 39 and divide that onto 13 months, where actually is going to be 14 months there, and it's going to be 9 95 every month. And let's say that you want to try Seiler for only one month, and then you will decide if you want to have it or not that you can actually pay just, um, around 10 11 U. S. Dollars to use this for one month, and then you can just, um, cancel your PayPal subscription and that will actually make a silent not working the month after. So instead of just downloading the demo here, you can actually purchase silent one full silent from for only 10 euros and then just try it out for one month. So that is very nice and very good to know. And then if you keep like, you want to keep the silent plug in, it could just have this payment plan on so there will actually cost you around 11 12 our intent 12 U. S. Dollars it gets here. The full version includes all available formats. So it's going to be VSD aux and is going to work on both 32 bit systems and 64 bit systems and vi ste ISS for its for PC and Mac. So V S T is both PC and Mac or the unit is Mac only and exits protests only basically full functionality without limitations. So that's good. No nagging sounds more than 2500 presets, and it's not that this is just some random presets. Ah, a lot of these presets has been used in big tracks. I know for fact that Avicii for instance, used a lot of different presets that came with silent for Hiss. Um, yeah, first full productions that is being played in on the radio so many times. He also have seven different skin, so you can choose how silent will look and you can actually activate Silent for two computers. So, as I said, for only 10 euros a month and you can use it for two computers so you can actually share this with a friend and you, you can split the costs between you and your friend, and that is going to make you just five years per month, which is very valuable for such an incredible nice synth. And there's so many synth presets out there for silent. That's incredible. You can you can create so many sounds they confined, so maney presets it confined, adjust them and you can basically create like huge ADM or Elektronik music dance music tracks with only silence. Yeah, and you will also get three additional presets and some banks whenever available and free updates, of course. Okay, so let's take a look at specifications, so you do not have to have, like an incredible computer for silent to work. Um, as you can see, the system requirements are pretty low here. So Inter Pension three, which is way overdue. Now, once, when I megabytes of France the new Mac pro, for instance have want to an eight gigabyte of friends. So, um yeah, Windows 2000 XP Vista or Mac OS 10 which is, um, pretty bare minimum nowadays. And V S t A. You are a X compatible house software, So basically all digital audio workstations work with silent. Then you have all of the features here, and we're going to cover most of them in this course. Okay, guys. So as soon as you have downloaded the silence or purchase it and download it and install it on your system, just hop on over to the next section. We will start to cover the overview off silent interface. So let's see you in the next lecture. 3. Introduction To Sylenth: Hi. My name is Martin Sanson. I'm a music producer and welcome to the Leonard Digital Silent Masterclass. In these sessions, I'm gonna take you through using this popular synth in every detail. We're going to talk about our Each control works on what the saint is capable off, so we'll be able to create your own unique sounds in this lecture. We're going to look at the scent in a more overview aspect, as well as looking at how different sounds are stored and can be located using the built in browser. Silent uses subjective synthesis techniques to create it sounds. Oh, subjective since uses noise generators to create the initial sounds and then, by sending that sign signal through a selector, oscillator away form off. Various shapes can be sculpted after that, this intakes that combined sound and runs it through filters to take away any unwanted parts off the sound. This sound can also be sent through different effects before hitting the output as well as modulation, which is automatic changing off different synth para meters. Over time, I'm going to show you more in detail off this process later on. In this course, let's go through the overall user interface and how silent it's laid out 4. Overview Of The Synth: silence user interface is split up into four different main sections. Each section has a different color to differentiate between them. The first section contains two oscillators and a filter, and it's called apart section. This is part a part B. Silent has two of these parts, which is part A and part B. Only one of these sections can be shown at a time. Part A has a brown background color, and party has a green yellow color. The colors can be different, depending on if you have any skins or anything that makes the looks off silent, different and default. You can select between these two parts by clicking on the balance Part A and part B. They're both enabled in, even if silent only shows one or the other. It can also solo one off the parts by clicking on solar bottom. Both part A and part B has to oscillators that generates the way form you select so part A . Here you have first oscillator of party and second oscillator off part A. Then you have part B and part piece oscillators. You can select the way for him up each oscillator by clicking here and choosing whatever oscillator you need by clicking here and choosing whatever way form you need. Each are capable off generating up to eight voices in stereo, which makes it kept bull off, generating up to 32 voices per note. There's also filter for part A and part B, so each pair off oscillators can be filtered separately. So here's the filter for filter for part B and for part A. The second section is the global filter control, and this modifies the overall sound and their respective filters with one filter and not and on the mixer panel, you can control each part separate as well. So here is mixer for part A, and here's makes her for part B. This is just volumes here. We also have a main volume meter. The third section on the lower end contains all off the modulation controls, along with envelope controls, L. A Focus and other controls. Modulation is when one up its signal effects. Another. The fourth section is the LCD screen that you can see here in the middle section and contains the master effects. And the browser menu here can also find controls for opening and saving presets. As you can see, we have a preset loaded up right now with controls to switch between the presets. As you can see, there are numbers between one and four. This is because the preset banks are always split up in four sections off each section containing maximum off 128 presets, which allows up to 512 presets in one bank to choose a preset so you can choose one off the sub banks, want to four and then, by clicking on the title off the preset, you will have a list showing for you with all the presets that the bank or the sub bag contains. Cool. Just click the desired preset in the list. Open it if you just want to browse through the different presets in the bank, just used up and down arrows to the right of the preset name. The final part off the signal also happens in the LCD screen, and all of the's effects are global effects. He will have effects which are arpeggio eater, distortion, facer, chorus e que delay, reverb and compressor. You can also load and or save a pre set or a preset bank. And to do this, click on the menu button and select what you want to load or save. You can also copy presets on paste presets. You can also initialize presets and that will make silence go to it's default state. There's also a randomized preset, which will make silent randomize all off the different mobs and settings, which can give you some different unique sounds. Some quick tips Here you can change the controls more finally, by holding down shift key while adjusting a knob, and by that you can make much more smaller changes for a setting. So let's say that I have a knob here. I'm gonna do some modifications on the cut off knob here, and as soon as I hold shift, we're making the changes on the knob. They can see that there is much more finally setting here, then just getting off the shift. But, um, on the windows, that would be the control key. If you want some knob to go to its default state, just hold command or control on Windows to and just press the knob to get it to his default state. Let's see you in the next lecture 5. Playing With Sylenth - Part 1: All right, guys, welcome back to the course. So in this lecture, I'm gonna just start to create some sounds. We're gonna look through some different factor bank presets. I'm also gonna go and import different presets and show you how to modify them just so you can creates your unique sounds. I don't think I mean, you can create your own sounds from scratch, like you can go to menu here, go to preset press clear, and they will give you just a pure initial preset. That was sound like this. And this is silence, like default sound. You can go ahead from here and start to creating your own sound from scratch by going through different off the so waves here and different doctors, you can create a different modulations here, Go through that life owes you can leading stuff to sort oohs and and you can do a lot of things here. I'm not going to go through all of these sections in silent because I want to focus on creating sounds here and taking a preset and modifying that so that would be our unique sound. This is a lot quicker and you will be inspired to create some different sounds like a lot quicker here, because you I mean, of course, you can have an idea for something that you're looking after and going after. So let's say that you haven't and they're forced different saw base, and you can just go ahead and experiments from scratch. But I seen a lot of producers, including myself, that takes a preset and modifies it to to being your own son. And that could be a lot more different than the preset sound that you found initially. So I'm gonna just go through the's factor bank presets. So silence comes with six factor, bank Priestess said. As you can see here, and you can just choose one of those and all of those should have four some banks here. So it's just a matter off, basically flipping through all of these presets here and they are categorized so you can see that this is a narp Arpege ater and should sound something like this. You, as you can see their signal going here, So when are is on, you will have different playing notes here. So as against this notice transposed 12 up. So let's say we're gonna go and take this down to zero. No, no. Let's say we're gonna take every single Notre to zero so you can hear the difference. So what, this is this is just a pattern off notes being played. A silent has page one and page two. So you can per surrounded like that so you can have you can have up to 16 different notes being played looped. So if I go and do like this zero, there's still something some different parameters here. So as you can see hold that will make this note a bit longer than all of the other notes that doesn't have the whole loan and transpose Yeah, well, make the notes go up or down and velocity will make. Yeah, it's basically how hard that transient is. So if you have everything on the same velocity, that would just make up your pressing signal on the same note. Let's say that I'm doing something very random like this. We're just taking off the hold completely here. Yes, you can hear that that just short notes being played here in a pattern, you can also just different modes hearing the AARP so it can make the AARP just go up. You can have it go downwards all the time. You can have it going both there. Is there a different mode? Syriac and choose? Um, yeah. A lot of them are not so really logical. You can just try them because depending on whatever settings you have here and velocity settings, October Time Gate, this mode will act differently depending on the settings that you have. So the different possibilities here are pretty much endless when you're using their progenitor. But I'm not gonna go and explain exactly every single parameter in the arpeggio here. But this is how you do it with our pigeon. I think that you should go in, experiment with this stuff and just open up a preset that that you really like, and then see what what that preset has so like if we open up, this are appear t e, I can see that the timing is 1 16 note. So let's say that you want it to be 1 32 notes that should be doubled. The speed. Yeah, it seems to be that like that and 1/8 should be half off the speed off the original sound and stuff like that. You know, that should should be it's You should see how this is built up here. So this is two notes going in the original note that you pressing and then one octave up for two notes than holding one single note a bit longer. And then, yeah, So there's a lot of different stuff you can do here and experiment with, So I'm just going to go and find a nice synth sound a lead sound here. So let's choose something like this. I guess I'm gonna modify this sound a bit. First of all, I'm gonna take off the cut off since I can't really hear this the synth itself, this and sound. I think this sound has too much too much release on it. So let's put it down a bit. Have the part be here as well. I'm gonna take off the delay and reverb effects that is included inside of here. I think that tack iss way too short. So let's make it a bit longer here. That will make the sound because as you can hear before when we had the attack very short, that will make the transient to be very, very loud. So like almost popping out on bond that could make our ears bleed basically. So let's take that tack a bit higher. Here is much smoother now in transit, but I think that it's bit too high. So let's choose another way form here. Let's go for a saw on Let's try something else here in the Part B section. 6. Playing With Sylenth - Part 2: If you want to play your synth sound and courts, you should go and higher up this polyphony here. So let's take it a bit higher that will make silent produce more voices. So that will allow you to create more complicated chord progressions with the since on. Okay, so we have the d to Nam here. If we set everything on zero here that will make our sin sound sounding very and just like the original wave form sound here. So if we put on some D tune, this oscillator isn't even enable here, so we can just ignore that in this preset, this oscillator is enabled. They could see that by the voices because this this also later here, has eight voices on and this has zero. So as soon as the synth or the oscillator here has zero voices, that means it doesn't produce any sound. So when it's on zero, it doesn't produce any sound. And as soon as we go to one that will create one voice from this oscillator and because this is creating eight voices, this would be a lot more powerful, big and still put this oscillator down in volume and having this on full, and these two can be sounding very much the same. If you have the same settings on, let's put on some detail on on these oscillators here. You you You can really hear the difference when making when having the d to on on on this oscillator be to here. If there's also some some settings here in the fine tuning section, it's just a little bit. But that makes that saw or that way form. It's, ah, post way for Mexican. See, that makes that post way from to be a bit off from all of the other oscillators here. So that will make the sound to be not just us a straight way for him, but just a bit bit off. And yet that creates a lot more cooler sound. So if you have it set on zero like this e compared to just a little bit so fine tuning, yeah, it sounds different. And that is why all of these little small tweaks makes up for a big difference in the sound overall. So when creating a different euro sound or modifying your son, you don't have to go all crazy and put this to to mano I don't know are Yeah, get crazy on every knob. You should just go and find two and everything and make this sound to be different by doing that, otherwise you can screw up to somebody. But in music, you know, that could be a good thing to ah, by destroying the sound, you can come up with a difference. Totally different new sound. Then that's a anybody or yeah, anybody has even created S O that is Yeah, you can go crazy And and this is the really fun part with creating since sounds especially in silent because it sounds really good and it sounds very analog for being a They just don't plug in scent so that it's really nice. Let's try something else. Let's try a bass sound here. Sounds bit like electric guitar here, electric bass. And it's a lot off off going on here. So this is the basic sin sound that is created. It's as against see, it's 1/4 pulls here on. This isn't on, but as you can see, this is just one voice, because a bass sound should be really clean sounding. You don't want too many voices and too many. Yeah, too many harmonies in the sound to be sounding in the base. You know, you just want to hear feel the base rather than really like here the base with a lot of different harmonies and stuff. That is why most of the base on Not all, because there are some different basins that you want to hear in the middle kind off frequency spectrum. But in this for these basis, you basically just wanted to be like you want to more feel the base. So that is why polyphony said to one and just one voice and voice Is this if you don't know , voices in silent is basically is harmonies for the sound. So if you have a lot of voices, then you're sound will have a lot off harmonies. Andi Yeah, that is creating a lot off sounds. Basically, let's see what we can do with this bass sound here. Yeah, so it's just one oscillator enable here, So let's put on another else later. And since we have two voices here, we have to put it on police in here to know I have a sign way, but I think we gonna go for something like, Yeah, let's put on a noise and put this way back. - You way basically made this base just a bit more dirty by putting on some noise here and yeah, cutting off some decay here on making the sustained 20 So it's only the decay, the decay. Yeah, whatever you said on the K here, that iss the volume signal. So it's very short here, and attack is very short too. So you get it like a stubby. It kind of based on here. You can also go and modify the original based on here. So let's go for, Ah, quarter poles. Yeah, that was what we had before. Let's go for a saw. 7. Oscillators - Part 1: in this section off the course, we're going to look at the creation off sound in silence. So let's take a look at it and let's start creating some sounds. So first of all, let's take silent into its initial state. So just so we have, ah, totally clean presets on and and so we can start to work from something. So let's go to preset and choose clear. So now when I press a key on my keyboard, I will get just a single saw sound from sudden. So the standard white way form in silence iss sawtooth. And this is just because dance music is built on up from so sounds. And this is because there are a lot of different harmonics in salt tooth way forms. If he wants, you can choose another way for him. So if you click on the way form here on oscillator a one or whatever, also later there ISS before now, when we clear the preset, only this oscillator is enabled. So if you click here on away form will get a list so you can choose from sine wave. So trying a post half post quarter post tree saw and noise So sine wave, soul trying o half post quarter poles, tree saw and noise. The next thing you can select here is the amount of voices that you want to have on this single us later and way form. You can do that by drinking it up or down. You can really hear the difference between one voice on a choices. You can drag the volume up and down off this us later. Bye. Using this number. Ah, Then you can choose and select whatever amount off face you want to have on the sound. This works only if you have the re trick on and enabled Next to this face no beer. You will have the D tune control. This allows The active voice is off this oscillator to drift apart from the centre frequencies on the left hand side. From the way form selector, you have invert selector year. This would change this soft tooth to a reverse so tooth and you will want to use this when you're using several oscillators in combination with several voices. So we have some different pitch controls here. The 1st 1 is active. Then you have note Ah, you can also find pitch this oscillator and salt. Ah, Then you have the detail knob which will de tune the salt tooth form. Then we have steering knob. So this is how much Steri want from this single oscillator to outputs. So this is mono and this will make your single more and more stereo until it's full wide. When it's total open here, then we have the pan on here. This will pan the single right or left. Then we have the re trig and retrieve ISS. If you want silence to retreat to start this salt tooth or whatever way form you have. If you wanted to start from the beginning, then like from the beginning, Every time you press a single notes, then you want to have retried gone. But if you have it off, that will make silent continuing playing from wherever silence left when it was playing that note from this oscillator. So you see away form starts from here and goes like this or in this case, the soft form does it. So if you have retrieved on, that will make the way from to start from here each time you press a note If you have it off that will make like, let's say you start to play a note and it goes through here. Then when you praying a note again, it will start from here and so on and so forth. Then we have a very important section here. It's the A D S R stands for attack, decay, sustain and release. The first control here is that tack and this sets the time it takes to start the signal. So if attack is on the lower end here, this will make the signal to start immediately. If you have this said on a higher amount, this will have the signal to be quiet in the beginning. And as soon as we move this higher and higher this say no, we will take a time to actually starts to play. 8. Oscillators - Part 2: uh uh, And this can also soften up sounds. So the transient will not be, like, really prominent. The decay is the amount of time it takes to hit the sustained level and a sustained sets how much the output level should be on. So let's say that we have decay here. Ah, and sustain here. Uh, so if you have a decay on up, like on the maximum level here, this will have the signal to stay on the maximum level all the time because it isn't depending on the sustain anymore. But if you have the k on like here, this will make the signal to go up first. I think this. Then we hit the decay. So the chaos on the middle and because this depends on this one, and this is set to minimum right now. So this will be just a pure like ending here, because this is on the lower end here. So our signal, we go up first, then it will go to this level, and it will fade to this level as you can hear there. So if you want to signal to be a maximum all the time, then you can have the decay set to the lower and because this is depending on this one. So if there isn't any thing to go from here, it's on zero. Then it will ignore this and sustain us to maximum so doubt, but will be maximum all the time. And then we have released time. So release is whenever you want to signal to stop from going from sustain. So let's say that you have sustained on maximum and release on zero. This will make the signal to go cut off immediately when you're released. Ah, signal or release the key on your media keyboard because it's just stopping releases on zero, then the signal is going to zero immediately. If you have some release time, the signal will fade out even when you're releasing your key like that. So now when we going through the oscillator, a one how this works, we can go over and make some sounds with all of the four oscillators that we have. So let's say that we have a sore here with four voices. Then we choose another soul with four voices like that, I'm gonna put this Achter one minus one, and this 20 Let's put the sustain 20 and decay a bit up. Let's go to the part, be here and to also later be one has put out plus one hair, four voices. We're gonna choose the salty with here too. Same thing here. Four voices saw too. And let's say we're going to minus one here too as well. Let's put some D tune just by doing that, we got a pretty good sound and pretty good sound for being electronic music. So this, like super sauce sound that were just created, is really being used in electronic music nowadays. So by just doing that, we got a like a pluck or a base or a very short sound. But if you just making it like this, put the decay on maximum sustained on maximum. Put some release on, do the same thing on this part as well. Then we get a more off a synth way. We can also put some notes here, so if we just choose to pitch it by notes, then we could get a much more different some. So I hope you're getting a lot off this oscillator knowledge here from this video. So I think I suggest you should just play around with this oscillators a bit now and just play around with the K and the envelopes, basically the ideal sore. Ah, play around with some active notes here, and when you're done with that, just hop onto the next lecture. 9. LFOs: All right. So let's take a look at the L A. Focus here in silence. So what's on the left? So fo is basically on automation off on effect. So, as you can see here, wave if we take this sign here that is going to make the difference in this way forms form for that effect. So let's say that we have this sound here, something like that. And then we put pitch A and B here. Let's put this to maximum here, Yes, but the gain on full and this means that the gain or the volume off that LFO is set to maximum. So I'm holding down the key there and you can really hear that it's actually doing the pitch off A and B in the form off that way for So let's take a saw, for instance, that is going to pay, take the pitch up and then it's going to take it down and then up again. So let's take a listen to it like that. So the rate is the speed that this ah NFL will work. Um, just take a very fast rate here. You Let's take, for instance, something very strange sample and hold. So there's a lot of things you can do with the LFO. And it's not only pitch, but you can do different stuff like volume or it's a cut off. We don't have any count off off right now on the sound here, but you can do a lot of different effects with the L A focus. It can also do an NFO off the LFO as well. So if you have different effects, said on this L A phone, you can actually make an effect off that and the force so you can do a lot of different stuff with the NFL. But the basic thing here is that LFO is like an automation often effect, and the rate defines how faster this to gain defines how much off the effect should be applied on the signal that is basically to find tune this effect a bit. So ah, if you let's say that you're using the pitch, am be here, it can set off set to be a bit lower, orbit a bit higher, depending on let's say if you have it on the center here and you feel that it's not kind of in tune or it's just just a bit out of tune. They can use the offset to fix that in like you can do it in a negative or positive, depending on what you want to achieve. Control the LFO in the modulator envelope here. So let's say that we want attack off this fo effect not being affected in the beginning off the signal. So just higher up this attack here, they can choose the fo one rate because we have it in elephant one and you can choose the speed off this one s. So let's say that we have the speed on here. They can actually control the attack off the speed here so you can be very precise with this different settings in silence. This is very small, different suspect. It's still do it. All right, so now we're going to try something else. We're going to go to Miscellaneous here, so here can choose sources that will control one off the effects or one off the l. A. Focus. So what we're gonna do here is to take this NFO effect and we want to Let's say that we want to control the Mount Modulation wheel here. So the modulation wheel is this wheel here, and some keyboards do have the modulation well on them as well. So begin control one effect with the modulation wheel. So let's go. And to stop in a 41 rate, for instance. And now we can choose. You can actually control the speed off this plug in or off this effect here. So if we put this NFL rate knob bit up here, you can choose Basically what to do with this knob is to define the maximum rate that this modulation will will control. So let's take it up like that for now. Let's play it, play it a bit, and I'm going to play with the modulation Well as well. Way so let's take it up a bit. Now let's do the same thing again to basically just controlling the speed off the LFO one with the modulation wheel. Alright, guys. So see you in the next lecture 10. Filters: in this lecture, we're going to look at the silence filters. A filter is very important in the scent, since it filters out unnecessary frequencies and sounds from the sound itself. There are different filters, such as low pass filters, which cuts out the high frequencies, and high pass filters, which cuts out the low frequencies. Most off the filters has a knob, or parameter called resonance, which controls the steepness off the curb off the frequency spectrum that the filter cuts out. So let's take a look off the filters in silence. There are three different filters or filter sections in silence. The first is filter A, which effects the part a section in silent here. Then, if we switch to part B, there is filter be here and that is affecting the part B section here. Then we have a master filter control that will filter all the first single here in this section, filter A and filter B. There is a little diagram here that will show you how the single is rooted right now. So for now, part A and part B. So all of the oscillators are routed through this filter against set this to just be rooted . So you have just part a going through the filter A you can choose both part am be to be routed through this filter, or you can just put it on no input. And that will just bypass the filter overall, to let put part A and B to this filter, you can choose whatever filter type you want by clicking here. We're gonna choose high pass filter. For now, we're gonna choose a low pass filter for now. So let's play some single here. As you can see, filter B is not affected by filter A. So whatever setting you have on filter B will not effect the section or the settings that you have here. So if we have this on part B, that will make the part B not being filtered in filter A. So we're gonna just put no input, don't filter be here and let's hear what this filter is doing for a single right now. Since we have this 50 type set on low pass, that will make just Lewin passing. When when you move the cut off, not here, you can see as soon as I move this knob you can see the amounts off signal being passed in the else the screen here, and this is the same for almost every control in science. So when you move something here, you will see actual value in the LCD screen here and now you can set the steepness off the curve off the frequency. Here, you can set either 12 this belt by active or 24 desperate for knocked up. Let's hear the difference between them. As you can hear, the filter is not passing through as much as many harmonics as when if you have the 12 db on here, so this is a lot steeper filter. If you have on 24 then we have the resonance knob. And this is just setting the Q value off this cut off here. And just so you can see visually what is thus, it's easier to open up Aneke you here to show you. So if you have, let's say, have it like this. This is the Q value. So as you can see here, the Q Value is forcing the filter to go up just when the attack is here and then it's going down. So let's say that you have a very steep curve. 24 db Like this. This will go up very much and then we'll drop. But let's say that you have on 12. He would say the signal is much smoother here and is not less steep here in the queue value as well. So it's better for me to just play it so we can hear the difference here. Way you Oh, then we have the driving up and this will give us some new harmonics added on. It's very similar to the analog since that are out there and silent is pretty unique for this function Here. Let's hear how this sounds wear. This will make the Senate more. It will dirty up the sound of it. And this is the way the old analog since worked. So the drive on the analog since actually sounded not as maybe not really good, but it sounded pleasant for some reason. So I really like the sound off analog since and yeah, if we put a lot of it, then it will sound bad. But I think some around here, this sound will sound some a lot more analog ish, way too much this because we use in the cut off and the residents here, Theo. Then we have another primary care here called Key Track, and this is just the reason it's and the same way as this one. But this follows the key. So let's say that we have our e que here and put on some analyzer just so we can see where the signal is when you're playing a key here is for this key. Here's a single for this key and here's the single for this key. So what key track does is that it makes this Q signal here. Follow on whatever key you're playing. So let's say that you play young, thinks key. Then it would probably go to around here and let's say no, that I play this key. Then we'll adjust around here, and this is just so it sounds good for the ears and not add, because this resonance knob can sound really nasty if you're just putting in on hi here way . So this are the basic settings off the filters in silence, and it's very basic filtering in silent. It's nothing too complicated going on here, so I think you should just play around with the filters in and combining different sounds with the filters and trying out part am part B filters and see whatever difference they make. If you're having a set on this and they say this and then you can also try and ah, yeah, just used this cut off on the master filter control to see what difference it does. So let's see you in the next lecture. 11. Modulation - Part 1: Okay, Welcome back to the silent course. So this module, we're going to take a look at modulation, so let's dive into silent. So silent one offers a wide variation off modulations, and all of them are found here in the upper section from the keyboard here that you find in science and the modulation section are split it in three different sections. Here. The 1st 1 is the envelopes. As you can see here, the next one are the elephants, and the 3rd 1 are that miscellaneous here. But first, let's take a look at the amplitude envelope here. So, as you can see, there's four controllers here. It's called a D s are and what is a DSR? So the controller from a TSR envelope is specified using four parameters. So they attacked time here A is the time taken for the initial run up off level from zero to peak, beginning when the key is first pressed. So to get a better understanding, I'm going to open up another plug in here a logic plug in. So that's sear. If ago, Teoh retro synth on this has this sent has nothing to do with silent. I'm just going to show you the basic understanding off a DSR. So as you can see here, here we have the attack. So if we put on higher attack, then you will see that the signal takes some time to start. So if I have a big attack, you can hear in the silent sound. So let's first Ah, clear this here. Now let's play a sound here Waken here that the attack is starting immediately. So as soon as I put this higher, it's going to do it the same way as this does here. So you can see that the attack is actually going to fade in a bit. We need to do it on a part A here. So now it takes some time for the signal to get to its maximum starting single the next one , dear, is that the k time? And it's the time taken for the subsequent run down from the attack level to the disseminated sustained level. So, um or, um graphic explaining here is that the decay time is the time it takes from the attack. You can see here that taxing all to come to maximum until this one s we um define is this dot and sustain is how much off that signal should be. So let's say that we have a very low sustain and the K time is very short. Then we'll get a sound that's coming up like this then, because the decay time is very short, then is going to drop immediately, and the sustained time is short as well. So it's going to drop to the lowest volume here or no volume. Then we have the release time. So the release time, actually R stands for release, which is the are here. So the release time is the time taken for the level to decay from the sustained level 20 after the key is pressed. So basically, this is the last point off the signal. So released time, or how much off the release here? Well, actually define how long the time would take for this signal from the cane here to get to zero. So attack is how long it takes to the single to reach its maximum. Then we have decay, which is how much of the signal would be after it reaches its maximum and sustain is how long it will take to reach this point to the Cape Point and release is how long it would take to drop the same all from the Cape Point here to zero. So to recap a attack, wait a long sustain. So to stain is actually how long there notes it is going to be. So if I press and hold the key now, it's going to play all the time because the sustained times where I let's lower this you can't hear anymore because I don't have any sustained on sustain zero. And the signal would not even go up if I put out a K up just a little bit here on Let's have sustained on zero don't make a very short see now and then is dropping not immediately to a low volume because and thats where the cable let's say that will have the decay and sustain on high, which is going to be like this, and then we take a release time up. Then you will see that the time off, the signal dropping to its minimum 12. Modulation - Part 2: is going to be longer, longer, longer. So if I have a short release time, as soon as I release my key, then it will drop to zero like this. So if I put the release time higher and then play and then just release my key, they will hear it will fade. Let's do it very high. Ah, and it will drop to we get this release to zero or lower to release. So now when you know what a D s are thus that's the same thing for the envelopes here. So the modulation envelope is basically you will choose whatever effect you want here, and then you can choose how much of that effect you want to apply on the signal so you can define how much of attack you want that to be. So you can let's say that you only want defect to apply on. Let's say a very short attack were very long attack, and then you have a short attack in your signal that is going to make the first bid of the signal not affected. And then it's going to be affected like that. You can also so So this is basically the same thing or it is the same thing as the A d s are. But for this is going to before the signal that you're creating here, and this is going to be for the defined effect that you choose here. So let's say that we choose pitch a MB and then we will play around obits here on, uh, because you can get very strange results with this modulation antelope here. But this is I feel like this is more of trial and error to do this, depending on what you want to do. If you just want to, like, play around with the signal and sounds, then it's just a matter of playing around with a. D. S are basically, though, copy and paste the different settings. So let's say that we have a setting like this and want to competence and paste it into this envelope to here. They can do it like that. You can also initialize it like this as well, so you can choose different effects. You can choose to effects per modulation envelope. Here you can have basically combine these different two effects with each other as well, and you can also have to off them, so you can have four effects being played at the same time. Here, try this. Imagination envelopes out a bit here, going to initialize them. And let's do, um, let's go for cut off a MP. Let's put it to Max here and now. I want it to be something. Yeah, let's put the decay up a bit so it just goes up quickly and goes down quickly. I also wanted to to fade away a bit, so I don't want it to interrupt like that. Let's play this and see what they get us. And because we want to use the cut off, we have to cut off too low here, and we want the filter type to be low pass here just so we can cut off the signal with the modulation and will appear all right. So let's try out with a pitch. I am be here as well, So let's do something like that. Put up a bit. Sounds pretty interesting, writes. That is a very nice effect for some BDM productions, so you can use it. I know it may not be the most musical thing you would hear in your whole life. But, um, I think it's very nice to just an experiment. You could just use the initial sound in silence, then just experiment with this. They will find that it's actually really funny to sit Ah, whole evening and just play around with this and come up with different sounds. So let's say that you're happy with a sound. You can just go with menu here, and she was preset, and it can save that preset, so it's very nice to have the priest it saved. They can also create the bank so you can save a preset load up a bank. You can, uh, which is a custom set off banks, or you actually choose the location here. But then you can load the bank. So let's say that, and that's to like this clear. You can actually clear all currently loaded presets. I don't want to do that because I have a lot of presets saved in my silent, but basically what you want to do here is to let's say that we have this sound here, and I want to say this sound in the bank here. So, um, let's save this like that, then you can go to the next one and this is in the bank. You can also rename the presets by going to the dark here. Then you can just do the same thing here. You can just save it like that. Let's say that I want to name this. Come on, my second presets like that, that's save it again. And now I can say my bank. So if I save the bank now, it will. I can just load the whole bank from Let's say that I have my custom location with banks. Then you will find that the bank in this list here. So if you click that bank, you will get all of the sounds that you have all of the presets that you have in the back. So let's say that you're creating I don't know, 34 d presets. You can save them all in the banks that can just browse around them with like this. You know there's a lot easier to do that instead of just having to go to preset load and load every preset if you want to play around with them, and you can also click this to get a list off different presets that you have saved in the bank so I can see this is my sick and presets. And let's say that I had 128 different own presets. It's a lot easier to just brown brush around them like this in the bank, So see you in the next lecture. 13. Pitch Bend, Legato, Portamento & Voices: Alright guys. So let's take a look at the remaining parts off Silence. So let's take a look at this part first. The 1st 1 you can see here is the bend range. So the bend rage is Hama. How many semi tones you want to bend with this knob here on with the pitchman na beer. So let's say if we play Ah Notre All right, let's get rid off the LFO. Ah, let's go down with the game like this. All right, So knows Try Teoh play around a bit with a pitchman here. So now the maximum value will be three semi tones up and the minimum value here will be three semi tones down. What I can do here. Let's say I want Teoh be able to pitch. Bend this to, um, octave up or active down. So let's take this 12 semi tones. So there's our one notes. You can do this all the way up to two actives or 2024 semi tones just like that and it would have our modulation wheel on. This is basically what you want to do with Ah yeah, you can basically do whatever you want with the modulation. Well s, um it is. If there is in this list here, then we have the keyboard. So the keyboard you can basically just play silent without having a physical keyboard. You can just click their notes here to take a listen, Silom. Then we'll have the port aumento. So Departamento is basically the glide between two different notes. So let's say that I playing this note here. Then immediately. If I press the next note, it will go to the next note immediately. If I put on some parlamento that would actually make a glide. But you want to put them llegado on for dots. Uh, so there's two different modes off this. It's an N and s. So what end us is that if we hold these notes So if I hold one note and went on holding, I'm switching to another note that will make the glide. But if I Let's say that I play one note and then drop it, then play another notes that will not make the glide. Let's take a listen to it, and I'm going to make the party mental very big now so you can hear it. That was me holding the case when I switched the different keys. Now I'm not going to hold it. I'm going to release it, then play the next key you can hear. There was no glide there. But if you put it on s, that will make the glide. Even if I release the key and same thing when I just hold the keys when I'm playing. So that is part aumento. Then we have the upper section here again See polyphony. That is how many voices you want silent to be able to play. So let's say that we want to play two notes at the same time. Now as we have three notes or three voices activated here in the polyphony in this case, Silent will let us play three notes at same time. Let's play something more pretty. You can see voices three or the maximum that you set here. And voices are how many voices that are playing right now. So if I press one key, that would be one voice. If I hold them to case, that would be two voices on. If I hold down three, there will be three voices. Obviously, if when I go for four that will not be able because polyphony set three at maximum. But you can take this polyphony here and put it all the way to 16. So now you can play 16 notes at the same time inside Silom. So if you want to make huge corporations, you always want this polyphony to be on the maximum here so I can play huge courts like this theme. I don't have the parts select here again. Choose between part A and part B on Silom. Then you have a solo. So again, so low, different parts. So if you want to solar apart eight, you can have it like that. And if you want to solo part B, you can have it like that as well. Think about in here is to have silent being sink on the same tempo as you have in your day . W. So if using logic or effort, studio able tone or other D. A. W's if you choose the sink on here than the L. A. Focus will sink with the temple as well as different effects that are temple based in silence will sink with um, with your d A W. If you put this off can be a random basically 14. Presets - Good Or Bad To Use?: Alright, guys. So in this video, I'm going to talk a bit about presets in silence. A lot of people tells you that you need to create your own presets. You need to tweak all of those knobs because that's going to make you unique or whatever. Um, I'm a huge fan off using presets. Um, I'm actually almost always using presets when I'm using silence. Um, most of the cases I just threw on a preset and modify it a bit. If I don't like how it sounds or if I want some more power on the in the synth or let's say that the bass sound I wanted to be more cut off. Then I just week it, and it gives me that result that I want. Anyway, of course, you can just go with an n it presets and you just clear out the preset with a clean sound, and then you're creating something very, very unique, and that is fine. And I mean, that is sometimes it's very fun to do as well. Um, but I I feel that silent has so much, so many priests out there that's getting your creative mind when you're producing So when you're browsing around through different presets and you find a sound that you really love , um, that sound that preset can actually get you motivated to create a full track based on that pre set, you know? So that's why it's very important to know that presets are totally okay to use. You can use them as they are. Ah, priests doesn't have any copyright on them or something like that. Um, it's just basically some. A preset is basically just a text document with different settings telling silent what to do on what? Not basically. So that's what a prison is. Okay, so I'm going to just show you some different big producers out there that has been using silence on and silence built in preset to use their whole track up on the presets. So, for instance, has go Teoh my Spotify here and ah, the chain smokers use a preset in silence in their single called roses. So let's take a listen to the main sent here, and then I'm going to show you on silent. What precept that is. So, um, that main sense is actually this key icicles presets can find it. There and, um, it sounds like if they create the same chords here as in that a song. Let's see here If I love to Piana role here, I go to to make this of its slower. Okay, so I tweak this sent a bit. I put it on e que like this just took off all of the base here. So based for you, consider zero and put on some trouble here and took off the delay. And this is the synth sound that I think change smokers use Sounds very similar, right? So what they did is basically took this preset Put on some e que and color today. Then we also have another track that I know for sure that a preset is just thrown in there . Let's go back to Spotify, Miss Put on Abby Cheese, Super Love. This isn't a bit older track from rhe that main synthesis made in silence. So let's see what this sound is. It's in the third sub bank here, and it's called bright look. So let's take a listen Teoh this song compared to averages track the same one, right? So that is what I mean with using presets in silence. Use them. Don't care at them. Thing about what other says, Um, use presets and make awesome tracks. All right, see you in the next lecture. 15. Where To Get High Quality Presets: Okay, So in this video, I'm just going to show you quickly where I don't load my presets, my third party presets. And I know a lot of people uses the presets from that source. First, you can just access our website music dash product calm, and you can go to sample packs and they will find different SIA length presets. And this is basically my own sounds that I created from scratch. And I'm just sharing them with you. And because you're attending this course, you obviously get the sample packs for free or thes presets for free. It will off course, get all of the summer packs for free on this website. Um, by just watching the bonus video that we have in this course as well. But the source that I'm talking about is actually vandalism. Tash sounds that come. So here you can purchase different presets. And if you want professional sounding silent presets that you like, we know that big producers uses them all of the time, then go to this website because I know for a fact that a lot of difference big producers out there uses the presets from vandalism and not only that. But the most important thing, they sound really, really good. So Ah, and I recommend to choose the shocking sounds package that they use or that they sell here because it sounds very good. And it's Ah, good variation off sounds that its modern for the time right now. Okay, guys. So see you in the next lecture. 16. Create The Famous Supersaw Sound - Part 1: Alright, guys. So in this video, I'm going to show you how to create. Um since sound, that sounds a bit different. It's like nineties house Chicago Keys sound here. So what I'm going to do here is to take the preset and I'm going to clear it. So we have ah, initial preset here. So this is the sound that we have right now. So what we're gonna do is to put the voices up to eight on the escalator, a one and on the A two would do the same thing. We want to change the way form to a saw here, and we're gonna do the same thing with the part B. So we've way forms gonna be saw. An eight voice and same thing goes, Would it be too? You want to use a pulse wave? We want to lower the volume a bit because it's going to be louder as it is because I'm doubling the sounds four times here. So let's get back to the part eight. I'm going to make this up here and and a knocked if up and ate two. I'm going to take it on octo. It's good report. Be and put this on active up. Then let's get back to the part. A going to take off the re trigger here, and I'm going to put the d tune off this a bit up here. Let's do the same thing with a to put off the re trig and go with a D tune up. And the same thing with part B on both of these oscillators here. So d tune up and retrieved off. Let's go back to part A. I'm going to take this a to three notes up and take this Be 17 notes up. All right, so now I'm going to choose the filter type two Ah, low pass here and they're the same thing with part a so low past there. And from here we want to do the cut off A and B like this, But this Diallo a bit like that. But the they que up this sustained too low and ah, release a bit up as well. Let's take a look at the cut off. All right, so now let's work on the eq. You hear bits, - You know, this'll more like a regular pluck so you can take off this notes here. Just having everything, Every note setting set on zero. And now, if you take the polyphony up to 16 now, we have actually a super Sawyer play. This would accord, and now you will be the best ADM sounding deejay out there. What? So that is how you create basic since sounds and you can actually just go with the different notes here to get some difference. Very unique sounds from that. Alright, guys. So in the next picture, I'm going to teach you how to create a very basic deep house base. See you in the next lecture. 17. Create The Famous Supersaw Sound - Part 2: all right, So in this video, I'm going to show you how to create a very, very basic and simple but yet very effective based sound. It's a very nice kind of deep house sounding base, but I'm using this base sound for almost all of my tracks nowadays because it's so simple, but so effective. And that is the most important thing. When you're producing, you're music because that is going to make your mixing and mastering process a lot easier when you have elements, that is very simple. All right, so that's just clear the priests preset again here and what I'm going to do, first of all, is to just use the A one or so later here. So let's go with the pools away from pulse. And from here, you can just sculpture, filter, type and low pass. So now we have this going to lower the active to two octaves down like that. So we're gonna do now is to go to the sustained take it to the lowest here and put up the DK Uh huh. We want to stereo to be 20 So we have the base in mono and put devices to to Uh huh. We can also create one more oscillator here. So if we go to two voices here as well, let's put this to it's 1/4 poles. Let's say that we put something else like have pulse. Uh, so there's a lot of playing around with this, and as you can see, it's very, very simple to do this and silent. And that is what I love this plug in. You can get amazing sounds very easily, and they sound so analog. And it's pretty hard to get this kind of sounds with other. Since, um, for instance, I used logic pro here. And of course, you can create some similar sounds to this. But silent has some something in it that makes all of the sounds some very analog. And I think that's very the reason why it's so popular nowadays. Alright, guys. So that is it for this course. I hope to see you in one of my other music. Russian courses. All right, see you 18. Create Easy But Effective Bass & Pluck: all right, So in this video, I'm going to show you how to create a very, very basic and simple but yet very effective based sound. It's a very nice kind of deep house sounding base, but I'm using this base sound for almost all of my tracks nowadays because it's so simple, but so effective. And that is the most important thing. When you're producing, you're music because that is going to make your mixing and mastering process a lot easier when you have elements, that is very simple. All right, so that's just clear the priests preset again here and what I'm going to do, first of all, is to just use the A one or so later here. So let's go with the pools away from pulse. And from here, you can just sculpture, filter, type and low pass. So now we have this going to lower the active to two octaves down like that. So we're gonna do now is to go to the sustained take it to the lowest here and put up the DK Uh huh. We want to stereo to be 20 So we have the base in mono and put devices to to Uh huh. We can also create one more oscillator here. So if we go to two voices here as well, let's put this to it's 1/4 poles. Let's say that we put something else like have pulse. Uh, so there's a lot of playing around with this, and as you can see, it's very, very simple to do this and silent. And that is what I love this plug in. You can get amazing sounds very easily, and they sound so analog. And it's pretty hard to get this kind of sounds with other. Since, um, for instance, I used logic pro here. And of course, you can create some similar sounds to this. But silent has some something in it that makes all of the sounds some very analog. And I think that's very the reason why it's so popular nowadays. Alright, guys. So that is it for this course. I hope to see you in one of my other music. Russian courses. All right, see you