Synthesis with Logic Pro X Alchemy Synthesizer Masterclass

1. Alchemy Intro to Class: In this masterclass course, you'll be guided through alchemy from its absolute basics, right through to the ninja level skills to make just about any sound you could imagine. I've laid this course out to start as if we know absolutely nothing about synthesis and all the alchemists. And if you're in the position where you already know some of the basics and you already understand some of synthesis or perhaps or advanced, you can absolutely skip those videos and look to just learn from the sections that are gonna be ideal for you. But for any beginners, we're gonna start off from the next video, building up gradually to understand more and more of how can we works and how we can utilize its different features and different tool sets to create different soundscapes. So first off, what is alchemy? Alchemy is a digital synth available only inside Logic Pro ten and onwards. The thing about alchemy is it doesn't fall into any standard category. It's not strictly an additive synth. It's not strictly a subtractive synth. It's not strictly a sampler. In fact, it can do all three of those things, and it can do all three of those things at once. We tend to revert to this as something like a hybrid sand. Many synths have a single structure in terms of you will have oscillators, which is a sound source which goes into filter modules or a matrix for FM and other various simple flow. However, because of alchemists structure, things can change and be reordered depending on the type of sound source that you choose. So we don't always simply have a sound source of something like a saw wave, which goes into a filter, which goes into effects, which goes to our master out. This can alter drastically, and we'll discover that each individual sound source has its own signal, flag, has its own filters, and we'll then go to a master filter and all can be individually manipulated and changed as you go through to make things even more complex, alchemy doesn't strictly stick with any single sound source option per sound source. Meaning you can actually have a combination of a subtractive synth or sampled sound combined with an additive all in one sound source. If this sounds over a complex, that's okay. We're going to start with the absolute bare basics and we'll go very slowly step-by-step through the features and sets of alchemy. At first, we're gonna repeat ourselves a lot and we'll go quite slowly through each step. However, as we move on through the course, I will simply stop repeating certain things over and over initialized preset and the steps for it, I'll simply start saying, we're going to initialize the preset and at which point you should now have learned how to do that. If you're finding that you're watching videos ahead of time and you don't know how certain steps work, go back a few videos, and I would have put that information in there previously so that you will in fact learn it. This could be a good way if you already have some experience with alchemy to find the right starting place for you in the course. In the next video, we're gonna go over alchemy is GUI or GUI, graphical user interface, just so we understand what each part is and how to navigate around it. 2. Alchemy GUI Navigation: The first thing with alchemy we need to understand is the GUI, the graphical user interface, and how to navigate around it. In this video, we're going to break down those key factors and where all of our key elements are starting right across the top of alchemy. We have solid gray bar. We start from the left-hand side with Browse, sample and advanced. These are our three main views in Alchemy, each one giving you a different display of synthesis functionalities. Next section with a drop-down menu, has many of our browser features that are available in the browser section, but allows us to access them from simple and advanced. The default section will show you any current patch name that is loaded. Whereas the arrows, it will skip through to the next sound. File, save and save as give us some functionality options file that allows us to initialize our preset, for example, pretending to default. So safe consolidated, which we'll dive into later and refresh of library save allows us to incidently save the preset or instrument that we're working on. Whereas Save As allows us to save a new version. While it can be important, we have drafted good, great, and ultra by default it's set on to great. If you're working on overly complex patch with multiple instances and automations going, your system may struggle with great or ultra, so you can reduce it down for writing purposes. Remember that it will be used to backup upon export may sound slightly different, less than a limiter built into alchemy to stop as having any accidents and sudden clips that could cause damage to the audio equipment or you're hearing. We can disable it if we choose, just by clicking on here. And this can affect the overall sound, although only if you're pushing into the limited, we then have our overall volume control. By default it's set to minus 12 db, can be pushed all the way to 0. If we hold Option and click will always reset to minus 12 fourths because of having the limiter and the headroom, The Alchemy allows minus 12, the register as 0 on a channel input of alchemy. The next window below will be irrelevant to the mode that we have chosen in the browser window. We have our browser section. We'll go over some of the functionality of that in a later video. Let me switch to simple. We have our simple functionality and advanced gives us all of the access to the inner workings of the sin alone is much our simple function will reduce to. However, when in browse or any advanced, we have the perform an effects options as well as demonstrated here. It changes different parameters within your preset. This means you can very quickly jump to a different set of settings within one sound. Next we have a set of eight macro controls. So we can link to things like external hardware or just for quick reference for automations and then to XY grids, again linked for automation. Or it could be linked to something like the modulation wheel on a keyboard, combined with our attack, decay, sustain, and release. Notice how all of these can change preset, and that's how to navigate the GUI on alchemy. 3. Alchemy Signal Flow: It's important that we understand the signal flow of alchemy when we're creating the sounds so we can follow the path and know exactly what we're shaping, what point in outcome. If we move over to the Advanced tab, we have our synthesis section across the top where it says flavor. We've got ABC and D underneath. These are the individual oscillators or sound create a samplers wherever you decided to be in alchemy. And they have a signal flow right through the engine. If we click on a, this is a single sound. This has a signal flow of the sound creation up here. In this case, the sample into its main parameters here. So whose volume pan and it's tuning then goes into its own filter. This case, it's currently switched off, switches on, and then it goes into its own filter. From here, we can then go into the global sexual moving, going through the filter section here as well. From here, it can go into the effects section here. We have that in place at all. In this case is a few effects on here from the Effects section, it comes back out to our master section up here from our single sound source, flowing through its own individual parameters and tuning into its own filter and go stupid label as two filters to pass through either in parallel or serial. It can then be sent off to the main effects. The effects units for reaching master out is this diagram available, which he explains it in further detail. 4. Using the Browser: Using the browser in Alchemy, if we never get to the browse tab, we're provided with all the options for the sample bouncing in alchemy, its sample library is vast. It gives you multiple options to filter down what you're looking for. We go from left to right where we have category and subcategory. These are the large scale things and instrument groups you might use. For example, if we're looking for something that contains guitars, can filter out guitars, subcategory then gives us variations of those different guitars or even just activating the category will filter down the results on the right-hand side if we have all selected on the others, everything in here will feature some kind of description of a guitar. We can click on any of the presets to automatically login. We can filter it down further. If we wanted an acoustic guitar, for example, let's make you sit when our filter out with the acoustic options. Then look at things like the genre of Tambora. However, these are also adjustable menus. So we can take it down to something like articulation or when the sound was made or who it was made by. Fluids. All and all. For example, sound designer. Currently, we only have apples available in here. It has none of my libraries, or later weeks ago sound library, we can see the different things that they are grouped into. Cinematic, for example. And he gets quiet options. Using these different options, articulation set categories, we can usually find exactly what we're after I was quiet. You can take things a step further by using the rating system. If you hover over a preset, you can select any star ratings. If you find the sounds you particularly like, you can mark it as five-stars to use later marker is one star to know that in the future, you no longer need to use that preset. Generally, I'll just use the five and the one-star to mock out things I like, things like everything else will just be left. We can add more tags and presets of our own sounds. For example, if we were to make a sound or even save the initial preset file, initialized preset, save as simple as that. Well, it is go into our libraries. Here, we can make new library for myself more safe, simple, in-browser. Now, let's go File refresh library. I went to no sound designer and an artist. It's now have a simple edit and use attacks on any of our sounds. You create any attack, somebody like all presets and all options. You can filter out using those tax. You ever sound loaded like now with the custom tag editor. And here we can choose the different things that might be applied to it. We decided that it was a lead sound, for example, analog and the genre of John base. And let me close that. Those types we now apply. Lead sound, analog, change articulation to Genre, join, base and simple. So he's now you can speak regularly creating your own presets. You might want to have yourself a saved as the sound designer whose go File and Save As if you want to save your preset and have yourself be the artist inside Logic, Logic Pro menu into Preferences and then my info on the artist's name if you fill in your details here, now when you save your presets and refresh the library, you will appear as the sound designer. That's how we navigate around the browser in Alchemy. 5. Using Simple View: Simple view in Alchemy, simple view gives us the absolute basics of what we need in any of the patches. However, if you haven't created multiple layers and South macros and XY controllers, you'll currently be presented with nothing and it doesn't actually do anything. You have to program these into your preset. However, with all of the presets included within alchemy, every single one is set up over on the left-hand side we have eight different variations of r sound. So it's a whole does sound a move. We can move through those different variations. You notice the x-y positions are also moving for each one. The macros, these would have been changed in each preset variation. This can be recorded as automation inside lunch. If we were to set our channel over here from 3D to touch latch or right, we'll be able to record this. And if we simply hit Record, give ourselves a note, record this automation in as well. That will be remembered when we change our automation back to read and play them back. This allows us to morph multiple parameters in a sound with one simple control him one simple automation option if you're going to use a preset and Alchemy using the simple view and manipulate your sound this way is frankly the most simple way you can do it. As we go through the course, I'll show you how to set this up and build it into your own presets, as it was a really powerful tool that allows you to quickly open a preset and make a complex evolving sound very, very quickly. 6. Navigating the Advanced View: Navigating the advanced view in alchemy, the advanced view allows us to see the full inner workings of the alchemy sitting there some few things we need to know as we're going to navigate around that. Firstly, when we move over to advanced, we have the global view and there are multiple views withinside alchemy is advanced view. The advanced view global is an overview of everything inside it gives us a quick oversight of the main parameters of our four oscillators. It's just over here. Each one, a, B, C, and D hotel us. The type of sound that's in here, whether it's a wave or a sample patch, it has our key parameters, volume tune pan, and the filter settings on the left-hand side here we can individually go into each one of these different oscillators and they can be sets of multiple things when we're in one of these, for example, wearing oscillator a right now or sound source a, as they're not all necessarily oscillators. We have our sound source and we have our parameters, we have our filter section. That's all controlled here, as you can see, it's LinkedIn with the GUI. This middle section here will change depending on what kind of sound we have loaded. In this case, the real samples, the real-time spectrum shows up when it's on additive, vary depending on the sound. To the far right-hand side, this will be completely dependent on what's loaded into your sound source wherever you are sound sources using, we highlighted in blue and the other factors that can be part of the sound source will be highlighted in white. Everything else is grayed out in navigate to the other tab options just by tapping them, selected one always highlighted in blue. You can see the blue tab at the top of additives that says no, this is an additive sound source. The last option below here on the left, It's morph. And this allows us to adjust the balance between each oscillator. For example, here we'll tune oscillator B up on octave, or a is down one octave. Using the morph we can balance between the two. We have a further set of parameters linked to our XY controls. Xy controls over here, simply control the graph in the middle here, and allow us simple modulators to work with it. We change the control. It's simply a different method of working. For example, x fading only allows us to linearly move between a, B, C, and D. When we're in global, we can quickly access some key features as well. Over on the right-hand side in the master section where it says voices, we have all but we can select a, B, C, and D individually to individually change the output parameters of those. For example, if we wanted a two, always function and look, but be, to always be triggered, we now have that as an option, look like parameters can also independently be routed to each sound source. And that is how we navigate the advanced view in Alchemy. 7. Navigating Oscillators & Sources: In this video, we're going to look at the various sources, sound sources, oscillators, etc. That alchemy is able to do. If we go into our advanced view and we're just going to choose a as our source. Now when we load the initialized preset from a file, initialized preset by default, we're presented with a saw in a asking you see it's shown with the VA, shape slash noise within the display in the middle is displaying very simply assault wave pattern. To browse the other single cycle waveforms that are available in alchemy. We can click on the PS4. We have load Va, and here we have basic which introduce our standard source sine, square and triangles. Very commonly used in subtractive synthesis. There are multiple others available in Alchemy by default, many and complex pulse saw and sine and square variations. Particular characters and sounds. However, VA is only one of multiple options available to us in alchemy. Over on the right-hand side here, like we saw before, we have multiple options. We have our VA is our normal loading up a single cycle, and we have additive spectrum, granular and sampler. Each of these officers only at different benefits and characteristics, as well as a different way of interacting with the center if we choose additive while I'm VA, we can see that VA is to select it as our main source, have an additive options are available and we can switch them on over here. Once we switch it on, we see the additive is now also active or display in the middle has moved to the real time spectrogram. Sound sources changed to additive. Additive. We can do things like randomized source. I think it sounds very, very quickly. Additive also has an edit function which is very different to the VA function. Up here, go to additive. Here we're able to introduce individual harmonic will go more into depth on creating sounds with additive and harmonic and erasing later. Notice now that we've activated the VA and additive were unable to activate things like spectral pitcher, granular once we've made the selection and we've initiated the sound, some of the other options for us will always be grayed out. This is due to the fact that not everything can be combined in one sound source to initialize our preset again and see that this is still the case. In fact, activating additive turns on the format control for us. What we can do, It's great to VA and disabled VA. If we wanted to use some of the other options we need to load the sound source for them to work with, or in some cases even an image for them to work with. To do that where it says saw, we can load a source. Let us it doesn't say sound because there are multiple ways we can work inside our commit to a source folder which currently empty, but we can use pretty much any sound source. So if I navigate to myself or library, which we have here, and let's find a single individual sample that we could maybe use. Well, hang on the cart load y of samples this way. That's unusual if we were to go to say, our desktop, but we currently have some images where we can't do those either. This is due to a rather odd way that alchemy works. What we need to do is load a soar into a particular engine in Alchemy, which then allows us to have other options. Let's try again. Let's click on PS4 and import audio. This time we're presented with this menu. Now, we can simply drag and drop, which I find the easiest way to work from my sample. Every I could take symbol, one-shot, sound source, a drag and drop. You can put multiples industry like we'll just work with a single sample. In this case, we'll just use the one we need to select sample. And then we're going to decide what kind of engine we're going to use. We've got our analysis mode. We can have a discipline spectrum format can be enabled on this as well, additive and spectral, granular or Sanford this instance, let's take additive with the foreman enabled. That would allow us to, and that will allow alchemy to try and recreate this sound using its additive engine. And they use a mapping type as pitch. Got to tap Import. Now, alchemists tried to recreate that sound using is additive engine. Our quality settings will greatly affect the result here. Great will do. Okay, For now. We go into edit mode again. Have a look at additive Engine. We can see, Let's use the series of harmonics, varying levels, lots of modulation over time to create the sound. Map it across the case for us. Again, we'll dive deeper into this as we go through the course. Now, what if we wanted to do something that was a spectral? Well, let's initialize our preset again and do something as simple as jogging image onto alchemy. When we drag that image over, represented with the different options that we can put this image into. That's very useful. Let's put it into spectrum. The reason for this are the two main factors. Needs to be a PNG file, needs to be quite small. 800 by 800 is the max. You can really get out of it. Try and load a really large PNG file, it will just wash you out with white. My solution has been two-fold. If we go into Edit and we go over to spectrum, when we go to image, an input image, we can still grab that same file that for whatever reason won't drag over, click Open, and it will be there for us as a sound source. We have a start and end points. If we can bring these over, we can start right on the sound source. And quality is gonna be a huge factor here. We'll just say I'll leave point. And now we can use this directly as a sound source. Very unusual sound will dive way more into spectral, how we can use that in further tutorials. But for now, this is just some of the sound sources that we can use and load up in alchemy. And we can do four of these on each one of the sound sources, making up for a very, very complex sound designed options inside alchemy. As we go through the course, we'll look at the pitch and formant functions as well as the granular and sampler in far more detail. But for now that's how to load and navigate your way around loading sound sources inside the Alchemy. 8. Master Voice Section: Let's go over the master section in the Alchemy GUI to better understand what we can do with it and why it's there. When globe with this selected, we have mastery over here to the right-hand side, some key things we have, our volume, volume is already set to 0 dB. Now remember this is not the final output. The final output volume is sit here, and this is set to minus 12. That's because we can exceed the 0 with a combination of all of the different sound sources. And we just negate that by having minus 12 to default out just to protect anything. It's also either limiter is present, the master has an orange circle around it. This orange circle denotes that is attached to a modulation property. When we select it, we can see the modulation property that is linked to it. We have a HDFS R1, a control envelope and velocity. This denotes that there's a control envelope and the velocity of both affect volume on this particular patch. And this is the default patch, meaning if I press the key gently, we can see the trigger. Your comes to this far around, depress it even lighter. So far, hard. This is how Alchemy displays. The control is also linked to a modulator. Very quick visual reference for us. And the master volume is always setup to these two by default on an initialized preset and you load another preset, it may be linked to something else. Next to it is pan. Then we have the option to obviously pan in our mixture, but we can pan directly the sound master format. Panning only affects the overall our, not the individual sound sources. If we were to select a, B, C, or D, pan, would still any effect of the overall out with multiple sources? The individual sources we would need to do it from the individual pain control. We then have coarse and fine tune. This is global as well too. At the moment we have 10 octaves and one tuned down one octave. The course June would tune both of those together. Regardless of what's selected invoices. Same applies for fine tuning voices allows us to individually control the playback of each of the sounds sources. All but the last control or, and we have our playback of always re-trigger or legato on number of voices. By default, it's set to eight, all the way up to 32. If you wish to have a mono sound, we would go to one and set two. Legato. Maybe introduce some glide. We can set the note priority. So if we were to hit our maximum number of notes would be newest or this lowest or highest. Take priority. We have our bend range as well. Two up and two down can go all the way through to 36 notes, which is four octaves. 9. Exercise Swap Preset Sound: Well done in completing the first section of alchemy masterclass in this part here I'm just going to give you a very simple task. I want you to go through the presets, brow some presets, and then look at altering a sound source in a preset you like within your projects, will have some midi to trigger the sound of alchemy. You'll have a preset that you like. And I want you to take one sound source and just simply look at changing different parts of that sound source based on what we've learned only in this first part. 10. Filter Section: Okay, let's break down the filter section of alchemy and understand the different filters that are available to us as we create our sounds to navigate to the main filter windows, which, which is the one we're going to cover first, we have to navigate first to advanced and the first global. We know how to do that at this point. And then the filter section is outlines just here. Now built into it are two independent filters, and each one can be set separately and they can work in a variation of ways. What we'll do now is we'll default are patches were to initialize patch from file. And now we can see that just the top filter is activated and the default is LP 12 db smooth. What this stands for is low pass at 12 decibels smooth, meaning it hasn't got a resonance piping up an EQ or be able to show you roughly what that would look like. So the low-pass would be activating up here, that's low frequencies are going to pass. The 12 db slight would be like this. So it drops off 12 decibels per octave, then the frequency that it would be set would be like so it's smooth. So there wouldn't be a resonance that would be with a resonance. That's the kind of filter that we're introducing. At the moment. We've got Fx main and it's fully sent to main. That means our signal coming from our store goes into the filter directly out of the FX. If we were to switch on our second one, that's currently set up exactly the same. And now that the second one is active, we can see that we've got this par sir. That means in parallel or in series. In parallel means both filters will have a signal sent to them and then there'll be combined at the output. Whereas in series means the top one is then filtered into the second one. I can demonstrate this pretty simply if we change the top one to be a high-pass 12 db and play a sound. Currently got nothing coming out. So let's filter that. We've now just got some high-end. Now if we put this into series and play, we're going to hear out the second one is affecting the first. Listen to parallel, however, the signal's going out independently. We can have a blend of the two, whichever works best for your sound design. And we'll use some of that functionality as we progress through the course in terms of output before main effects, we can put some directly into our effects chains effects a, b, and c, If you want them to negate going out to the main, maybe certain scenarios where you want to sounds that are in parallel once go to the Effects, it perhaps bypass it. There are some more complex filters available in here, besides from the standard low-pass, band-pass, high-pass bit crusher, comb compressor FM for men Meccan, many other interesting filter sounds. We'll use some of those shortly to create some unique effects and utilize what they are able to do. But for now, we're just needs to understand that we have our filters that can be set independently out. They can work in parallel or serial. Outside of that, they have the standard controls of cutoff resonance. And Dr. cutoff determines the frequency. Resonance kind of determines r cubed like we looked at an REQ and will cause a peak to happen at the cutoff point. And Dr introduces amplitude into the filter algorithm, almost all of which are programmed to emulate an analog filter, meaning that it will just store it in a very natural way and not create digital clippings. Reasons like this, that we have our volume sets of minus 12 and our limited engaged allows us to push an experiment with sounds like that. In the next video, let's look at some of the more advanced features in the filter section. 11. Understanding Filter Types: It's important that we understand what filters are doing to our sounds. So I'm going to use a visual representation using the channel EQ of what various filters do and how they would look. You should be familiar with using an EQ. So hopefully this visualization will give you an either of these filter names and the effect they're going to have, rather than having to experiment with each one you can then choose based on your knowledge. In the previous video, we broke down the low-pass, 12 db smooth. In this case, LP always stands for Low Pass. When it comes down to things like gritty and edgy, it usually is referring to the drive mechanism, so the distortion type and in some cases, some of the resonance that may be already introduced, which we took low-pass at 24 dB edgy for example, we could expect to see something like this. We've got a low-pass past at 24 dB per octave. So very quick sleep, however, we're expecting to see something like this in terms of the resonance already, which we can only increase and then we'll become more distorted with the drive. When we move over to the high-pass, we've just got the opposite effect that we're simply high passing with say, 12 octaves. It's bandpass. That can become a little bit more interesting. So if we've got our six dB, a bandpass and smooth, what would actually be expecting to see is something like this. And we'd be moving that from a central frequency point here on the crossovers, it's gonna be a very gentle six dB roll-off. You're barely be excluding any of the sound. But when we get to something like a 24 can severely isolate the area if this sounds we're gonna be occupied with because it become a much tighter amount. Only a very small part is getting through. When it comes to things like the bit crusher and down-sample, they are directly affecting the audio output of via distortion. Things like forming that we're going to explore in more detail later. As part of the additive system, performance allows us to control the fundamentals of a sound and adjust it up and up, down and around. Formal control is something you would often use to change the tonality of a voice from male to female, for example, as we've also got things like tube and ring modulation, these are all forms of distortion rather than filters. 12. Unique Filters FM: One of the most powerful filter types we have built into alchemy is the FM filter. This allows us to do all of our usual synth process and then do some frequency modulation control at the filter stage. And the show you a very quick demonstration of how powerful this can be. We're just going to use our default sound, the soil wave. And we're going to have the initial default filter set on. We're going to reduce some of the frequency backwards like so. Now being treated to only the frequency below the 670 Hertz range, this switch on our second filter, we're going to turn it over to FM. For this to work correctly, we need to work in serial. So the first one will feed into the second, smooth feeds down into our FM or play it back now doesn't really sound any different. First on FM, we need to select a note. The low frequencies and lower note works better around something like g, G3 to be pretty good. Slight change in sound. Now the modulation amount when combined with feedback, bring the next even lower. We can combine this with things like resonance and drive from the initial filter. We take a moment and introduce a very simple modulation. Somebody will dive much deeper too as we go through the course using just our base soil wave. And these two filters we can create very complex, interesting sound. The FM filter is an extremely powerful filter, allowing us to completely change a very simple sound, really simple exercise for you is to take a preset you like an introduced the FM filter and see how you can evolve that into a completely new sound with just these few parameters. 13. Exercise Filter Types: Great, So now we understand how the filter system works inside alchemy as a task just to make sure you've understood everything that we've gone over so far. I would like you to look at the filters and we can just look at the master filtering out to me. I want you to manipulate it, choosing a particular type of filter, such as the band-pass, low-pass, high-pass. And I'd like you to use automation to manipulate the resonance on that filter. If you understand all of those terms and they're able to do that. Fantastic, We're ready to move on to the next section. 14. Oscillators advanced Tab: Let us look to fully understand the Advanced tab for the oscillators. We go over to advanced and it puts us on global by default, we've got a, B, and C, which is our oscillators are sound sources as they really are in Alchemy. And this whole section here, which we've gone over before. But now let's really understand what each individual part does. The very top section here, this is going to display our sound source. Now we're working with the initialized preset. So it is by default a song on the virtual analog, which is the VA, sound source. So we've got our volume. This is amplitude only applicable to this sound source. If we were to have, say be active as well, and we were to turn down. It's only applicable to a now as well because this is a VA, so it's virtual analog. It's designed to not be perfect, which is why those two sores not always imperfect since it allows us to have that kind of analog feel right off the bat, this time be backoff. So secondary is pan. Very simple, but again, it's only applicable to that sound source and that allows us to do things like a nice stereo spread. So again, if we use oscillator B and we can do hard left and hard right. We can create a very wide stereo field with this always inside the logic holding Option and clicking anything will default an option for you. Now, next to pan is course. This is essentially large movements in pitch. Move down 12 semitones, That's a whole octave. Up 12 is clearly apart if fine tune that allows us to very, very fine movement between those notes in the octave. So between say, C and C Sharp, we can actually move in-between those notes. And that's called sense. This can be useful for creating a detune sound into similar effects. That's how we get that super saw a large pulse utilizing just that functionality. If we were to enable all for sound sources, Let's pan Am be hard left and right, and will slightly de-tune C, D as well. We can get a very large sound right off the bat just by using that base functionality. Now below here we have some performance instruction to have weight. So let's put that up. Very simply. A pause for this comes into effect. As you can see, it's done in increments related to your BPM. Then got our key scale that can either be key MPB or just kill off entirely. And then I'll loop mode. And this applies to VA, especially because we have the single cycle. So is it continuous, sustained forward, back? This can change how the sound performs. Below filters, as described before, we have these three different options per sound source. We can have them in serial parallel, unlike the main section here, we don't have the balance between serial or parallel. When they switched on, each one has to be switched on individually and you have a little blue indicator on your 123 to the what is active. We've got our sense of where they're gonna go. They go to Filter 12 or to the effects or filter two and the effects D. So all kinds of different routing options available to us when we explore some of the unique functionalities we can get out of the filters by using them on the sound source rather than the filter section. 15. Source Subpage GUI: Inside each of our sound sources, we have our sub page operators or tools or modulators. And as we go through additive spectrum, etcetera will dive deeper into them by default on our initialized patch with the soar wave. We have virtual analog loaded. When we're on a here we have VA highlighted over here on the right-hand side, we've got a new set of parameters. Now, as we can see it at the top here we've got oscillator. So our oscillator is generating a saw and that's represented over here. Now that makes sense. However, the volume is actually independent. So we have yet another volume control, which is why we need to understand our signal flow. We didn't have symmetry which will have no effect initially. It comes into play as we adjust phase and sync, sync allows us to effectively layer up a sound by adding extra semitones on top of it. Phase, by default is currently set to random, if you remember before when we initiated BY as well, there were slightly out of phase and that's due to this random phase. If we wanted them to always be perfectly in faith, would simply take that down to 0. Number here is our units in amounts, how many voices the sound has? The teaching is the DC-10 phase voices at 0. They will simply stuck. In the course we have sinc involved as well, changes the sound. Symmetry now has an effect as well. We can do things like adding our envelope follower to our teaching value by a very simple amount. You would have had that kind of thing used before. So changing the direction depending on the note that we write, if you put sync up to say, 24 allows us to build a lead sound, we can start engaging our filters now, maybe take some of the high-end away a little bit, drive and some resonance enabled filter two and make them into FM. At a much later. And an envelope follower perhaps set it to see as a default, bring it down slightly. We could try our comb through the same sort of effect. He's working in parallel. Just these very basic controls are already able to start building very complex sounds. We're just going to keep evolving this as we go throughout the course. 16. Comb filter as a source: One of the things we can do is we can use our comb filter has a sound source. It sounds kind of odd, but let me show you how that would work. So let's just initialize our patch again to our filter, one inside sound source a, when the enabled, let's switch it down to comb PM. I've already got an interesting effect happening right off the bat, much like with the FM trick I showed you before, when you bring this down to a set, having it in the super high octaves can be really odd. Instantly. A really interesting effect you've probably heard used already in say film for like a shutdown sound. Skill ourselves. A nice low note somewhere in the first register, like C1. We think about feedback available to us as well. So this feed it back into itself. We're starting to get some interesting sounds straightaway. That's with no effects involved at all. When we go into the modulation section, will be able to do something like tying this note so it changes with each of our individual keys. We can always have it relevant to what we're playing, a really interesting effect and we'll go through building that patch later using our comb filter as a sound source. We can change the end result by also changing our sound source. So at the moment we're using the soar into the comb filter has our sound source. Depending what we feed into it, changes drastically. Simpler we can do to take the sound design step a little bit farther. Start with our basic cerium. Let's enable our comb PM tweet, right-click on the note itself, note control itself, add modulation and then envelope follower, an envelope follower one or the control shown here in the modulation tabs just bring that down and we get a nice little orange icon to show us where it's going to. Now when we play this will have a modulation and pulling down through notes and create some really interesting tones. Find it better if we start with the lower registers. This is before we've even introduced feedback. Just another interesting thing to try. 17. Use FM filter as a sound source: In a much similar way, you can also use the FM filter as a sound source in the filter section, again, into here, switch it on, then roll yourself down to fm. Works very similar to the combs. We could use that technique of just right-clicking modulation and do the envelope follower. Maybe bring it down to S4. Just getting a sine wave at the minute. But as we modulation feedback, we use that modulation that we connect it up, it down. You can create some interest in Tony, Kristina low, and the entire upwards equally as interesting. Sound source still has an effect. 18. Exercise Comb As Source: Well done on getting over some of the more advanced programming options we have inside alchemy. Some of these are very counter-intuitive to regular synthesis and what we may have learned previously or even just discovered. It's unlikely that you'll discover a lot of these things just by fiddling around with alchemy, just to make sure we've got a grasp of how many of these things, what I'd like you to on your very own setup and use the comb filter as its own sound source and make sure that we can correctly set it up and it correctly works when we press different keys and it's set up is that sound source. If you're struggling to get that setup at all, it's worth going back a couple of videos and just read going over that content, especially the video named comb filter as sound source. 19. Modulation Settings: So far in terms of modulation, what we've done is right-click a parameter and then link it to an envelope follower. In this section, we're gonna dive far deeper into the modulation section of alchemy. Have a look at some more things we can control. Modulation section is only available when you are in the advanced view, and it's this middle, a darker section just here. Modulations are shown on the left-hand side. They're always relevant to a control that has been selected. For example, here we're on the initialized preset and we're in the advanced view of a. If we click on teaching, it will now show the target is teaching and that there are currently no things linked to it, the different modulation parameters we have. And then over here on the right-hand side, and they work in a TAP system with LFO, DSR, etc. Across the top here to link a parameter together over on our left-hand modulation section, we first need to switch it up, choose from the drop-down. So in this instance we've got LFO selected. We can see its current LFO one here. I'm gonna take LFO one is now linked together but no effect will take place. We have to apply a depth. If we take a look at ditching as we apply the debt will see you take effect in this case person LFO, it goes in both directions. Depth will simply initiate the initial direction that will take based on the LFO. So now we could apply the same LFO to the pan of the oscillator. We have a look at our eight sits on. So who select Panther? Same process, turn it on. That's LFO. Lfo one. Whenever we are able to pan left to right with the other five. If we need to use a, another LFO for another use, for example, in this case, let us now control the volume would select Volume, got to send it up to LFO, will choose a new LFO, LFO view here on the right-hand side, we can now see a current one selected is to two. Now the second LFO, this was linked to the volume core. This is the most simple routing method, but modulation parameters inside alchemy. Now let's dive a little bit deeper into what each one of these does and how we might use it. 20. Alchemy LFO controls: Let's understand LFO control. Again, we'll start with our initialized preset. This time, let's go to the global view. Well then you use the LFO to very simply control the cutoff filter. Cutoff filters to something a little bit more interesting. Let's go 24 dB, edgy. I'm going to play a note and bring it back. Now I've put a single note just so I can press Play and have them repeat. That should work. Now if selected cutoff, we can see that it's highlighted in blue. Modulation section says filter cutoff one neighbor that we're going to select LFO, I'm going to use the first LFO, LFO sign that brings them over for us. We apply it, we will now have them moving cutoff filter. Most obvious controlled we're gonna look at is right here, sink when the blue lights on, it sinks to the BPM of our track, the Trust currently at 120. Let's move it up to 174. Now, directly linked to one over four. Slow it down. Now one psychopath or BPM, speed up. For far more independent tuning. If I leave it there for now. Bipolar can also be switched on or off, as you can see, once we switch it off or cut off now only goes in a single direction. Those are our two features that automatically highlighted. We know that this current is just simply the naming system used. So we know that LFA-1, It's the one we're looking at and what it's linked to next to it, we have file, and here we have presets to actually upload various presets of different other photos. Trigger very simply decides when this triggers. Is it triggered with each note? Is it always on, off the forest and effects. Much like with our virtual analog. We've then got a shape and we can use pretty much any of the single cycle waveforms as our LFA. The cycle through these some of the more complex ones might require sink great things like delay. Delays ever live into the sink as well for sounds sank off in milliseconds with sand Kong at the intervals. Delay is the length of time before the other firm has an effect. We have a whole cycle that before the other phase takes effect, attack is how much of the effect is phased in over time and over what period. And then phase is the phase of the cycle home where it stopped. In case we've selected something else and we happen to be working on here, we can show target Louis, show us a list things were connected to. In this case, we can see filter cutoff one, those who have controls for an LFO modulation. 21. AHDSR envelopes in Alchemy: Let's learn about our, AH, ADSR envelopes by default when we do our initialize patch, we've got this just here in front of us here, and it's linked to the master volume. When we see it just here, it's actually grayed out and it's linked to depth of full. So it always just gonna be turning the volume up to the max based on this envelope. It's very simple, common envelope. What we have at the moment just instantly triggers the sound, then releases. So let's just go over all of the parameter size of things. Attack is how fast the envelope takes effect if we push this right and we press a key. Now it takes longer for the sound to get to its full level. Important to note with these, these handles here can actually be adjusted and you can have different velocity curves as well. Hold is how long the sample or sound will be held before the decay takes effect. The length of the k is dependent on the sustained. If I bring the sustain down, we start to get a drop over here. You see the hold is the length of time before that decay takes effect. For decay is the length of time between these two points here, the sustain is the amplitude level, longer whole time. Lastly, release is the length of time it takes the note to go to 0 after it's compasses sustain. We can adjust this curve so it holds for a longer time and then releases very quickly. These can be triggered with a sink as well. When we turn sync on, we can see our measurements in here. So this is over the course of one tick, there are some graphical glitches that tend to occur, but there was snapped back in. Once we're on sync as well, we're able to time things a lot more. Sink becomes even more useful later in this kind of use where we can create patterns outside of that, everything is the same as the LFO in terms of how we link it, how we make new ones, were purely use it as an envelope control over time. 22. How to Control Filter: Using what we've learned so far, this create a very simple sound and we'll start with some filter modulation just to enhance that sounds slightly. So what we'll do, we'll go file as always initialized our presets. Let's go into the view for the PS4 wave. Let's use the voices. That's bringing it down on octave as well. All right, so we've got a very simple sort out just using some very basic parameters. Let's give ourselves a filter within the sound source itself. And let's take the low-pass with 24 dB rich square a little bit of drive, tiny bit of resonance. And we'll link the cutoff to an LFO. So we're gonna highlight the cutoff like that. We now know this is this modulation section. Switch this on to LFO, will use the default LFO, have an asynchronous, we'll give it the amount we can turn them bipolar off. So it only closes it, which gets me to bring our depth backwards a little bit faster. Just a resonance, driving bit more. For the next part, Let's look at using some ADSR control just to further develop that sound. 23. Controls With ADSR: We've built this basic saw what will sound a little bit further now by using some envelopes and, AH, DSR control. Let's get back into our sound source and let's maybe do something like have the resonance buildup over time using an envelope. So if we just control, switch it up, we're going to go to ADHD SR, and we're gonna go to a new angst. Remember, one is always associated with the volume and we're going to apply it so that the resonance goes up over time. We're going to set it to sink. So it happens over a set period of time and we'll bring the attack along like that. So it builds up over that period. 3333333333. 333333. So we make use of the whole being exact and then we can make use of the sustained being ever so slightly reduced, we have the releases almost instantaneous, like say 333333333333. Choose a nice tight where we like to come to factor it. Because I live a bit farther back. 333333. Try dropping this down even further. 3333333333. In 333333. We could also do something similar with the teaching teaching switch to on. Let's give this another new ones. We've got 12 active when they can new one again, and let's have it. So perhaps the teaching starts really high up like this much and it just pulls into control. The way back down. Here. We just have a smaller attack to do that. If we do really exaggerate it. Quite cool, whichever really quick effect on 33333333. We can even adjust something like the pitch we could go global for example, and do the course tune like this. We could assign to control, we could have it. So maybe that sounds pitches up right at the start. So let's bring this down one octave and then we'll set notice as well when it's linked to here, we've actually got the semitones so we can bring it up exactly back to the octave. It should be in like so if I slightly attack to do that and then I still depend entirely on the longer we did. Just a few things that we can control with that sound. Then. Let's save our preset. Now. Let's go save as, and we're going to save it into our libraries, will do it under, under this example. Wobble. And that will be available for you to download if you had any trouble following along with the ethyl. We've got example wobble. So remember what we learned about our browser as well. Can you go down to use attacks on this? And after we do a refresh, it will be there force, say refreshed Library. And here we have our example. 24. Alchemy Sequencer: Let's now explore using the sequencer as modulation effect. The sequencer allows us to do things that just simply aren't possible with envelopes and LFOs because we can choose a sequence of events to occur to a certain parameter. So we set this up like we would any other modulation option. In this case, let's try it on something like the pan. So it's very obvious to us if we choose Pads, switches on CO2 sequencer and we can use sequence of one as we haven't used any sequence in this patch it, unless it's for pan. If we push this left and right, it only goes in that particular direction, the sequence, it doesn't support a bipolar option like you find in the LFO solution for this is to pull the pan all the way to the left and then use the depth and the sequencer, push it all the way to the right. This allows us to cover the full spectrum. It will send means that the sequencer can be set to stay where it is on the left or push all the way over to the right, much like before we've got current and then file to load up some pre-made options. Whosoever very useful or randomize option, beautiful randomize. It will give us random values in our sequence here on the right-hand side, think of these values much like you do a miti night records from 0 up to 127, each point on here and where we set it to in terms of this percentage, will correspond to where it goes on. Our depth over here on the pan on 0 would be policed and left. A 100% would push it further to the right three, play a note. We can see that's the case. It's to make it go from left to right. Very simply put in a pattern like so. Sequencer can also have swing much like he would sit on, say, drums with your quantize options. Let's just allows a more natural feel in the sequencer itself. So if you do something like 55, now a bit of swing and feel to that. Who wanted to do something soft logarithmically growing up feels like his circling us right? Now, underneath each option here we have this little icon, just one is switched on there. This essentially means it's linked into the next one. So rather than each individually triggering, it runs much more smoothly. Fishing here, when it switches off, we experience some choppiness, smooth kind of feeling, which for all of these on seamless. For us the chopping is success because he really triggers each time. Never a TOC time set to slowly increments. Triggered times can vary as well. Fairly stuff is currently set to off, but this can be done in various increments by the, by the cell. I didn't. Modes can be set to values, thanks or swing. Here we can change the spring amount in-between each individual section with a length of Helena is held, meaning we can host some notes for shorter durations. It's sequences permit overly powerful tools. We can control all manner of different details and we can even do something like fine tuning the moment this pitches up with our initial, AH, ADSR. Let's add another modulator in form of a sequencer. Let's do a new sequence and control Weiss, let's have this sushi for hole on the octave. Now the notes in here, because it's erasing another octave, have them smooth. And she's a whisper. Means we can dial in melodies using a sequencer. That's an introduction of some of the things you can experiment with and the benefits of using the sequencer as a modulation source. 25. Why use a Envelope Follower: Let's look at the envelope follower, or the envelope follower does, is it tries to interpret the input and assign it a sensible envelope. This is kind of like limiting your key. So if I press a key really hard and they have really soft afterwards. And you can see the softer lines and my actual presses, It's really hard sharp presses and the employee follows, just tries to kind of compress or limit those and make them more playable. Let's just initialize our presets. Over to the ambulance follow-up. See the control that's giving that we could get the science of the envelope follower to the volume. Instead. Say the velocity here, Let's go envelope follow it instead. You get back. You can see here, no matter how hard I press the notes is very, very subdued. The envelope follower controls a lot more what's going on. There's a couple of things we can do here in terms of adjusting it. We've got an attack and release time. So if we put the attack time right up, similar applies for the release time. Before the overall scale. How much can it control you? You can see that the scale has a drastic effect as we introduce it. That's what the envelope follower allows us to do. Beforehand. We use this race specifically on, say RFM, a filter as a control to a, switched our filter on them went to FM because this was set to a note. Initially, we linked it to envelope follower. This is why this worked for us. Because we're limiting the control and not allow it to fly across all of the notes. We are aligning to have some movement. Just a scale. Same as if we adjust that sack and our scale. Get those great sweep in towns. Some uses of the envelope follower hobby use it in some other essences as we continue through to useful, to just felt allowing you to play naturally but limit the impact of what's going in. Just you can have some extra control over those effects are modulations. 26. Alchemy ModMaping: Let's have a little look at what we can do with the mod map option. For the MOD map is a controller for the modular is itself. It seems a little bit confusing, but let me show you something that we can do with it. I think this example of how we can use that, but it effectively allows us to do, is do things like set certain keys to have certain modulator parameters are initialized preset. And what we'll do is we'll take the course pitch over here overall, will dial it down 12 semitones being one octave. We're also then going to link that to an LFO, interested in new LFO here. When I tell that to go back up 12 semitones, if you've been having trouble dialing and you can always double-click and type it in right now that does this. Let's slow their rate down a little bit just so it's easier to take in. It's pitched up and down one octave. What we can then do with the mud map, we're going to enable the month map on here. And we knew Mark map. And we're just going to set ourselves some limits so we can limit the notes. It can actually go to within the octave on snap here, Let's take it. So we've got six by 12. That gives us the option of having six notes by 12 variations. In fact, we'll do that by five. Then we can just do it in twos. It's what we can do here is double-click and it's going to create a point based on those snap points, like we've only got this specific point and specifically 12 up so that one octave, right? So the first one just says 0. Next one, say two semitones up 5912. Now when we hold the key, it moves up in those steps. We head back over to our LFO and we change it from sine to like a random Hold. It will now be able to randomly go between that set of notes. If we turn off bipolar and go back to our mud, will now be able to cycle through those different keys based on that LFO. Now if we apply our rate to something like one over eight and we'll basically have an arpeggiator, a monkey. That's effectively the power of mod mapping. We can limit those modulation parameters to be really specific use cases like this, making a very simple arpeggiator, being able to hold one k1 just locked into, I think I've got the right pentatonic tone of whatever keyboard pressing. Or there's not a huge amount of time that I tend to use the mod mapper. This kind of use case is really, really useful. And you can also do it to do things like adjust velocity curves and make them non-linear and things like that. So maybe we use some of that as we go through some of the patches later in the course. 27. Be Creative with Modulation: In this video, we're just going to look at some of the things we can do creatively with modulation and some of the ideas that we could maybe look at to just do as creative design wise or just experiment with as always, go in default the patch to the initialized preset. One thing that we can doing is I didn't modulation to say the morph option. So let's turn on a second oscillator and it will have a single saw on the first B. We'll do it teaching version. Then we'll utilize the morph to move between the two. We'll change it to a linear faith. I would start on just a as well, just use envelope to control that. So we just select that and switch it on ourselves and new envelope on sync or have it. So over the course of say, half bother, half a measure there. So it will just fade into somebody who like that should do it fine. She died it back maybe 5% sure. Greet into B. It starts with the initial just single-source. Moved into being much more spread out. Simple wedges blending the two together. We can set the exact time and that happens over. You can decide if it happens suddenly. It on that perhaps we can make some kind of filter parameter. So let's go back into the label. Let's have a look at our filter just here. And then maybe it will take something like the low pass edgy again. This link that to say a sequencer and we can use sequence of ranks. It's not used by default. We could just give some set of values. And if we don't want to control that like that, we can just go randomize it. Just so it's nice and smooth. Maybe I ever long period of time we want the resonance to build up. So let's go into the resonance and let's give that a life of its own and it will sink that will give that full like two bar builder to really push that resonance up, say halfway. Now, let's make you so the resonance takes a whilst getting there. And we can time these things in without music by using the sync options and knowing exactly how long are they going to take effect using the different curvature options as well, and how even delay them and things like that. There's just a whole host of different things that you can go into. And so far we've only really touched the surface using the VA, aspect of alchemy we for all the other synth engines to go into yet and you can modulate a lot of those parameters as well to really just experiment and think about the kinds of sound you want to generate. And then how maybe you could get there and create that by modulating certain parameters. 28. Filter Cut Off Modulation: Well done on completing the modulation section of alchemy. I guess that was a really intense section. There was a lot of information and a lot to take in. Alchemy is overly complex with how much you can modulate and manipulate all of its different parameters. For this exercise, what I'd like you to do is again, use the comb filter as a sound source. And then I'd like you to set up some modulation to modulate the cutoff of frequency of that filter in the sound source to shipping. Now that you can trigger alchemy, it will use the comb filter as a sound source, which is already a bit odd. And then that's going to automatically modulate when that sound is triggered. If you're struggling with any of that at all, go back to the video of comb filter as a sound source. And if you're struggling with the setup of the modulation at all, have a look at the video control filter. Again. 29. Additive elements controls: Now we understand what additive is. Let's have a look at some of these controls to figure out from our initialized preset. I've onto the far right-hand side where we can select our different voicing modes. It's currently on the VA, that's NBA off choose additive and just switch it on the controls overall when we press a tone right now. We can also always like we had before, that's made in the additive synths engine. No volume does as we would expect, as you can see, to represent it on the spectrogram, it's lower than volume by the color. Now the number of partials is very simply as how many sinewaves alchemy is allowed to use to generate the sounds. Now, the way alchemy is programmed these work well in divisions of four. If you think things like storage of RAM 481632, that kind of thing, those intervals can go in-between. Absolutely, It's just designed best to work in those intervals if we were to bring this down to just the one which can have a sine wave or a sine wave. We introduce partials. Holiday straightaway. This is just all sine waves laid on each other. As you can probably tell, this is incredible for sound design. The VPN is tuning of all partials together. Now let's switch off this pulse. So he's kind of like 3D effects channels, but they're not actually affects because they directly affect the sinewave generation before it goes to an effects channel. So this is what an additively turn it off. Back to our Steinway. A slightly different characters at the sound. Who switches from science of complex. We're also able to do things like symmetry. Now we're still unsigned at the moment. That's on the basis that the additive synth engine here is using sinewaves to generate sound in complex. We can then use our VAs and we can use other waveforms. This is a little more intense as you might gather limits. It's going to have some serious effect here and there's symmetry comes into play here as well. That's purely the symmetry between the different options. With additive, really important to note that the more parsers we use, the more complex things get, the higher this is gonna be on a CPA TMA function needs to drop down to good or draft. I. Go back to the sine function for now. Let's just reduce a posh was down to that nice if organ time, we had that in here. We've got a self sub controls and we're going to look at those in just a moment. A few different ones that we can layer in or they are different and new and each channel, as you can see that now this isn't the only way we can create a sound. We will say over here, we have additive, we have Edit, and this gives us a whole new window. Jump over to either sit against the moment. Here we can actually drawing are impartial. Create a sound completely from scratch, hit Mode up the top here allows us to do things like bring all of the even ones in the area we've got selected. The higher we go, the more evens it will bring. You remember from our introduction to synthesis how sound waves are generated by odd and even harmonics, allows us to very easily generate those waves, except we get higher up. Probing wouldn't be evils in here. Just as easily take them away. And this is a volume we also have tuned. We can do individual tuning for individual partials. We can do individual panning for individual parts partials as well. Really interesting results and we can do phase changes as well. Just clear that and get back to where we were initially. In the next session, we're going to explore resynthesis and then we'll look at the additive effect options as well. 30. Re-synthesis: He rates it. Here's something really interesting. The sounds you're about to hear is resynthesized inside alchemy. Okay, So it doesn't sound like a complete Trump, but that's a really complex sound for a synth to be generating in real time, right? This has been generated using resynthesis. This means we can take any audio source and turn it into a waveform. Because it's a waveform, we can do all the things in Alchemy that we've learned so far to manipulate it and editor, for example, this drum loop here, we can actually go into the edit, an additive, and we can see every individual elements and modulation across the farm that controls it. Let's create one of these ourselves. Let's initialize our preset. As always spend, we're just going to use a piece of audio from logic, but you can use any piece of audio you like. I'm somewhat limited because I'm teaching. Let's go into logic, sample, leaps, library, and let's try something a bit more adventurous, but let's go with a vocal. Somebody a little bit shorter. We can drag and drop this sound. I ever had to act as if it's going to take a moment just to get a pray Father that sound. Now, if we changed the quality engine, something like ultra, closer, always going to be relevant to the key we choose. We can also do things like tuning. Very easy way to speed up effect that we can take our course June. We can manipulate that to ADSR. You can sync it and give ourselves a nice one bar, long a top. And let's have a nice vinyl speed up, bringing it back it to flatland. See we can do that pretty much any time periods we choose. As we learn more about additive synthesis, we can do more and more in terms of creation with this, in terms of making ourselves an instrument, it can be very useful as well. So let's take something that would perhaps be a single hitting the sound. Let's see if we can find just a single piano sound. Very short. Just give ourselves a quick way to work with C1. Now this is being completely generated by the US to set. We shouldn't give it more partial to her question, more volume to our question. Notice her position is perfectly we can control the position if we liked, and we could use say our mouth map, an LFO trick to jump it around to San positions like it was a sample cup. The moment it's on LFA-1 to ramp up, Let's maybe set that to set your random hold. A syncretic quicker split to roughly eight nights. For today. She's our filter drive as such. The filter gritty. Stress Miss Smith is pretty cool. So we can maybe divide it into say, key points. With a sleep on one kind of stuff. They run again. Interesting sound I think we should do if we say, and so came among effects yet, we'll just bucket of sound design and resynthesis. Curiosity. I'll often work by drums in 20, I think. Six big ISP team for that. Selfsame drugs around. Once you six range. There we go about ourselves. So it was something going there. Very simply question, taking a piano and re-synthesized. Let's keep developing this sound using some of the additive effects. Best of all, make sure we save our presets. We can continue to work off of it. 31. Additive element effects: This explore the additive effects. Now they're called effects. However, they do directly affect the sound that's being created. So they affect the additive engine itself, not a post effect of the sound, an important factor of eyes if we've set them and then we suddenly turn them off, we can get large dynamic changes in volume. So make sure you're working at low levels. And I will often just put a limiter on the stereo out just as a precaution. So the first one to be loaded that is always limited by default is harmonic. This allows us to do is adjust some of the sound sources that are created much like we saw in the additive view before. And we were able to do it in here, the fifth, so I didn't even harmonics, etc. It's just a much simpler control that allows us to do this directly from here. If we use our example from before, we can go to just the fundamental adjust the, if. We can do pulse saw scales, partial levels to make a higher partials softer than lower partials, create some very interesting effects. Depending, push it towards. Different effects. Saw a noise is a saw wave with noise applied to the amplitude and the harmonics. Imagine what this is going to know. All the effects they change depending on what stage we're in. Here. You'll notice we've now got beating stretch shifts. For example. Beating allows a group of partials to be detuned. This creates a beating effect. Right here. That stretch allows the tuning of partials to be stretched up foot sharpening the upper partials need a blend of it. Shift is a frequency shifter essentially at moves partials up and down the same amount in, get some very strange results with it. Magnet pulls all the partials into itself essentially, instead of kind of pushing them up or down in one direction, it sort of attracts to the point that it's set up. Noise applies a noise shift to the chewing of the partial set, which is essentially chaos. If you get any result was a lot more results. Last effects, more common effects, which finds her auto pan, essentially allowing us to pan from left to right, is another stage of comb filtering, except it's done directly. Iike, because this sounds being generated when we apply EQ, it can very simply just increase the levels of certain harmonics. So same as in here. If we were to boost up here, it's just doing that via an EQ. It's just changing the fundamentals of how the sounds created filter. Same kind of principle. It's just telling harmonics to be shut off or filtered or faded down in level. So spread modulates the pan positions of all the partials. So it can create a wide sort of pseudo effect. Of course, kind of spreads out strummed or filter modulation much that it's amplitude of the partials. So if you wanted to simulate that guitar effective like a string bean, plants are strong. Do you think to go to here? Refers, applies to sinewave, to the amplitude of partials, so resembling waves or ripples in water, I didn't know how well it's going to affect the sound when you say it's a high-end ready. Those artists to some of the effects that we can use inside the additive engine before we get to the stage of post effects. 32. ReSynth a Sound: Okay, now we should be getting to grips with programming additive sounds. We've really only covered the basics. We can get so much more advanced with additive as you've probably seen, we can work with each individual fundamental of a sound which is just fantastically detailed, but also very time-consuming. One of the things we looked at was really synthesizing a sound that's already been made. And your task here is just a re-synthesize the sound and just make sure you can understand that process of how to bring a sound into alchemy, run it into the additive engine, and could it resynthesized if you're struggling with that at all, you need to head back to the video called resynthesis and just go over that content again. And then you'll be able to complete this task. 33. What is Spectral: Now we're going to look at spectral synthesis and inspect it was a really interesting concept, allows us to do is take a sound or even an image and have that imagery or sounds converted into an image create partial as much like additive across a spectrum. And let me explain that for a very simple way. I can make a spectral patch really simply. We can take any piece of audio. We'll just use some base samples here in logic, if we drag over this electric piano and we're just an oscillator B here. We'll drop it into spectrum and we get a waveform playback. And this is one of the options where quality is going to be very, very important to the sound or put it on Ultra for the video here. And I'll make sure oscillator a is often more, press it just to play it back. It's a pretty good representation of the piano. Prefer real-time spectrogram. Be forgiven to think sort of playing back the sample. However, if we go into Edit, when we get into spectral over here, we've now got this image and this image is where it's taking what its cues from. We can see the notes here laid out in certain spots. And because of the way this is done, see those notes being played back. But ended up with quite a bit of noise to give it that character as well. But we can edit this image. For example, here we had to do something like take the eraser and erase the fundamental of some of the notes. Perhaps we know other fundamentals here. We could actually potentially draw that in on this code here is going to have an exceedingly loud fundamental now, really interesting way to be able to work. And you can create all kinds of odd soundscapes using this, you can quite literally draw whenever you're like. What? Because of that, we can import images and use them as sound creation tools as well. That input, why is it only appears to work with PNG human. The other format are supported with the import function, the tutorial. We're going to import some sounds and create those into images. Look at some of the editing tools as well part of your exercise, I'd like you to try and find an image and synthesisers sound from an image. It could be a logo or an image of yourself, even in the following videos, we're going to break down how we can build a sound using spectral weights. Use for whom, What sort of the effects built into it allow us to do. 34. Spectral Controls: It all without default preset. As always, what we're gonna do, we're gonna pick a sound too far into the spectral Option and look at some of the things we can do with it and some of the sounds we can use as a creation tools inside it, the spectral I find it most useful for creating things like IRI atmospheres and that background modulated on the movement of show you what I mean with that, especially using the formant tool to give kind of like an impression of hidden speech on the wind at sort of thing. Let's find a vocal sample logic library and just take something from here. Let's give that guy induced drag and drop it into spectral here on a process. Sounds perfectly fine on great, but we're going to pop it in ultra. Okay, So the first things that we can look at are some of the Effect Options. One other thing that pops up often with spectral is the volume may not be particularly loud and this one is okay. I'm often when it's been translated into an image format, it'll be a lot lower, so we've got to one controls, but the folks at minus six, you might need to push that one up, just that, but just be careful of your volume structures you go through as you push it into the filter, might get a lot louder. It just be careful with the game stage and she'd go through that switch on the first effect that we've got a whole series of effects here. Some you'll recognize from the additive synth, very, very similar kind of option that they'll bloom. Really, really useful for making this thing straight away probably into some kind of pat. I've not heard it yet, but here we go. Almost straight away. Now the mix is a blend between the two, much like it would be with, say, a reverb shift is sort of how much upper dance and taken into the minus isn't real weirdness with it. They're already join up with the cloud. The cloud's kind of sort of creates a mix-up, grow over time a little bit. Just take some of the window when the attack, so these both down, so they happen a lot quicker. Let's make use of the format now as well. And we've got analyzed which is useful. We can move the kind of overall vocal field around. Checking simply means that we track to the keyboard, even though you've changed that. Think of size of it like throat size. Let's just turn these two off so we can hear for me. She's the center frequency as well. Make it ready, chopping, synthesize. You can have quite a bit more fun with, and we can have both going at the same time over here on the right-hand side, the AEIOU option and essentially the vowel creation and select response to those who can see it goes from one to four and blends between the two. So you can actually use vowels, very simplistic. Them speak, recreate it or you can have it, so it's filters in there as well. That means we can do things like change the overall film. At a higher center. They can really hear the difference. With him. Simple modulation, an NFA, if we were to say set it to the middle of it. So the modulation is maybe on the effective every one bar. And change it from sine. So we are say random hold can change the fear of that. We can die. They're not super creepy effects as well. When we look completely different types of sounds going through the effects, let's say most of them are available to you as well in additive, but we can just do various things within Pitt shift, creating really artifacts, feeding back into itself, applying things like modulation to them. So ADSR for example, let's give that its own. But having an image so it starts higher and drops down. Blending it with some of the others. For the most part, they'll draw a mask options here, okay? The mask is going to allow us to take away around our brush point like say, for some reason why? But because we've now mass that we're only hearing this particular part here. So what we could do is mask out just the fundamentals, which we can see highlighted of our track record of our sound. Much like the fundamentals that we had in additive synthesis, that we can choose just which partials to create. You can take a lot of care doing this we like, so you can do it in a photo editor. Sound on it exactly as we desired. Resolution can be quite useful at the moment, we've got that on a solution. But if you need to see what's going on with all this up the top, for example, I want you to put it on linear stereo motor shaped both the left and right independently if you wanted to do that. So we could maybe just have a partial created appear just on the left side of that. We could let choose a different section of it. On the right-hand side. We're going to draw some useful tools as well so we can find the lasso around things that we wanted to get rid of. Work with. Stereo mode. We've got that area that we selected as a brush tool is effectively paying some very strange kind of Lever Effect. Let's try a little higher up. You see what we've done, male citizens, deep customer brush. This brush. We've got a couple of different options. Transient being very, very intense, maximum kind of passwords across this full period. But you can use that to make rhythmic section is quite easily. By the way, the editing on this might look a little bit jacket is because it is especially the higher-quality you've got alchemy up to. Just clear back to our default upon trade back in here. We can also erase things. You can do this using the brush types of the trends that reservoir could use it to take all of this lower noise out and drink clean things up for that won't generate any of that low-end voice that I could do the same with the top end and just clean that up as well. Let's just erase the whole lot. We can adjust the size and get a lot finer in there for the masking tool is a better option. In my opinion, this is the lag or editing the third party between as well. I think the masking too, by the way, to work in that respect. But that's an option for creation for you. It's like putting, say, a transient time, the vertical shift, that a little transient Jump Time. Vertical shifts as if that gives us something useful. Just to bring the coloring way down there. And that would be like a velocity adjustment. That's very simply how you can work with the editing feature, with the spectral element because you see generates the waveform for us as exactly what we've done. The effects very much interesting for creating those big sort of weird pad sounds and just require lots of experimentation because they vary wildly with whatever input you've given them. Remember, you can still then go and do things like routing your effects and your filters. So there's just an endless possibility of what you can do with them. Let's try a comb filter and see what kind of disaster that gives us. Follow. There you go. We've got an awesome dubstep bass. Kids go to global, use our edgy 24 dB low-pass and give that as its own, an LFO. New LFO for TPMT, say 48. Just like that first part of the tone, what we could do is go back into a, go back into edit. We could set our loop points to start and ends. Just hit that really wanted to draw that. It's not ideal to raise that will take our start and endpoints that we see that now bring the endpoint closer. We go, we felt ridiculous stops at baseless out of curiosity to see if we can just get a drumbeat. And I'm pretty sure there are tops that John Bates say using this that we just made, we can get something reliable. Guys, there is a use of force spectrum. Most developed a pretty awesome dubstep bass just by noodling about with a vocal sample. That's been helpful for you. Moving on into the next section. 35. Logic Pro Alchemy formant filter controls: Let's dive a little bit more into the formant tools. We explored them in the previous section looking at the spectral effects. But let's just have a look at how else we can use some flip this, go to our default patches always. What we'll do, we'll just jump into advanced and straight onto oscillate at a. Now by default we can see that format is not enabled, so it has to be enabled with certain types of sounds and we can just enable it here on the default. And you'll notice that without additive enabled and here we are. We can enable the synthesised version straightaway, analyzed. We can't do analyze shows up when we import a sound. So before when we did spectrum, we inputted that sound, it converted it into an image, and we were able to use analyze switching on additive. We get the synthesised version because it's not pulling from a source that is analyzed is purely synthesis side of things. All right, so once it's switched on, shift is quite simple. It's much like your course tune you have here over on your additive or your virtual analog side of things. It starts at 0 or we can tune it down three octaves, watching out. If you want to do that talking synth sound very simply, we can just automate this with say an LFO. Lfo here. Picture. Wow, wow, wow, wow, wow, wow. You're getting that pretty much straight away. And the reason that works is it's shifting that pitch up and down. Much like when you talk. When you talk, what actually happens are two fundamental sounds. You get to sort of fundamentals and they move together and apart. And you can actually see that happen on the spectrogram here. Wow, wow, wow, wow, wow, wow, wow, wow. That's where it starts to create that kind of squawking sound, even though it's not something you'd audibly understand, your brain picks the worst, kind of like talking and phrases. Now, when we go over to the select option here, and we've got our vowels here, the AEIOU. Those are just simulating that kind of movement in the same way. If we do the same thing and we give these, they're owned on modulation. So let's give them another new LFO. Can make this one quite a bit slower so we can really hear it. We need it to be right in the middle here. So 2.5, and then we'll give it the LFO like so, or we can switch by parallel often do it that way. I just find it easier. And then they gave me slower. Wow, wow, wow, wow, wow. Right now if we just take the automation of a shift here, there's a little bit clearer. Let's make it even slower. You can hear that change the size a little bit like the size of the throat, the size of the individual, the size of how wide the mouth would be. If you were talking with your mouth closed, you get a smaller size. In this case, you'd actually increase. Hopefully you can get the impression that if we were to automate all of these things in various ways that slow down the LFO on the shift to an ADSR here on the size. And we can start to really create a moving vocalized sound. Sensory, simply the frequency that all these fundamental movement starts around. Very easy talking lead created that know the AEIOU section. We can actually put anything in there. We've got different vowel options as well, so be nice and bright, a smooth o, for example. You can hear the change significantly in how they sound. Then we can also put filters in here as well, which is a really odd kind of thing I'll tell, allow us to do is put a filter rather start here for our movement. Very simply, we've built this just from our soar, just using the format so far we've put this little talking lead sound. We could very easily make this usable with effects. Acoustic reverb, take the mixed down a little bit. Maybe a little bit of a delay on there as well for some fun. That's really bringing the rate. So it's nothing quick whenever. That makes right back. Very, very easy to create, but that's effectively what we're doing with that form. And those are the basic controls for it. And it allows you to get kind of a vocally feel and shape into your sound. And depending what your sources, it's going to sound different because that's what he's got to work with. But yeah, if you want to do those vocal Lisa is vocal bases, the UAE kinds of sounds. Your starting point, you lower octaves. Really, really simple thing to do. And again, just started from our default preset. I'll save this preset for you so you can download it and have a play around with it. 36. ReSynth and Formant: Now we understand forming and forming control, simple task view here, I'd like you to modify the format control and they're resynthesized sound. And then look to try and get the talking action going as well. If you're struggling with any of that, roll yourself back to the video of resynthesis and the additive section and have a look at the alchemy. Formant controls video as well. And with those, you should be able to complete this task. 37. Granular Element Controls: Let's have a look at granular mode. Now. Put granular synthesis is, is it can take a sound and it chops up. Think of taking a drum brake and you chop it up into the individual sounds will granular takes that to a whole new level and it chops up into individual cycles. So a cycle much like we have on the screen here, that is a single cycle. So wave it goes to 0, goes negative, goes positive, goes back to 0. This is what granular does, but to a sound giving you a cycle of waveforms. So let's have a look at what we can do with granular and we'll just use a sound from a logics library by default. Let's just find the vocal again like before. Now. We can drag it over like before within droplet into granular. Much like before you can hear what it's doing. It's instantly dropped it many, many octaves. Again, our quality control is gonna be important here, too. Huge difference relative to position. For example, we could take position here and then bring it right back and in fact, stop it moving all the way down to 0.1 here. Almost single cycle. Let's have a look in edit. Well, in edit it doesn't have its own individual portion like it does with additive and spectrum. But we do have our loop points and we've got a little bit of lunch at the anterior switch gonna bring that down and just trim it up ever so slightly for us. We've not got that. I'm ending a blank part. Let's just reset our position scenario. Over on the granular controls. We've got a few different options. Again, we've got another gain stage of volume because this granular process can in fact cause it to be lower in level, for example. So again, we've got another gain stage option if needed. This seems to be okay. Size now this is the size of our grains, if you will. So you can bring it really far down. We can hear it starts to get effectively more greening. It's like taking less samples from the overall sound. We push it right up, gives us longer samples and it'll be smoother density that we've actually got it in number of grains here and we can drop it down. And if we drop size down as well, we can now been reduced to gravel essentially, we can move it up a bit more and have more density of grains. When we get closer to say, sand. If we max everything else, flower. We've got our time. It's kinda ramp time, ramp pan. Okay, then we've got some green shaped types. You can see here green type. These different forms will have a very different effect on the overall sound. And I'll put an explanation of them each below to save just throwing lots of words into here, effectively, each one's going to give you a different type of sound. Overrule, much like with our density and our size. We've got taps. The taps are gonna be different spaces between the grains and you put your tap spacing as well. So if we were to put up to say six Tap, we start to get smoother again, even on the green side of things. Let's take the spacing right down. You can hear the overall change in the sound, especially when we reduce things down. More taps now per grain, when the size is higher and you've got a larger amount of taps, it just makes things even more smoother. Experiment with having a change through the different green types they do change the sound dramatically in some cases. We'll just stick with the default for now. That's a breakdown of the granular synth option inside alchemy. 38. Advanced Sample Control and Edit: In this video, we will look at how we can build a more complex instrument using the alchemy software. But before we go to a, let me open up the edit window. This time we're going to import multiple samples versus so if we click, we can go to input audio. Now, we can drag and drop into the drop zone, or we can browse through for a specific set of files over to say, my lacy drive here, into sample archive. Hopefully somewhere in here, I've got something with multiple samples. For example, in this folder here I have access files. These are for the EXS24 sampler, or you can open them using the soft palate in Logic Pro. However, how can we can also read this? So if we choose one input, it will import the sample used in there. In this case, it was just a single sample pitched across. Here we've got a set of sounds from a caulk. What we can do is select the first one, hold Shift and select the bottom one, drag all of these either. And we can now import them. I'm going to make sure that we're now set to sampler and we'll leave our mapping sets of pitch, depending on the filename. Alchemy can most of the time find the correct pitch to associate with each sound in alchemy. Let's hit Import From here. In this case we can see its maps it quite nicely for us. We now have this ready. Like before when we looked at the Chancellor's controls, we can individually adjust each of the samples if there's a start point issue or we want to make them loop in some particular way. Now we can make this more complex by adding other samples into it as well. We're not just limited here. In the group section here, we can add a new group, is firstly, rename our group and we'll call this code since it was called cold lead, either here on group with the plus icon, hit plus, I'm going to hit Import. And we can go over to another instrument that say, let's stay with the core polyamory. This Savannah sound here. I'll do the same input method we thought I've thanks to set the same on sampler and pitch. Now we're going to import this. Now we have group two. So we can say, we'll just call that the CEF swing over two. Now, now we've got a layer of these two together. Now remember this is all just on one part of alchemists now playing two separate sample set and we can manipulate them and work on them separately because of the groups we've made. Me want to go back into edit. We can still go to be turn that on and have a soar as well. Maybe we want to create a really consistent subs that goes with our new samples. If you create a sign, maybe it down on octave. We still have the ability to run it through. All of our effects change as well. So we can do things like a comb. We can take this to another level of complexity as well. And that we can set velocity layers where we control that before and assigned different sounds, different k's. Well, the top and the bottom is true also. We could take the sound here, for example, we can drag it up so that the lower velocities only trigger it the code lid. Well, if you press a little harder, so for those who trigger, you can layer off as many of these options as you want. You could have a different sound player, player, every single different velocity if you so desire them, wanted to build it up in the next video will be a task. I'll provide you with some sounds that you can build your own patch just like this. 39. Create Your Own Patch With Samples: Well done on getting this far in the course. This has been pretty intense. We've gone over a lot of different information alchemy, as you can see, it's a very, very deep tool. Now we should have a good grip now on the sampler section and what we can do with that and its usability with the course. I've provided you a set of samples and I would like you now to import those samples into alchemy and make and save your own sampled patch. If you're struggling with any of that ROI yourself right back to the start where we look at how we can save patches in alchemy. And if we're unsure of how to import and build the patch, have another look through the sample this section to complete this task. 40. VA Essential Controls: This have a look a little deeper at the VA, virtual analog controls that we can use for subtractive style synthesis. Over here where it says Global just below we've got a. Now this is going to be sound source a. And when we click on it, this is going to open up our interface for this individual sound source. As we can see on the right-hand side, it says VA, we've got a few controls here that we can look at. And we can use these to vastly increase the detail of the sound. For example, we've got a volume control, as we've already explained, we need to be really careful in Alchemy with our gain staging. So we have volume controls absolutely everywhere. If something called symmetry, which adjusts the balance for the harmonic because essentially this has more of an effect with some of the other things in play. Now face determines where our soar wave sets off from by default assault wave, as we can see here, always starts off at 0. In this case goes down to the max, up to the maximum back to 0. The phase was just caused that to move slightly off. Sync essentially is a bit like tune, but it's where our soar wave is going to sink to. So if we put it up 12 semitones, it will just play back one octave higher. This can be quite fun to manipulate as well. Give some cool effect. Now number this is where we're going to be able to start layering up the sounds. So if we put three and it will now layer the resort waves on top of each other while detuning them all from this one oscillator, one sound source a, and we can have it play up to 16, so waves at once detuned. When you consider that if we used a and B both at 16, we're going to have 32s always playing at once. You can get very, very overboard with this. But number three, with the detuned value gives us a really interesting sounds. Detune value is simply determines how far apart each one's tuned. So if it's 0, it will be harmonized with just getting louder. Just spread them apart. There's no particular value that works perfectly. You simply need to do it by ear and decide what you like for the sound. Phase explained nine, that sounds pretty good. However, there is pretty good fun to use normally good for just a really wide sound. Those are all specific virtual analog controls. 41. VA Sound Vis Types: A quick task for the virtual analog Section want you to just go through each of the simple waveform. So square triangle x4, etc. trigger the notes and have a look in the visualizer. So that middle section that shows you what that looks like just to see all those different harmonics and how each one is shaped. And you can see how that relates to its particular sound. 42. Making a Simple Sub: Now let us use alchemy to make a simple sub bass, something we might use as a separate instrument in our track. And just to fill that low-end area, very simple for us to do. And we can do it still playing code if we like. We can even do this from global. We're going to go to the store. We're gonna load the VA and take it to sinewave. Now just a simple sign. This instance, I'm gonna bring up the EQ so we can actually see exactly what's going on. See simple, just that we know that it's too high, That's right around where our kid could be. We want it to be sort of in this 2260 region. So we're going to take the semitones and drop it down. 12 semitones. Can see it's in that range. It's gonna be harder to hear that it's always going to fill that space for us. Some because it's sub if we were to very quickly trigger it related to get pops and clicks. So we need to just give it some attack time. Probably make it linear. Better of a long release for most tracks with dial that back a bit. That's going to help fill in just about any baseline right there. Something else that's quite nice to have with a subset moves in amongst itself is instead of always trigger zone to look awesome, I'll give it just a little bit of a glide time. Just helps it move around a little more, less chance of it cause impulse clicks and other irritants that might happen. Want to beef it up a little bit more and have it so it sticks out and it's a little bit more audible. Used to drive a filter and do something like rich. Then we push the drive a little bit more than we really push it, will start to get a second harmonics as well. Needs to be careful about gain control. How to make a simple sublet using alchemy. 43. Making a Dubstep Wobble Bass: In this video, we're going to look to make the now classic dubstep wobble base. And we'll do it in a simple way, which you can then develop into something completely of your own for a very simple melody in, just in C with some drums, we can obviously here as well as always from logic, default, library. First things first, from what I've played in, it's far too high, so we need to bring it down an octave, maybe even 21 octave, maybe two gives us a good effect. Maybe we wanted to have a sub layer in there to fill up the bottom of the source. So let's turn on B and let's make that into a sinewave, and we'll drop that to octave. So 24 semitones, we'll give it a separate volume control. So we're gonna click on its volume. We're going to give it its own ADSR with a new ADSR, make sure that switched on. Make sure this is set to two, and we'll give it a little bit of attack and will reduce that release. Level that out a bit. And we're going to dive right back and then use the depth here. Get away. Okay? Then just to give that its own bit of space, we can always use the EQ's analyzer here just to see exactly where it is. Right in the right department. Let's give it its own bit of space. We can do is just go into a, we can use filter, one, switch that on, we'll make it into a high-pass. Just give it a clean high-pass. And we've got the cutoff frequency in the mid hundreds there. And when I should separate the two nicely, Let's use the global filter to give it, it wobble effect. And we're gonna use a low-pass. Let's give it 24 dB edgy. We're going to link the cutoff over onto an LFO. Lfo walks, it's not being used, dial it back, it's gonna be bipolar and push it like so. It's got a syncretic one over four, which is okay, whatever eight. Maybe more appropriate, fancy, excuse me, some resonance. We could link the rate control. So we could add a modulation to the right, say maybe a sequencer. Have it so that nothing, nothing, nothing, nothing, nothing, nothing, nothing, nothing. Automatically speeds up when they notice how downloads. It's not just surely a suggestion on what we might use. And we could dial it back and make it more. Maybe choose no swaying. Just an idea. Another soul waves a bit. Richard. Perhaps we could try something like square even. Maybe we can get a bit more experimental with the square wave and we can use a filter to as well make sure that's engaged. We could do something like our FM technique. We could link that to say your control it as well, say an envelope follower, follow one, for example. Maybe even the comb option. I didn't have a play around with the sequence certain how it moves to certain notes on different sequences rather than sequence one. Let's give it a new sequencer. I would definitely to slow the speed down a bit. Well, obviously try different sounds as well. Maybe the Mac filter. Make use of things like the semitones and sink numbers. I'm dropping it down another octave. There's quite nice, but what I think we could do is maybe start at one octave, link that to another controller and habits are actually drops down. So let's link that like so. So we've set the course minus 12 semitones, an oscillator a here or sound a. And we'll link it to his own new ADSR will have it. So it happens with a pretty quick attack. And it's got a full sustained and nice and quick release and we'll make it so it drops down 1279. We can change the attack time to see how quickly we went to happen. To happen at an exact integral. Sin can't do it that way. And use filter three, take it one step further and distorted even more than other drawing. This preset will be available with this video for you to download and continue experimenting with yourself. 44. Sampler Controls and Options: The Alchemy as part of its for sound sources are oscillators, also includes that sampler option. So let's have a look at some of the base things we can do with the sample and what we might use it for. Go over to a and we say click on our sore. You can do load source. The simplest way to load the sound into the sampler is to simply drag and drop the sample you want to use. We'll use logics default sample library just to bring something in. Let's go instrument, vocals, something that's in the key of C. If we drag this over and drop it into the sample option, and that will automatically load it as a sample for us. We can see over here on the right-hand side, that sample is active. Unlike with pretty much all of the other tools we literally have on off again control and reverse the controls for the salt that really light inside the edit window. So if we go into Edit here, we now see that we have our sample at the bottom here. We can do things like start and end time, very, very simply. There's a slight delay here in the start time. We might wish to just tighten that up by dragging this thought time. There's a lot of space left here at the end. So perhaps he was wanted to tidy that up. Especially for looking to reverse the sound. We don't want all of the blank of the star and the strength to it. Here we can set some key things, especially at the top. For example, we can set it so only a set zone within fact, play will trigger this sample. You can see now no longer triggers here on C2 over C1. As you can hear, it's pitched down an entire octave that's very simply set to its root note and where it comes from, C0, C0, C2. Here. We can press learn. Now, we're back where we were after that, do things like changing our looping mode. So it would maybe sustained. Now, we'd have our sustained points here. So we could perhaps have it loop like so. Somebody who can have fun with forward, back as well. So for effect, you would have had lead you to have a play around with the rest of this, we can do individual parenting as well. Just generally manipulate the pitch control of a sample to wherever we want it to be. At the usefulness of being able to assign these things to individual keys means we could perhaps bring in multiple samples into just this one patch slept before we need to learn. This can be really useful if he wanted to build up something like a drum kit that's perhaps initially sample-based to we could drag into our drum sound samples and link them up. This way. We can actually sample a drum kit as well if we were to go into all jumps here, Let's go genre, scribe. Good example. Let's bring this midnight beat him. No, this time we dragged and dropped into the window, we'd get a different option. Now, here's where it says sampler, we can actually change our mapping now to be drum, this will not manipulate the pitch. It will instead just link the sound to a Kate. So what we can do here is we want the around midnight sound like sleep, and just choose Import. Now, no matter what key repressor always be the same. However, we've got the whole leaf in that very simply. Let's just bring this and put it onto C1. We can now use our end and bring it all the way down to now it's always just a kick. Is hit, Learn. Never play around with the fallback options. Whatever it is you'd like, we can copy this as well. So we right-click coffee and paste into the existing group, and now we have another version of the same sound. But we can assign this to say, the next key. And we can do our start and endpoints to be over. Snap. As you can see, we could very easily build up a drunk it in this fashion. In the next video, we're gonna get a little bit more advanced with some of the sampling and things we can do. And I'll show you how to build a more complex patch. 45. Basic Subtractive Synthesis Lead: Okay, Let's begin by doing the most base version of synthesis in alchemy, and that's going to be subtractive synthesis. What this essentially means is to use a simple wave form, although one that has a lot of harmonic. Now the simple waveforms are sign saw, square and triangle, and that referred to as simple wave forms. Because while they are simply a waveform that can be easily visualized and understood, however, they all use a large range of harmonics and are actually overly complex. Subtractive synthesis makes use of this fact and design sound by subtracting harmonics from Rich waveforms like these we had over into our Advanced tab. And we're going to go to File initialized preset. By default we have a saw wave. Over on our filter section. By default we have a low-pass 12 db smooth filter of which the cutoff, let's us shape the sound, the resonance. Let's us to boost the cutoff point. And drive lets us add additional harmonics through the filter. Using different filter types. Allows us to shape the sound in different ways. This create a really simple lead sound using a saw wave. Now at the moment there's lots of low end and the soil that's natural for it we can do is use our filters here. That's a high-pass. Take it at 12 db edgy and use a cutoff. So there's no low-end. We can make use of our resonance. That's him feel to it and maybe drive to using our voices, we can adjust the performance to maybe go legato changes collide time. So it slides. Take a Voices down to one. Always slides. Instead of getting it right, we could do that over time. In our Effects section, which we'll dive into much deeper later. But could you send me the simplest at a delay, perhaps a reverb, even on the delay witnessing changes. We've built a very simple emotion or lead. 46. Alchemy morph controls: At points through this course, we've looked at how the morph function. So the perform section in Alchemy can allow us to change between different parts of a sound. If we take almost any one of the presets, for example, we can do this very different fields for each sound. In this tutorial, I'm gonna show you how we can set that up and how the functionality works. But the real creativity of it and design in terms of your sound that really does fall down to you. I'll give you the practical tools for how to do it. And then you need to use your imagination as to how you can then utilize it. First, begin with a initialized preset if scar. So I will start with something really basic, like a control of the filter for example. What we need to do is we need to link this filter control to one of our eight macros down the bottom here. That way you can do that's relatively simple if we highlight the control we want to link. So in this case, the cutoff and as we know, highlights blue. We can go into our modulation section to make sure we switch that I'm Carl ourselves down to perform and then we can link it to any of the controls in here. We're going to unlink it to control one. As we can see, it now does get named as well. The moment it doesn't seem to do anything much like before, we always have to give it a depth. As you can see, we get the highlight around our cutoff control. So now making that go up, it takes our filter off to what we can do here. Let's say the sound around about here right? Now Let's do something like linking an LFO to it so we can make a bit of a wobble sounds for example. So again, we're gonna have our cutoff here and we'll link that to an LFO. And we can choose the default other. We've got a bit of a wobble going. What we want to do, let's link the rate. So we're going to select the rates here and we're going to right-click it at modulation performer put that uncontrolled 2s and now we can change the LFO rate as well. So what this now allows us to do is perhaps have this wobble like this. We can hover over snapshot one here, right-click and store current snapshot. Now if we snap ourselves over to two, we need to set this up again. Give ourselves a filter. Maybe do the wobble while before. And now we can right-click and store current snapshot. Now we can move between those two. Make it a little more extreme or giving it a really fast. And now let's store that in two. And then we can see how those controls move between those different points. And we can use all eight macros and the XY controls as well. And you can link multiple things to each control as if we were doing any other kind of modulation. And that is how we can use the performer to create a far more complex patches that we can then easily minute maneuvering and manipulate, rather than having to modulate all those individual parameters or automate all those individual parameters in our song. We can then just use this to change those simple things. 47. Alchemy source editor: That's getting a quick understanding of the alchemy source editors, as you can see it in the GUI at the top where it says global and next to its sources. And we've got a, B, C, and D. Now because alchemy is such a complex synth in that it contains subtractive synthesis, granular, additive, and other forms as well. Many of the sound sources where we'd normally referred to them as oscillators, have a different editors. I'm just going to show you how we can go into those and we'll learn more about each one as we go through the individual sections and types of synthesis. But alchemists capable of from global. If we go to a, at the moment we have this switched on and it's a saw it in a sort waveform. We can see over on the right-hand side that it's highlighted in blue is VA throwing the virtual analog mode, which really is a subtractive synthesis option. Now the editor itself, we have an edit window just here. I'm going to click Edit. It will bring up this particular window. And you can see across the top we've got main additive and spectral which are slightly different views depending on what we're going to be looking at. On the left-hand side, we've got this grouping system which really relates to sampling and groups of samples that might be triggered as well as the zoning section here. The bottom gonna be what sample do we have, what kids in? What volume should it be out? What is it tuned to all of those individual settings? We can adjust the source from a, B, C, and D here. So once we're in the view, we can remain in it. If we go to a preset, we can see that a here, in fact has a sample loaded up and we can see our sample viewed at the bottom where we have things like our loop markers. We can see that sample being triggered up here in the main section, we can see this blue square is in fact our sample, and we can isolate it down to be just over a key area. We have all the individual settings for that sample down here. If we go over to be for a different sample, C and D is empty, fruits move over to additive. We can see how our view changes. We've now got the ability to do our individual harm on it. And instead of a sample at the bottom, we have sort of a profile readout of what that sound would look like as it's played back. Inside the additive view, we've got different areas as well, such as volume, tune, pan and face. A similar story for spectral, it will be relevant to what we're doing with that synthesis mode. And that's a quick look at the source editors inside alchemy. And like I said, we'll dive into each one and the tools as we go through the course. 48. Making a Simple Saw Reese: This led to make ourselves a slow release type sound, distorted saw type sound that we might find when designing a sound like this, I find it useful just to have some notes already in logic. So what we're gonna do is just create ourselves a little loop here. And we'll just do a really basic melody that we want this to legato. So we're gonna go slightly over on the notes. Will do is just move around. Really simple. Like that. Just gives us something to work with them listen to while we design our sound, let's initialize our preset. And when we started with a saw, the first thing we're gonna do is go over to B and switch beyond as well. That's very slightly teaching the two here so we can use the find the amount. They stopped phasing. Label. Bring the whole thing down on octave to where we are not getting what you're after. Since liquid, of course changing during semitones. Got a lot more movement. Works for us. Looking at the label, we can use the high-pass here. The 12 db rich style that back a bit. Please, we'd like it to be legato so it moves in and out of the different notes. So every invoices can switch to legato, give it a rate and the weather percentage. Little bit of an attack. So it's not such a harsh attack coming in. A lot of fading, but just keep adjusting it. Maybe even make us just a couple of cents out. Try it harsher light passes, maybe the 24 dB no bit resonance, perhaps. Drive link that cuts off to its own ADSR. What we're gonna do here is give it a little bit of attack. Will you didn't get a sync to attack. It takes about half a bar and that will dial back the cut off a little bit like so, something like that. Somebody else we can do is perhaps look at some voices, give it two voices. Teaching him back. On the sides. Jump into our effects. A little bit of compression. We used the Vinci's compressive. Shock can be quite slow. So reinforce a fair bit if we wanted to using distortion, perhaps, maybe the wave shape or there's a nice shaped racy base.