Transcripts
1. Overview Video - Pad Module: Hey, welcome to this module about creating advanced
pads on a synthesizer. We will create three brand new patches completely together, and I will also include them in the course
for you to download. Let's have a look
at what you will get in the first episode. We will start with a very
unique sounding dystopian pad, with a nice modulation on
every note that you play. And you will learn
why good patches don't always need
to be over complex. In the second episode, we will build bigger. This pad consists of two layers. The lower dark layer in the back playing a
continuous poles, and the bright harsh
layer in the front with our metallic character
and a huge reverb. Here you will learn about the benefits of designing
in separate layers. In the third and final episode, we will create a
wide cinematic pad which makes use of our
really cool time modulation, leading to another very
unique sound character. And you will learn
about the advantages of parallel FX processing. Are you up for this run? Load up your synth
and grab a drink. We have got some
sounds to create.
2. Brief introduction to pads: Hello and welcome to this advanced sound
design module about pets. Before we start, I would like to give you a little
brief introduction into what you can think of
when we talk about pets. They are closely related to ambient patches or to textures. Of course there's no
official definition, but from my experience
and all the patches I've built and heard from
other sound designers so far, there's quite a difference. I'm just picking something from my analog cyberpunk sound set. Now just to show you, if we take this lost facility patch and listen to what
it sounds like, this is what I would
call a texture. Could even make this
a little bit quieter. Of course, there's
this moving component here which you could
say is a pulse. There are patches that you
could categorize as pulses, so they have something that's posating but it's really gentle. Overall, this whole
thing here is creating a soundscape that sits in the back and creates
an atmosphere. It would be really hard with
this patch to play nodes. If I play nodes I can. But it's really
difficult for you to hear which nodes I played,
what intervals, right? It still creates more of
a background texture, and this is why this is
more of a texture pad. However, if you compare,
this pad is pretty good in itself, really thick. It's made to play most often single nodes because chords
will blow up the sound. But this is a pad, right? And we can play
this melodically, but it's hard to play
this harmonically, which means playing chords. If I play chords and you may be want to turn down your
speakers a little bit now, but if I play a chord here, right, instantly notice that
it started to clip here. You see this red bar pads usually aren't designed
to play chords. You can however, of
course, create soft, tiny, gentle pads where each node is not that strong so
that you can play chords. But usually they are
more designed to play melodic lines and
even that most often not so they really sound
good if you really go either holding down
one note like I do now, just enjoy the decay of
the pad and then you can play other notes. I think personally, pads are
more, they really shine. When you give each
little note that you play all the time to shine, because it's difficult
if they overlap, they easily add up to a huge fake sound that will easily consume your whole mix. They are more like some
single notes in the bag or for the intro out breakdown
for specific parts. This is how I use them and this is how we are going
to approach them. Just that as a brief
introduction so that you know what you can expect
from pads and how you could look at them. That being said, let's just start with a fresh episode in the next one,
for first patch.
3. Episode 1 - First Pad: Here we are. Hello
for the first patch, just start a new preset. I would like to, in the next two episodes we will work more with
a clear vision, like really setting goals
from the very beginning here. In this one, I would like to keep it a little bit
more open where we go. I just want to loosely say that let's create
something dark and top, Okay, We are not going to include so many things that will create high frequencies,
harsh frequencies. And especially in pigments. One needs to be
really careful with that because pigments has some harsh metallic sound
just the way it's designed, it can get pretty wild
pretty quick here. Let's start, first of all designing a little bit the core. Then we will just
try to freestyle a great idea of where to take this patch just
for this approach. The next one will be more with our vision
from the beginning. First of all, let's bring
down the cut off into the baseline we like baseline in a sense of where is the
default position here. Then increase the attack pad. Of course should not
start like this. It should have time to evolve, maybe not that much.
That's good I think. And then of course
increase the release. We really need to make sure
that this is playable. You want that if
you release a node that's volume fading out. So that you can
play multiple nodes and have some tails
and not being cut off. If we do this too short, then we have the problem that everything disappears instantly. You can do this
though if you want. This will leave more
room in your music. Right. If you have a
shorter release and you just have it the
way we just had, then it means that there
will be more space around your pads for your
other instruments to breathe. That's even not so bad to go for this release
because if reverb, the reverb will anyways create a tail and you won't hear
it decaying that much. For now we will just go
with a longer value. It's good to sort those
things out right in the beginning when you can hear them clearly rather than later. Of course, we will
probably go back and readjust because things change when we design
and then we need to figure this newly out. But for now, it's really good for the beginning to
have a clear point. Don't just freestyle
anything and then you have to clean
up half an hour, but rather really go
with things you like. Let's bring in the
sub oscillator, of course, one octave
lower than oscillator one. And while you must not
be the exact same, because it's supposed to be a little bit quieter
to add low end, we can make this really
brutal and gritty with the full square wave. This is really the strongest one you can get for a
sub oscillator. You can even get cleaner
if you want with trying. This is more
rumbling and this is gnarling' big difference
between these two. But I would like to go with
the really fat sound here. Fm synthesis. Let me check something. Sometimes there's a little
click clicking appearing. That's probably
because if you release the key somewhere here and it
starts again up your head, this difference in frequency. But that's not a problem yet. I think that won't be
really audible later. But if yes, we will figure
out a way to get rid of this. F M like I said, Pig Mans is wild when it
comes to harsh frequencies. This hear sounds
already a little bit hollow and I
can already hear in the reverb later how this
will create metallic tail. Oscillator tree
is the modulator. We could of course tune this
down one octave so it's a bit more gritty dark
and gentle modulation. By detuning, we get a little
bit of this movement here. I hope you're not
confused right now. Oscillator trees
are modulator here, we have chosen this modulator, it has no volumes, so we
can hear this oscillator. But whatever we change on this affect of course the way it modulates or
oscillator two at one since it's the modulator that's being fed
into the signal. Of course, if you
bring this up here, it will create different kinds of
modulations here. Now you can hear something
like a sequence. We're hearing this coming
in and going because the fine tune here is detuning them a
little bit from each other and adds the
movement that we can hear. They are a little
bit out of sync when it comes to the pitch. Now it's not even bad like I think. I'm not sure. I'm not sure, to be honest, if we use this then really tiny for a really slow modulation. Slow movement. Um, now what I'm thinking of is we can
either stay here in this range so we just have
more grittiness in low end, like continuously, or we modulate this **** and
have something like this. But I think we should
stay down here. We can maybe modulate
this a little bit just for some motion, but subtle so we don't really
this just that it's there. I think that's more clean
because if we do this, sometimes stumbling,
which can be cool, but we need to figure this out later with the Reb together. Because maybe the reap will
enhance this stumbling, like these bumpy moments. Or maybe it will
just work absolutely fine when it's in the
ambient tail of the work. I like that so far, this is creating a cool feeling. Noise is really almost
not audible here. But if we haven't even yet
set up or filter envelope, right, let's bring in the filter envelope
just a little bit. Make it a long attack.
Let's take something similar at 2.27 It's not a problem if
that's not exactly the same value like 2.2 is fine as well at 2.3 This is so tiny difference that
nobody is going to notice. But if you really want to take the exact same settings always, you can hold down control on your keyboard while
you move the *****. And then you will
have this increments, you can really make
every little second. Right now, of course we need
to increase the delay as well because as you see did just fall down quickly. We set this decay around a
similar value like to release. We have on the volume journey
of filter being closed, maybe even not so much, you can already hear
that it becomes to get roomy and hollow. Would you be careful with
this when we add reverb, I think this will get
really metallic. But. We can mess with that. Maybe before we add reverb, let's do something
like a chorus. And the decay, maybe we
can make the decay curve a little bit less steep. So it's not boom, falling off, but smoothly fades out can increase the release on
the volume a little bit more. So if you release a key, we have a little bit
more of a fade out. Because if it fades
out too quickly, we can't really enjoy the filter closing because this is
almost not audible anymore. So now we can determine
the rate of the chorus. So that's pretty quick. That's good. Now this is a wide sound. This sounds more like
in a closed room. Just as what you get visually, this is a good. This adds a little bit
of quirks in the back. If you hear this like we are getting is
a bit in the back. If we like that, we
can leave that in. This is something we
need to figure out with the reverb later or soon. And feedback simply is
making this effect. By I think this is the
time where we should dive into the reverb and see how
this all comes together. Because it all stands and
falls with the tail on a pad. Increase the size. No pre delay, high decay, maybe not that much. Double click resets this if you ever mess
with the values. This is filtering a
little bit out from the high frequencies
here of course, and damping does the same, but in a different way than
just applying a filter. You can see on the bottom
left corner down here, it says what this button does, It says attenuitates and shortens the decay
of high frequencies, which is basically
simulating objects in a room that catch a little
bit of the traveling. True. I think less feedback that we don't want to have a lot of this quirkness maybe make
this effect overall. Fewer. So that's pretty dark right now, so even the reverb is
pretty present, so I like that. So low nodes have really power
here on this patch, but it's still playable in
this frequency range here. I, as with real instruments, your pads don't need to
be playable everywhere. While our lead or our plug
patch should work pretty well in the whole
huge mid section as they are the leading
instruments of your composition. Just as the base, the pad have more specific
areas to shine. You really don't need to
make it playable from here up to here. Because now this node here, I feel personally, is
really not enjoyable. You could make this work, but then this would sound different. You need to decide where you want your pad to shine and then just
focus on that. Because otherwise
you will endlessly going back and forth and back and forth and make
everything work, except this is what your
patch is supposed to be. A smooth a pad that
shines everywhere and is somewhat diplomatic.
You can do that. It works. If you really do this from the beginning with
the clear vision to do so, then you wouldn't add
too much elements that are extreme on the
one or the other end. Generally, you just
feel comfortable making your patch for one purpose and
make it shine there and everything else is
not super important. If we say that this should
work around this area here, then we don't need to
bother if that sounds good, that that's completely fine. It's really fine because
just like in reality, if you look at the string
instruments, for instance, in an orchestra or the
brass instruments, they all cover different
ranges of octaves. And they all have
their sweet spots and strings or notes where you wouldn't like to
play them so much. And even though technology
gives us the ability to create a pad here that would work
basically in every node, Even if I look, I transpose no. Four times up, right? It's technically possible
to play that node, but it's not supposed to
sound good on this note. Just keep that in mind
when you create pads. And this is, by the way,
especially true for pads. Like I said, for leads
and other instruments, you maybe want to have
more playability. But even there, you can somewhat try to nail down four
octaves maybe that you like and don't spend too much attention to the
other areas because you know like the base will get the low end and you have other instruments for
the very high end. And your lead and your other instruments don't need to be perfect everywhere. But enough of this
philosophical view, let's spend attention
to our patch. Now, I'm playing
around all the time. First of all, maybe
I would like to introduce a little bit of drift. This will make it a little
bit more interesting because it randomizes
a little bit of our pitch for
every note we play. So now let's see if
we can add resonance. As you see here, it increases the frequency frequencies in
this particular spectrum. Maybe a little bit
just as a flavor, but not so much that it messes with the sound
of the feeling. Now let me try some. That's a cooler fat like around here is a sweet spot. I think it has a really
evil feeling that you hear. This creates a
little bit like a ribbon. We could basically, we
could take our alive. One. That's interesting,
it's too strong. If we start at a position
that doesn't sound good, but if we start somewhere here, we have this cool
landing effect, like it starts with D
and then goes down to the clean sound, then goes back. We keep holding down.
That's pretty cool. Because we could hold
this down now and just play something else over
it in a composition, but this sacrifices playability. Of course, without this, we could play some melodic notes, but now it's getting
more like a pad that really lives from
one notes that you always she, I think
that sounds cool. Especially that
effect. I like that. But now I'm holding down
three notes as you can see. And they get separate
ribbons to avoid that, we can make this Legado, which means they always
share the same LFO. Let me very fighters. Okay, As long as you play connected notes as
you know it from Legado. So if I single notes
without holding them, just if you spend attention
to this window here, you can see it's
resetting all the time. But if I hold down a note
and play other notes, it will stay where it is, so the other notes
not join seamlessly. Because I find that pretty cool just to compare
what it was before. If we deactivate this one here and bring it
back to the saw, this is what it sounded before. So we can now compare
and see if you like, where we take this patch. So this is of course way more playable. Well, that's for now. Could even work
with this way form, but doesn't have the school
effect that we had here. Let's see if unison is
good for this patch. So we make this a
little bit wider. There are some strong
pitch differences. Maybe it's from the Drift
button or it's from the modulation that's check
this out to reset this. Okay, now it comes
from the modulation. Whenever the width changes
here and it affects this, it does mess a little
bit with the pitch. This is of course then
sacrificing our playability. We have two choices now. Either we get rid of this idea, which is okay, we can do
this, or we stick with this. But then we should
really go all in and really shine in what it is. Maybe it's not super playable
with two different nodes. You always want to play
one node at a time. I would say we keep this
decision for the next episode. Usually I do full
episodes on every patch, but for this time I would like to split it so I can think a little bit about that and
present you a good idea. I'm not going to
do it without you. We will absolutely continue
where we stopped here, but I will think a little bit about this and then
later continue. See you next time in part
two of this episode.
4. Episode 1.1 - First Pad: Welcome to the next episode. I thought a little
bit about this, and I came up with some
ideas where we can take this from here or let's say how
we can polish this patch. Because right now what I don't
like is if we play this, that's cool, then it gets,
this is cool as well. Beginning then it starts to get slower until we
have a really clean sound. But if we keep holding down a node because of
the nature of LFO's, it will bounce back
and we will have a pulse, a pulls effect. This pulls effect is even as we noticed in the last episode, taking our pitch up, because somehow this
modulation here has a little shift in
frequency upwards. And this is something
that is too audible because of
play nodes here. This really messes
with the pitch. It's not really good playable. We want to make this
patch playable. We want it to work in a practical sense and
not just be cool. What we can do now
is first of all, let's take this
width thing away. This already gets
rid of the issue. This means the easy
solution is to bring, this'll take this
off and we take the function and reverse that. We do it by hand. Don't
use the scale button. If you do the scale button,
everything will become messy because then if you move
the points, it's inverted. That is really painful. Trust me. Then bring
it to one shot. So we don't want
it to loop speed, we will determine in a second. Now let's take off
function one here. By the way, we'll
be so cool if you could name them like
giving them a name. But however, function one
goes to the width here. Unfortunately, I forgot
what value we had, but it was something
around here before it starts to sound
off. So let's try. That's a nice sum. Of course, you want us into the
different direction we start. Okay, This is not
exactly the same, we just had it by 0.0
not sends upwards, but it's not the same as 508. We somewhere here, I think. Now we take this because we want to start at our
default position here. Being at zero means no effect. And then we go down, does good, make it slower. That's cool. Now we have this
dropping in effect, okay, wow, this
sounds really great. It sounds like like some low fi version of some '90s science fiction,
cyberpunk movies. Totally love it. It sounds a
little bit broken and dirty, but yet good and pleasing. And you can still
hear the notes. This is now interesting. We will look at three different options. Now this is mono keyboard. This means that each
time we play a note, we're going to reset this
function for every other note. If I keep holding down this
low A, I play another note. Now this A will be also retriggered and it
will have the effect again. Now I hold down two nodes. Now I play a third one, and you will hear it for
all the three nodes. It repeats for all. Which
is a cool idea because it emphasizes on this effect
each time you play a note. You retrigger the effect, it emphasizes on this specific characteristic
thing in our patch. The pad without this was at, it's a good sounding pad, but it's not a pad that
stands out from other pads. But this is now
special on this pad, this particular feeling, this, emphasize this on
every single note. The second option, of course,
we have way more options, but we're going to cover the
three most common ones now. Or the best playable ones. If you do poly, it will
mean that if I play the first note and hold it, if play now another note, This won't be retriggered, but our new note will
get this effect. But without retriggering everything that I'm
holding down to. If he play another note, now it's not even really
audible anymore. I think that's because in
the background we have this. So then we have legado, which means that no node at all is getting this effect
if we keep holding down. If you play connected nodes, we have it once and
then it stays there. This apparently doesn't feel much different from this one. In fact, they sound
pretty much the same. And I'm a little
bit, I wonder why. Let's just, let's drive this to the extreme
just to see if that's really doing
behave the way it should. We are now in poly mode,
we hold this done. A player. No, no, Yeah, absolutely works by the way. Cool effect. Sound Um, yeah, I wonder why it's not
audible on this level. I assume that's because
if I hold down this note here and I play no
new note on top, we still have this
constant sound down here and it's probably
swallowing the effect. That's what I assume. It's a little bit in there. I could hear it. Just the last note,
it was really gentle. Legato is super clean if
you play connected nodes. So if you want to retrigger, you need to let go of all
notes, then it happens again. Or we have poly, it's all
the time in the notes, but as soon as you play
several notes where holding down others, it's more subtle. Of course, you can let
go of notes and then, and then you will hear it again. Everywhere. Yeah. Or
we go with the mona. I think the mona was the coolest yet because what the strongest, and like I said, it
does emphasize on this effect for all notes. If you see some funny going on, if you switch quickly
between these, it will retrigger before
it reached the end, which results in a
little bump there. It's a little effect,
but it's cool that this is the
kind of playability. Sometimes there are these
effects that you want to avoid because they take your
control of the instrument. But in this case, it's
actually one more way to perform if you know
that you interrupt nodes in the middle and
jump to the next one. Because all envelopes
get retried, you can force this little bump. This one, oh yeah, it sounds beat. It sounds lovely down
there in these low notes. If you use the pitch
wheel on your keyboard, this one here on the left. I use it now, my
keyboard, but listen, I think we can get really
cool effects out of this. Oh, that's pretty cool. That's not a really low node. I transpose it down
by one octave. Yeah, that's cool. I
like it so far, really. It's a really
characteristic Pat. Um, wouldn't have expected
it to be turn out this good. Maybe I'm a little bit hit because I love the
sound so much. Maybe you sit there
completely unimpressed. I hope that's not the case. I really think the sounds
so great actually, is we could leave it
here at this point, but I want to try out
one or two things. First of all, I'll see
again with unison. Yeah, it's a different flavor.
So this is a question. Do you want this or not? And I will just
leave it for now. We can take it away in a second if you don't
like it or you can mean you're not forced to do the exact same patches as if I do something
that you don't like, you can go other ways or you
can keep things that card. This is really up
to you. Let's try. This should probably
not sound good, but I want to figure out like
we have this effect here. So we start with
this hard effect and then we go down to normal. Maybe we can introduce more
tune and bring it back to a value we like back to
a starting position. This is the effect even
stronger than we had it before. So if I just
deactivate this for a second just to play
this freely here, it's like tune does mess with the tune, the voices we set up here. And we can even experiment
with more extreme settings. That's pretty damn cool. So the question you
would ask yourself now, when you design this pad, let's just assume it's
your own work and you're creating this
pad or whenever you are at this point in
our creating process. The question now that is really that is determining
where you go from now on is do you want to have this effect
subtle in your patch, so not too much so you can still play the patch and
go melodic with it. Or do you really want
to emphasize more on the special effects side
of the patch and make it, and emphasize it even
more of the idea. So this would be the
one way to do it. That's funny, I'm just now retriggering envelope
all the time. Of course sounds ********, but I just wanted
to play around. But I must say, I like
this effect when it was more subtle or going
to take this away. Stay with the unison for now. Maybe not make it 100
stereo, maybe 50. Let's see, I, 100% unison is in pigments
is absolutely normal. This is to basic
setting in June. Which I like to use.
I think it's around 50 or maybe 25 or
something like this. So they start more
subtle, more gentle. This means we will get, we
have three voices now, right? If I bring this to zero, they are all in the
middle, stacked. The patch just got a
little bit thicker because we have three voices and they are being detuned a little bit. But if we just introduce
a little bit of stereo, they are being spread a little bit to the
left and right speaker, but still maintain the
centered position, which is a good mix. I think it's a good mix between both when you make decisions like this. If you're not doing
this for a composition, your patch, then
it doesn't matter. You can do whatever
you want if you're in your composition and thinking
about making exterior it, of course depends on
whether you have a lot of other instruments or information going on in the
left and right channels. Or if you maybe want your pad to be more on the sides and
everything else more central. This is classical
panning question, where do you want to
place your instruments in your mix if you would
be doing a patch, particular for your composition. Otherwise you can do whatever
you want and then you just adjust to whatever
track you needed in. This is, by the way,
the reason why I rarely include an equalizer. You could use an equalizer
to push some things you really like in a patch or to take away clear problem areas. If you can get rid of some metallic or harsh noise,
you can filter it out. But usually I don't
utilize the equalizer here because songs are so different and it's better
to leave it untouched. So whoever creates music with it can then equalize it
the way they need it. Because it can really be completely different for two
persons into compositions. But so far I like, I mean, this patch is pretty
dark. It's really dark. So this is what I said earlier, one patch doesn't need to fit all sizes and can do everything. This apparently won't
play beautiful chords, especially not in
the high registra here you can, but it really odd. So this is more for this
area here, down here, especially very down here. It sounds so good. This is, this is so dark and evil. I love it. Yeah. And I mean, could add some wind here. Some noise. But it
sounds like wind. You know, we get this Ooh, that comes in now. I think that sounds good too. Maybe more Sato. It's now in the back.
It's not really audible but it's adding flavor. It could even make more dark. So we go to the
more red side here. Now the woo in, it's still
in, but it's subtle. But I feel it's more now
like the pad is flying. It's passing by, It sounds
like a passing by thing. Whatever you imagine
this pat to be, if you spend really attention to the noise, is this feeling? Yeah. But personally I
think it doesn't need that. And basically we could
leave it at this point. I'm pretty happy with this pad. Like we could go
more complex now. But you don't always need
to just because you can. Do you need to because your patches should
still be playable. If we make this patch
even more father and adding second engine and adding more stuff and cross
modulations and everything. This will become so
huge that we will have a hard time utilizing this
in an actual composition, except we only use
it for the intro or out some breakdown where
it can shine alone. Then you can go complex. But if this is supposed to play along with
other instruments, you want to keep it
more like it is now. So it leaves room for
the art instruments in the composition this way. Yeah, What you could
basically do, of course, is utilize engine
two and then try to emphasize more on this function. In fact, what we did
here with the tune. No, like trying to, let me just show
you what I mean. Let's make this one octifier. We could go crazy now
and do something like, it's not strong enough,
bring this down. Maybe not start at end at zero. Yeah. So you would like
to end it somewhere where it still has this F because
if you go completely down, it sounds odd in the end. So we want to and by the way, I keep holding down the no, this is why I can hear the end. Now, while I added the end,
pick something you like. Let's say somewhere
in this area. Now we have this cool effect. And if you bring them together, the fact is even stronger. Of course, this is now
unison and this isn't. So we could make
this unison as well. But then you need to
be really careful, because it should be
just a little add to the engine and as
big as engine one. What is cool of course now, is that we can keep
this full stereo in this 40% main patch
will be more centered, while this weird funny effect here is more coming
from the sides. Now I think if you make this
two voices instead of tree, depending on how this
algorithm works. But let's listen. I think tree will place
one in the middle, but if you bring this to two, it will only split
it left and right. So we can really pen this
left and right with this way. And then I have this
here more in the middle. And you'll now have this
effect now on the sides more. But as you notice, the
effect gets stronger. And so we have this more
bumps, less playability. Of course, we can not go unison. Make this back to one and just keep it as a little add on which I
would personally prefer. It's in there, It's
not super audible, but it just emphasizes
more on this feeling. It has this nice, a
little bit more electric. So difficult to describe this, but I mean
you can hear it. One sound says more than 1,000 words that's now in there and adding a
little bit of flavor. What I basically
wanted to tell you is that you can change the flavor. Either you go for
what I did here now or you experiment
with pitch. You can experiment with waveform so that you can modulate
them without the FM of you could go completely
and use wave tables here, which we will do in
the next episodes. I'm not sure yet. But at least
one time we will do this. We will have an example
for this as well. You could take
wavetable and modulate them across this or
even work with samples. The possibilities are endless. The basic idea is
just to emphasize on what makes this patch
here characteristic, which is a little nice feeling, you can just try to mimic that. To do something similar that
you sneak in a little bit gently so they blend well together and create
a more strong feeling. Of course, you can do completely different
things as well. You could just improve
the core patch, add a more stable base to this. While this is moving,
you could have not F M here and just make another clean sub
oscillator that's not moving and have more low end. It's fine too. Can
use this way form, get really gritty, a lot of
different opportunities, we could go any direction now. But for me this
patch is pretty well done the way it is now
because it's not overcomplex. It's not over consuming the mix. It's playable yet complex in the little ideas
that are in there. It's not always about
like complexity is always about adding
more Patch is not only complex if
you have three LFO's, tree envelopes, tree functions, and two randomizes going on. But a patch can be
complex in itself. Remember we have the
chorus here with really carefully picked settings where we talked about
why we do this. We have to carefully
crafted rework with some high frequency damping. Here we have the FM ****, which is constantly
moving and giving our patch some nice movement
and breath and feeling. We have a little
bit of resonance to emphasize the, the
higher frequencies. To simply adds a little
bit more character, a little bit more
flavor to filter and everything that's going on here. Then we have our
modulator clator tree here shifted one octave down, it modulates darker and
a little bit slower. We have set it to polls. We modulate the pulls
every time we play, we have unison dispatch is by
all means, it's not basic, it's not simple, it's
really well thought out and it utilizes detail, love, love for the details. This is important.
You don't always need to more and more and more
until your patch goes nuts. But sometimes it's
really about polishing these little things and details. Yeah, I hope you enjoyed this patch and this
episode from here on. You can take it
further if you want. You can save it like that. You can start over and do something else and
explore a little bit. So that's really
up to you. But I'm sure we will see us in
the next episode two, where we'll create another
nice patch O there.
5. Episode 2 - Second Pad: Hello and welcome
to episode two in this course T. Let's
create another pad. Let's this time have some
basic idea at the beginning. A little bit more maybe
than the last time. Not roam too freely here. I think what would be cool
is if we would try to make a pad based on samples. But if I do this, this will
only be able here in Pig Mans and not in order synthesizers
that don't allow samples. Let's go with wave tables. Because wave tables
are something that most modern
synthesizers have. It will be gritty will be
definitely higher in its sound. So even here, we could get some nice movement out of this. So first of all, like always, I already automatically
did the cut off a little bit just for the beginning of, first of all, a
tech and release. We have something pad this time. Let's, I'm in the mood for L, let's take L and first of
all, bring movement here. Maybe lower, we make it slower, that's good. Or even more slower. So, we could then bring the
LFO here to the FM. This is this one? Yes. Maybe if we bring this to -23 we can start on the
bottom on the dark side. Yeah, it works nice
actually, the same here. I would like to start from
the lower end or towards the lower end, but
you can hear it. There's a dump in
sound from here. It really changes rapidly there. The sound which must not be bad, especially if we
add reverb later. This can be a cool, like a siren in the back
that comes and goes. We will leave it for now here. Let's see if face
mode is adding. No, not cool. Here we can see better
what's happening. So this wave folding here is creating sine waves
based on the shape here. We can even make it more
gritty with the triangle. It's adding a lot of
harmonic content A. So let's bring in
a second envelope. Let's bring this down and
have our typical pad, like a smooth progression
for the filter. I'm using huge values here, because we have this slow LFO, it needs more time to shine. Oh, the Decay. I
forgot the button. Yeah, the decay should
be around the same as the release in case you want to have a
stable play experience. Of course, you can
have different decay times than release to have some performance. I don't like the bump
that's happening up here. It now became worse, I think, because of the wave
table modulation. Yeah, that was a bit better. It doesn't sound
really good now, but I think it will sound
better with reverb later. If not, we're going
to change things, switch them a little
bit up, find you. And I wouldn't include
because if we do this, we will have a hard
time playing notes. This is too strong on this pad. Could bring the modulation here. This is the modulator
which is determine how these things behave. And we can bring this
down by one octave. So we have a gratia modulation. Oh yeah, that's great.
Huge difference. Just hear the difference
here because I did the envelope two to
this wave folding button. As well as we have
this slow progression with the filter together, could even introduce
some resonance. But this is for
later, just here. Now like this adds a little bit more edginess
when we hit the peak position. If I bring this down
by one octave here, the modulator we will
get more prettiness. Basically what's happening is, I believe if you bring the
modulator down by one octave, it means that this oscillator, this is nothing else
than an oscillator which we can't hear because
the volume is on zero. Well, not zero, but so much in the minus
that we can hear it. If you bring this oscillator, this modulator, by one octave, it means it will swing slower with broader distances
between two of these. This will affect the way
this modulation happens. It happens a little bit slow, therefore G gritty because
we have more time to hear these more gentle frequencies while the progress.
That's pretty cool. Now let's get crazy. Before we add reverb, I think the magic happens when
we add reverb later. But now let's take a
second wave table. Do we route to filter two to this one so we can
treat this separately? And again, here on
filter rooting, make sure you bring
this on the site to separate both filters
from each other. Now we play only this one. What I would like to have
make this one octave lower. In general, I would like
to have some movement. Let's take L two and
make this square square. Don't go here down so you
get this sample and hold. We don't want this, just
go to square, choose sinc. So we have a timing
that we can pick. Now, bring L two just a
little bit to this here. Let's see. Yeah,
that's pretty cool. But yeah, that's good. Now this is the idea I have now let's grab alive one again, a slower one, and let
it modulate here. This is something we have now lying underneath
under the engine one. We can make this quite later. This is too low. Too low, that's too strong. We can make a really gentle,
fine humodulation here. So now together, let's see, maybe it doesn't work together,
but let's figure out, let's bring down
the cut off here so and more resonance in maybe, oh, maybe not too
much because we wanted to be more
the lower layer. I think that's cool together. Now, something that
I just noticed. If you play notes like this, not in sync, We get the three different
Rms, which is not bad. It's cool if you want that, if you want it to be the same. Hm. We need to bring
this to Legato, which means they all
share the same position of the LFO and they don't
get all individual LFOs, like if it's on poly. Each time I play a note, that note will be triggered
from the beginning. Here, if I play three notes now, they all have their individual starting position
from the beginning, which leads to nyermonics here. But maybe you don't
want you put it to legato and as soon as you
play connected nodes, they will all be in sync. All utilize the same LFO
ribbon. Maybe that's better. Bring this back
in. And let's add some reverb now and
see if this will bring the magic that I hope it
will bring long decay. A lot of rework here. Let's start of 55, no
pre delay, huge size. I can already see this
being metallic in detail. A little bit of damping, maybe just this and
then a little bit of this low pass filter filluring out the
high frequencies. And then let's see, only engine two. Now let's listen to engine one alone. Engine one is a little bit thin, so maybe we can add unison. That sounds better already. Maybe we did tune them a little bit against
each other. Let's see, that's too much. Maybe
just something like this, what we could try to change. So this is the ultra, let's see, so it continues to
use or settings. The modulation we have down there can even make this grittier if we change the wave form of
this oscillators. If you make it a
sawtooth, for example. By the way, let's
increase the amount of voices and let's see. So now I put this to triangle. Let's listen together. I need to figure
out if I like this. I think that's pretty cool. We can make it a little
bit louder here or at all because the filters
are pretty dark. This is just one nice low here. I really like this. And even we'll just keep
holding these notes. We have this beautiful
lush pad in the end, and as soon as you
start to play again, of course you get the
gritty initial sound from the filter opening by
your envelope two, even one octave lower. Oh, that's pretty dark. If we didn't play with the pitch wheel here on the left side, it's really, really, really, that's pretty cool. Or you can start really high and
then bring it down, hey, that's too high
but stuff like this. Yeah. But I would
say this is it. This is a great patch. For a second episode, I hope you enjoyed this
and we will continue with the last patch and the next and final
episode. See you there.
6. Episode 2.1 - Second Pad: Hey there, a little extension
to this patch, to this pad. I want to 0.1 thing
out if we play, this is like from episode two, if we played this Now it sounds absolutely
astonishing down there. I love it. I told you in the earlier episode that you
generally your instruments except leads maybe
must not sound well in every octave or most
of the usable octaves. But if we continue playing
this now in higher notes, really, really harsh
because engine one here is really high frequent. Right? And that is fine if you
want to have this effect. So depending on what
scenario or what place this pad is going to
represent in terms of audio, this can be really
well because it sounds metallic and of course it does create atmosphere and the flavor that are not
metallic sound can't create. So in this case this
would be perfect. But if you want to make
this more playable in higher octaves without getting
head edge because of this, these really high
frequencies here. The cool thing is that
we worked in layers. If we disable or engine one, which is our upper layer
with the high frequencies, and we activate engine two
here and we just play it. We still have the nice
pulls from the beginning. Play other notes now, now you notice this legs high end. Of course, there's not a
much high end going on. What we can do about
this is we could simply change or engine one, this is our upper layer. Now this is what
we put on top of our cool posting base
line we have created here baseline in terms of just baseline in
terms of the fundament, um, that we're building on. We could make this analog. Now we have a two filter. This goes into filter
two right here, and this is filter one. So we could make this
now bring this lower and now we can play this way
better in higher ranges. This is of course now just
a basic oscillator with a, so we didn't do anything else. We haven't even
designed engine one. From here on you can really go explorative and change
the upper layer because this is our upper layer. Now here of course, it does sound good because
we have set up the filter, we have all the F
X here going on. Yeah, that's how it goes. I'm right now, a
little bit confused. It's some time ago that
I recorded this episode. A couple of days
because I was re, recording the first
episode from this module. So just wondering why we have separated the filters
here and the filter routing when it comes
to the F X section. Because apparently
we didn't use FX B. But it doesn't matter. It doesn't matter if it's like, this sounds still the same. We got the reverb and if we do this we will still
get the reverb. This will just separate
filter 1.2 from each other but still mix both
into all of the FX. But I don't want to
bother you with this now, just speaking out
what I was thinking. So you don't wonder why staring at the screen what
you can't see, noticing that I
don't do anything. Um, so yeah, this is your upper layer and you
can, like I told you, completely set up engine one as you want and this
is the cool thing, if you work with layers, that if you decide, like I just said, oh, this
is so much high frequencies. If you want to play
up here, no problem. Cate Engine One, and
play it like this, maybe you want to put
something else on top. Just strings or something like from the orchestra or choir
or something you like. It must not even
be at the patch, but creating patches
in terms of layers. If you think in layers, you can easily bring
them in and out the way you want and this gives you
a beautiful flexibility. Um, for your patches, you can make them
more special if you did everything in
one engine, right? You can't here
because wave table is apparently just
one oscillator where you could maybe bring in the modulator and tune
it. One octave hit. Say this is not a wave table. Let's say he just
the analog engine, because we did some patches
just with the analog engine. You could easily have a main oscillator, a sub oscillator, a high oscillator, and yes, you can dial this then off. That's true, but I think it's a way easier approach
to work with engines and just deactivate
the whole thing. U demand if you want that. Yeah, this is everything.
I just wanted to point this out because
I noticed that I really like this
patch that we had and it really shines in
the lower register. But it becomes a little bit difficult if you play
it in higher nodes. And I just wanted
to show you that you don't need to throw away the patch then or let's say
only use it for the low end. But you can still
easily modify it, save it as a different version
for different situations. Yeah, I think
that's a cool thing to know. A good thing to know. Yeah, I hope you enjoyed this
little add on information. We will see us then, really, in the next third
and final episode.
7. Episode 3 - Third Pad: Hello and welcome to
or third episode. After we have in the
last episode created a patch based on
wave table which was the basic idea
from the beginning. Let's set different
goals for this one. I would again like to
work with two engines. I would like to show you process parallel FX processing and
what the benefits of this are. I think we're going to create
a time modulation pad. We have one layer which is
maybe a little bit more distorted in the back or maybe not in the back but
like the core of the patch, it's dark and a huge
white cinematic pad. And then we will do a second layer with a little
bit of time modulation. And we want to keep that clean, for it to sound really nice, we'll see how that
fits together. Let's start with the
basic layer first, So again, set the darkest starting
point you want to have. Of course, mess with the
release as always. That's cool. We take envelope two and do the occasional
filter progression. Maybe that's too slow.
What do we have here? Yeah, let's take
something a little bit shorter so that the filter
thing is even a bit quicker. Of course not with
that decay you notice that that's not bad though. But you could even here, make the curve more like
this if you want to have it more sustainable. But for now, let's keep
it something like that. I think that's still
higher than usual. The normal was minus
four and we are now at minus y around two. So it's a bit less
steep than before. Great, let's add
our sub oscillator, which is a must have for
a big cinematic pad. We could go full power. The square wave is the
most powerful one. For now, I think we
could just take this, maybe make it a
little bit quieter. Well, actually I like that song because this here creates more
harmonic content. Because this is wider. And you can hear the, there's some rumbling resonance in it. And this here is more gnarling, a bit more aggressive
in its feel. We can swap that later. Now, let's bring in unison, definitely for the wideness. By the way, I don't know if it behaves the same way
here as in June, but let me actually try to
figure it out with my ears. I'm not sure, but I
think they will do it. There's apparently no other
way to do it with one voice. You can hear it
clearly in the middle. With two voice, you
hear it on the left and the right side
with three voices. I think what's happening is that they put one
voice in the middle, right and one to the left. This is something good to know. I mean, there's no
other way to do it because how would you evenly distribute three
voices otherwise? But this is good to know
because maybe you have elements in your composition
that play in the middle. And you want your pad only to
be more split to the sides. And you can go with two voices. Right now, it's really spread to the sides and you have
room in the middle for other instruments this way. Of course, this pad
is more powerful and consumes power in the middle. But if you're just designing patches for general purposes, you could just go with three, which is the safe way, except you really want the
whole patch to be designed that way that you're only
hear it on the sides the. You compose and make
use of that patch, you can just use your
occasional tools in your DHW to do
the stereo widening. Right base for instance has a stereo enhancer
where I could, even if I make this three voices or even if I leave it at one, I can still make
this signal stereo and then spread it to the sides. Yeah, just just as a side node. With the detune, we
can again determine how strong these three
voices should be, detuned against each other. So if you go higher,
you get more of this, I would say atonal
feeling, right? This is really
difficult to play with. It sounds more like
if you want to score a scary scene or a dramatic scene or something that is a
little bit terrifying, but this is by
default tree person. But if we take it's
more like your values, we will get this effect slower. This becomes quicker
the higher you put it and stronger both
at the same time. Therefore, bring it to here, creates a little
bit more width and space than the stronger effect. Let's go with something like
that. I like this value. We could introduce a
little bit more of drift, which will just u A little bit of fine tune like if you would do this fine tune
variations to each know that you play just makes your patch a
little bit more alive. Then I said we want to
have distortion, right? We can turn this off, we
don't use this anyway. Reb is not on yet. I would activate it a little bit later so we can work
on the dry sound here. Really being able to listen
to what's happening. Um, distortion is really not
the best one in pigments. I must admit I like the
one in dune way more. But let's see what we can do. Maybe you can use the gentle, usually these tone buttons. If you go to the right, they make it more bright
and aggressive. And to the left more
dark and damped. I think that's a good amount. So if you turn it off, gets a little bit more greasiness. We can even take
our envelope and let that open these
a little little bit more so that we just have a
little bit more feeling of our increase in this
distortion amount, but up there it
sounds really strong. If we play without,
where is that? It's already pretty strong. Let's try, try the way forward. It's even stronger but
maybe it sounds better. That doesn't sound
good. Distortion is it's pick man's problem child. I would love if they
would redo this module. This sounds interesting. Hm. So one way to work around
this issue is that we could turn this down
to absolutely zero. And then just bring it in with
the filter so we only get it at the highest point. This is one way to
work around this. It's the only way, actually we could, for now, work with this I think. And then let's dial
in some reverb here. As you know always distortion before reverb because if
you swap them around, your reverb tail will get
distorted by the module. And that doesn't quite sound good in my
subjective opinion. Of course there are moments where you
want this on purpose, then it's fine, but
we don't want this, ah, this is way too far away. Even fewer, more decay. By now I would swap
this wave form here, back to the square
wave sub oscillator. We have more low end, more aggressiveness, maybe make this like minus seven,
so it's more subtle. If you turn this down,
this is all it adds. Now sounds really hollow. Maybe do something
more like that. Then let's bring in the
third one and make it a suboscillator to
make it also quiet. We have a mix between
these two waveforms as a sub, Let's try this. I could even find tune this a
little bit away. Let's see. I think we can live with that. What the fine tune does is just tunes the pitch
of this a little bit. So this is more distinguishable from this one or that one. Um, oscillator one, which isn't so strong audible because
these are anyways, pitch down to an octave. But if I play a higher node, it helps to put a little bit
more depth into the sound. If this is not the same, just for you to hear the
difference stronger. This is what it does if
you just add this gently. It's just another way of doing the tune here
and the drift here, but this time more precisely
on the oscillators. Um, would actually just pick a slight value and
I'm not happy with the reverb yet that is too
weak. I think that's good. Could maybe bring
in some resonance. Let's see. Yeah, becomes a little bit more grittier
and more characteristic. What the resonance does as you increase, you
can see it here. It just pushes out certain frequency
spectrum we just add, this is by default and we
just add a little bit. So you can see that a whole
spectrum being pushed upwards a little bit just gives a different
fear resonance. I mean it's not just
increasing the frequencies. I think it's actually re feeding a little part of
the signal into itself. It creates a little bit
ma harmonics on top. By the way, if you bring
this all the way up, you can hear that really strong. If you bring a resonance button, usually up to 100% it
starts to self oscillate. This becomes another
oscillator swinging up. I think it's because it's being fed back into itself
in this feedback loop. I think that is what's happening in my
technical understanding, I'm not 100% certain about that. But it's definitely,
at this point, self oscillating and it works well with noise together here. Maybe notice that this
was even stronger. This ooh that the noise would
create is being pushed. We could even make our mix. We could even introduce a
little bit of volume, sorry, Noise Make this, but this makes our pet thinner. We want it big and cinematic. This is No, no, because it is not
our initial vision. Let me at least in this episode, stay a little bit on track. Maybe start with a little
bit more of distortion. At least ten persons, so we don't start at
nothing and end at nothing. I think it sounds more
coherent and better if we have a little bit
of distortion in and then it increases
and goes back. Instead of coming completely in, it just makes it more feeling
like part of the patch. This dark note that
I hold here or start an ending position on the filter has at least some distortion. I'm not sure if
they disabled it, if that's funny, with the
clicks in the reverb. Yeah, I would say that
the first layer is fine, but I would actually
bring this a little more. I wanted it to decay
big. Yeah, that's good. And of course you need
to be careful now, because what you may be
noticed is that when we hit the peak position
and it goes down, distortion sounds like
it's over driving. It may sound to people like you didn't properly mix your music, but we can take
care of the Slater. We could maybe think of
using only distortion for the lower parts and then thin it out when it
comes to the top. For this purpose we
would just start here and then just bring this
into the other direction, and then we have the
opposite things. See, now the cool thing is we start with a lot of distort. The low end is even more
stronger and grittier. And when we hit the
open filter position up here, it's getting clean, so we don't have this inner
sound that maybe sounds bad in the composition, right? Then you could try
where's the limit? How far can I push it
until that happens? So we think that
was on the edge. I would, just to be sure,
take a little bit more. We are fine, fine to go. And with drive, we
could do the same, we could bring this a little
bit up and then make this and see that sounds way better because now we
are not getting into in the zone that sounds
so badly mixed. Now it sounds really
like clean distortion. Okay, cool. Now
that this is done, so let's just treat
this as our engine one. Let's deactivate it and activate engine two
and work on that. I'll make it analog again, the first thing we need
to do because I said I'm going to show you
parallel F X processing. We are going to send this engine to filter
two instead of one. It's not being affected. It does move now, but it's
not being affected by this. I can prove this to you. If I click here and turn this down, we won't
hear anything. This just moves because
our envelope is moving it. But this engine here, only ten to filter two, where listen, maybe
the wrong word. Feed this into filter two. But you can hear that we still
have the reverb from or A. In order to separate that, we would just click here the little button
and click on Split. Now, filter one, the content of filter
one is being fed into, the content of filter
two is being fed into. You can see it also here on
the lines angle by default. Put to 100% filter one. It just goes into that. It gets the distortion in the
reverb from module A. New engine two is here
set to filter two. Goes into filter two, and as you can see here
is being set into X B. We have a new rack to play with because no reverb anymore. Now what we want to do is we wanted to make
the time modulation. Click here and take delay. Can take any of these. Increase the feedback so
we can hear it better. A little bit of stereo spread, which makes the bounces a
little bit more uneven. I think that creates
more, more depth. Now if you unsynk that, you make it free to move. You see if we move this,
we get some cruel facts. Let's just take alive one and let it modulate
slower fashion. Set this to sync so we
can get nice values. And let's see you notice one thing. If I play a note we get these
strong bumps like this. This is because this is
set to pull the keyboard. Every note you play gets its own LFO cycle and
starts at this position. If we are playing and this thing moves and
I play another note, it instantly gets reset. It resets the timer. And this makes these bumps. So we could set this to Legado, so they join each
other if you play connected nodes in the
fashion of Legado, which means it only
works if you play our next node while you
hold down the previous one. Now they all joined. By the way, we can decrease the
feedback a little bit so it doesn't go so long. Or we could do free running, which means this LFO, he is just mining
his own business and we just join wherever it is. When we play a node like this. I think actually that
the poly was the best. But maybe because, you know, like it sounds better if we
have some different rhythms, we need to figure that out. We will play a little bit, maybe we need something
more gentle here. This will sound better I guess, if we introduce reworb later. So for now, let's save
this reworp we have done, and don't mind this, this is from
previous recordings. Just click Save, and we
call it time modulation. Click. If we go to F X B and
introduce our reverb here, we can just this preset here and we
have the same setting. So this has now the same
reverb as engine one. Can make this more subtle and deactivate this for a second
so we can hear it better. Bit more feedback, maybe faster. Mm, no. Would maybe
make it slower. Hmm, Introduce a fate. Let's try this now. It doesn't get rid of
the problem that we reset all the previous notes. Well, it's a tiny problem,
we'll take care of this. Let's first of all shape
the overall thing. These are way too strong bumps. What could we do about this? I'm thinking, by the way, I'm just jamming a little
bit while I think and try. Let's, let me see how
it sounds together. It's even not that strongly audible anymore if you
played all together, but sometimes you hear the
bumps there, for instance. Well, if we say that together, you don't hear the difference
anymore that strong. We could say we actually
go to free running, so we get rid of these
bumpy notes because it's always the same now
for every note we play. So let me just play back. Only that engine Soc is really doing
its own thing now, which maybe works better
because it's controllable. We could now look for
another sweet spot. I like that, by the
way, at 330, 40. But let's see, that's cool. That's really cool.
And now we could even, um, bring this a little bit down and do
something like this. It's only our engine two by now, Just one single oscillator
on our saw tooth, which is pretty
cool, pretty strong. But if we don't do it that way, where is it here? I think it's better and
clean. Let's get rid of that. Um, has changed the waveform. Maybe I think these are too strong for a pad
because as you may be here, the sign wave has a lot
of harmonic content. So this will really demand
your speakers at threes. Really strong resonance
sounds cool though, but for this patch
it's over kill. So maybe maybe could give
this also a sub oscillator. Trying a one, it's
a bit quieter. Trying is a bit smoother as the sub oscillator is not
that edgy and gritty. I think that sounds
pretty cool U. Let's try together. I like it so far, but now we got this really
cheap sin sound in, I think it comes from the. I think it's this one. Let's take this off
again, let me try. Or maybe it's this
one or engine two, because it sounds so basic. Like this one here is so nice. Then this one, sorry, I
played them together. This one is so basic. Which isn't too bad, but it sounds too synthetic. We could, of course, go
with unison here as well, but I think that will
become too much. This is X B. We have the reverb here, delay. We could try to put
our chorus before. To make this a little
bit more basic. We work too much on
this engine two, we will get two strong engines that contest against each other. We want this to be add on on top in order to make
this more interesting. Without creating a two intense
second patch into this, we could try to play
with the chorus. Oh no, let me not disabled, Let's actually
hear how it sounds process because that's where we get at the end and we
want this to sound good. I think that's better. So we can chorus. This rate here is basically determine
how quickly these two, this is making two of these
swinging motion in or Sound. I think it splits the signal and then it against each other a little bit
and make it swing. And this rate button here does just determine how
quickly this happens. If you do it like
this, it pretty quick. Here we get a sweet spot. Sound I think, I find, I think that's too strong. Of course, if you're bringing
them closer to each other, you get less wideness. I would leave this delay at
a default position, I think. So I could make the celibate quiet this effect together with the whole thing. I'm not happy with how that sounds if we keep
holding down notes. So what we can do about that is actually we could
bring this completely down and then root
envelope two to it so that it goes
back into darkness. Well, let's play back
before I make changes. Is it both? I'll delete that. Let's just see, first
of all where we stand. So let's say this is the maximum amount we want to have if we
keep holding down a note. So this is where it should
end again at 210 Hertz. So now we can just
make that I play, now you see that they
disappear again. And I'm holding down three notes right now. A whole chord. And it's gentle
and we don't have this bad, cheap,
synthetic feeling. Because oscillator one is
all the time in the back, making just this
oscillator one noise. We are at 210. Just to show you what
I mean, compare this. This doesn't sound good, right? We always end here
with this high note all the time, and this sucks. So starting at 210 is
a good compromise. So if you play this now it will blend well better together. Pretty cool. I like
that way more. It's way more playable. Pleasing Sophie played
even one octave lower here works way better. And this is
me holding down four notes. Now it's a lot of
low end content. We could even say that
we get rid of this one. Whoops, wrong engine. I just thought that we had this one still active. We don't. Okay, never mind. Um, we could just click this one
and see if that's better. Yeah, this is a bit more tamed. That sounds pretty cool. I really like that now.
It's a great patch. That's pretty cool. By
the way, look at here. I'm playing just a now. I don't hold it down until everything opens up completely, but I release it earlier. We get a little
bit of the filter increasing and then we just hear a little bit of the
modulation here playing. Do you hear that in the
tail? That's pretty cool. You have, of course, the option
not to play notes all the time up to the maximum. If you say you
don't like where it could end up, if
I'm holding down, if you say that's too strong, if that's too strong for you can of course decrease the range. Or another way to do this
is where is it here? Disable this and just. Make an envelope tree here and set it just up a little
bit differently. So we could say we want to rise, but then we want
to decay quickly, as you can see it here,
because the delay will anyway, create bounces for us here. They are a little
bit cut off now, but it takes a little bit care of the harshness because if we have this long time
where this goes down, then we have a lot of
high frequent content being present all the time. So we could at least make it
a little bit more smooth. But you know, something
like that feels different, right? Because the cool
thing is that delay, as soon as this happens, even if this turns down
the delay has catched or signal and is creating duplicates no matter
what this does here. Yeah, you could either
do it this way or you could take the envelope
to here. It's still rooted. Now that's the difference. Of course, here we can go
more cinematic and wide. Apparently, you still have the option to leave the key if you want to just have this. So yeah, I think that's
pretty cool. I like that pat. Let me just play a last
time. The final thing, not the most beautiful
ending notes, but yeah, I think
that's a cool pat. And depending on how you
want to play it is how you want to perform in it perform, you can make
different changes to the envelopes and
how you treat that. I think that's a cool result and I would leave it for this now because this was a
really huge episode. Like you could get lost
hours in fine tweaking and fine tuning this and changing things for
different purposes. But the way the
patch sounds now, I'm absolutely happy with, and I think it's
really able this way. Yeah, that's the module. I hope you enjoyed these
three pads we've created. And if you like to check out the other
modules because by now there's the other plug module available and I will also work on new ones
and release them. Maybe they are already out. So the next one I'm
going to plan is one module for leads
and one for basis. Anyway, I will hopefully see you in any other of my courses. Have fun composing.
Voider, from the future
