Xfer Serum - Crash Course In Bass Design

1. Introduction to Serum Bass Design Crash Course: We can break down this sound. Okay. 2. Serums GUI: In this video, we're going to break down the GUI, the graphical user interface of serum. Just so as we go through our projects, we understand what each different section is and how we're going to go about addressing it and using it, starting from the top and up at the left. First off, we can just see the word serum. Next to that we've got oscillator affects matrix from global. Note that these switches change our interface over to different sections, but notice how they only change the top panel just next to these we've got r sinth loading and presets. So we've got the option to load just over here and the very old school Save icon. If we tap on here, we can see all of our presets, and that is what we can load those from the arrows left or right will scroll through presets. Tapping just here will open up a preset browser which has everything in categories for you and also shows your rating system. Lots of the advanced features are hidden here inside the menu drop-down. And we will visit that in the future as well. And lastly, we've got our master, our overall output, an ammeter to show what kind of levels were getting on the output. The grey section just below is our main synth section. This was the module that change when we change through different sections here. Think of this as the synth, that kinda bit that would be mounted into a rack or they've completely impossible. But for the power of what serum does coordinate, we first got our sub oscillator. Just below that we have our noise oscillator, and then we've got our two main oscillators. They're exactly the same, just a clone at 12. Everything on the GUI that has this kind of grayed out square can be switched on or off or glass to see if something's on. By default, we have this blue light just next to the two oscillators is our filter section. If think in terms of a routing, everything over in this section, roots over into that filter section Order of which things go into it can be adjusted. So we do have things like a direct OUT available on our noise and R sub and direct out means it would bypass this filter section. We can also, in the filter section, choose which oscillators and things are also active. So we've got a noise and sub, we can't choose those routines as well. When we switch over to FX, we've got f x portion that replaces the section here. Currently, we see nothing in that with the grayed-out square. Again, we can switch these and as we switch them on to the modules, load up in here for us. And when there's a certain number, usually over four, we'll get a scroll option here on the right-hand side. We can view it like a whole rack. Next over we have the matrix. That matrix shows our routing and all of our routing is happening with the section at the bottom here. And we'll deep dive into the matrix as we go through the course. And we have global. This is kinda like looking at the back of the synth and all of the parameters that are going to affect everything else that goes on for the time being, as we're just getting started with Sarah, we don't really need to dive into here too much. One that can be quite useful to note if you're having issues with your CPU, you can flip this over here and just switch two 1X draft. There'll be a much lower CPU usage for you. Let's go back to the oscillator. So below our Since section, we have, our modulation section really is a modulation matrix. Across the top, we've got mod envelope 123, LFA A123. And for velocity and notes, we can, at a glance see what's being viewed in each one. It will be grey, highlighting Gray. There's always an arrow pointing down. And for example, if we choose F0 LFO, For example, if we choose LFO B2, we can see the arrow pointing down, switches to that and we're now viewing what's going on with LFO to, in this LFO section here, if I make an adjustment here and switch back to one, we can see those changes. And that's how this applies across the envelopes. And the velocity and note section as well. The modulation section is slightly different. It controls these four macro controls here. The macro control that lets us link multiple parameters to one control. We will use those in some of our patches that we built out. The very bottom section gives us a keyboard that we can play on screen. Before our pitch bend range here, along with a pitch bend, well, a modulation wheel can be linked to a keyboard for playing. If we, if we like, over on the far right hand side, we've got our portmanteau. We can change our settings to always by switching on highlighting. And we've got amount in time, and then we've got our pitch bend that curve options as well. We can change our velocity, velocity putamen, so I'll put them in to curve time as well. We can change the curvature of that and make it nonlinear and logarithmic instead, we can also scale it. We're having scale switched on the very last thing hidden inside here, a tiny little icon just here in the bottom right-hand corner. If we click and drag this, we can resize serum. And this can help if you've got a large display like I have in you want to work on a large screen and really be able to see what you're doing. Or if you're working on, say, a laptop display needs to make it smaller, you can also shrink it down to work much smaller for you. Very useful resizing option there. That's quick breakdown of serums at GU. Let's move into our next section. 3. Getting Around the OSC's: One of the main things you're gonna be working with inside serum is real power are the oscillators a and B. So it's fundamentally important, we understand the functions of the oscillators and how they work to here we're just going to break down everything in this section and how each individual item can be used. So one of the first things to note is the 2D and 3D view in a wave table synthesizer. And this is what Sierra maze. It's a wave synthesizer, meaning it doesn't have a single oscillator option. Instead, it runs off something called a wave table, which is a series of small snapshots from other sounds. Now by default, it loads up with a saw wave. If we click on the Save Image, it will load the 3D view, but it has just the one single saw wave that now we can see that we've done this. It says default at the top here. This would be where we choose different wave tables. We can use the left and right arrow that was gotten three. Now we're in a 3d view. We can see this is a wave table and highlighted in yellow is our current snapshot. If we tap again, we see that individual Snapshot, that's a single cycle from the wave table theorem, you can have up to 256 individual shapes or segments within a wave table. So here we can see in the 4088 wave table that we've got many different segments now attached to a control down here, WT POS, that's wave table position. When we scroll this, we can see the yellow line take shape moving through the different ways. You may also be able to see between the green lines are awesome grey lines. These are interpolated calculations so that theorem can seamlessly move between each individual segment, nice and smoothly. And that allows us to move the wave table position seamlessly while being played. So if we were to play a note, we can seamlessly move between all of those different frames with just a tap. This again, we can also see those individual frames change as we move through the wave table. Head. Theorem comes with a huge volume of wave tables. And we can add our own tables. For example, here are some added from the icicle serum patch. So it's a brown sphere. We can click here, choose any of the different wave table types. And while holding the note, we can listen through them left and right, which just less scan through. We'll go back to the 4088 just to continue with looking at this oscillator so we know how to load wave tables. Now, it's the most fundamental thing into bringing the shape into the oscillators in serum to get everything working. Now, once we've loaded up a wave table, we have some other functionality. We have Octave, SEM, which is semitone or fine for fine tuned octave allows us to put the default fundamental Evernote. Down the hall octaves. So if we were to trigger this, but we bring it down one octave will always trigger one octave below that note, or two octaves below that. Of course, it can go the other way. Semitone works in the same way, but it drops by single keys. So if we were to drop it by 12 semitones, which covers a whole octave, it would still drop the octave. But we can be more precise and drop it. And you say nine. Now gonna play off k. So if I play a C, professor should sound like this. Fine tune is those very specific frequencies between each key. We can use fine tune to detune two oscillators together. Crs is course tuning is similar to fine tuning, but continuously runs out of tune. So for example, every time we press a note with something that's fine tuned, it snaps to that position. It's always that much out of tune. However, course tune-in doesn't work by this. This is more used as a modulation destination to maybe get some feel in our sounds. And as we develop some of our base Allen's during this course, we will make use of this. So let us look at the rest of the control is below the wave table breakdown fast. We have a unison. Now, Wow, the innocent is in one. Wait, necessarily see anything, nothing really changes. That's our default. Play this in glass later. However, once we move it up to two, we can see now that we've got these two yellow lines and they're representing the de-tune or pad amount, if you will, of the oscillation which is now being played twice. This is directly correlated to the detuned control here. When we put it to the left, they'll become closer together. This was our more narrow really far to the right. This was so very split apart. It does that by detuning the two together. When we go to three or more, we can see that we now have green and yellow lines. These represent a change in level and these are directly correlated to the blend control. We can adjust the prominent detuned against the other voices. Serum is smart and it will always balance. Your outputs are amine roughly the same no matter how many voices you add. But you can't override it. But you kind of just the balance yourself as well. Let's just bring that back down to two for now. And let's bring the detuned down ever so slightly closer. When there is only one or two unisons, blend has no effect. Next, we have phase. And phase determines where in this particular snapshot that we see in front of us, the sample is going to start the phase of the sample start, as you can see at the moment, is that directly in the middle, but we choose, it's always start here, for example. And this can absolutely change the fear that the sound, okay. Here, how starting on the left here almost leans everything over to one side. With each note. We get things moving from left to right because of the phase of where it starting, this directly corresponds with the knob next to it, which is random. So there's a random value between the favorites.html as well. We can have it be exactly the same time every single time. Notice how all the notes now say dead center, go right to the left. And we opened up that random option for styling on the left-hand side. That's because we've got these phase difference is happening and it's randomly starting in slightly different places. This helps us emulate analogue synths, which as they would warm up and be played with, actually start to move and shift out of phase ever so slightly wave table position we've covered. Just here we have the walk control. If we click where it says off, we've got a list of different work functions and we're going to cover those in a separate video because they all have different uses and allow us to really manipulate the wave table that we already half. Next we have pan. A level pad is relatively self-explanatory as we move over to the left, or audio will come from the left to the right. If we're using them both oscillators and wish to split up a sound. Let's have a very slight detune. We can do it like say, we can have very specific balance that way by using the padding rather than using the direction. Level is the output of that particular oscillator. So we can balance two oscillators to give a different feel and balance of how they're going to work together. So that covers the oscillator and how to navigate it. We're now going to dive into the warp functionalities. 4. OSC Warp Modes: Okay, for the wart modes, they are best explained in use on a wave tables that start off. Now let's use our 4088 wave table and we can control that, control the warps. And first thing we need to enable them, the first one is sink no window. Now once have what mode is loaded. The control here will adjust to it and we can actually see, adjust them in real time. And you can see what's going on here. It's essentially repeating it. The more repeats we get, the higher the pitch goes. We can do it in real time. Hopefully, you can already get an idea of what we can do with this and the applications of it, especially is the fact that you can warp it in real time. So the sink, no window, windowed, half window. They pretty much all do the same thing, but they have a different algorithms summer when the sun smoother than others. And it's going to be a preference of taste more than anything else. You can see here it kind of has a crossfade going on which makes it a lot smoother than the non windowed. We can hear where there's pops and clicks. Very smooth there. So it moving in to the band, the Walkman is what they allow us to do is to abandon sheep, the waveform in three different ways in the documentation for this course will be all the details of what each one does, specifically in writing. But let's have a listen to what they can do because that's more important to me. Because that's more important in My Eyes. That's what we need to learn, be able to hear. So we can get what these two do from the midpoint of this slice of the wave table, it's either going to stretch it end or direct your outwards. It's a little bit more complex hair. It does both that you can see the warping happening in the middle here and the sections here. Imagine if we split with three the tunes. It's kind of like having walked points at those three spaces. So we can do both of these. 21 goes into the, Whereas the plus or minus, no saying as far left on the combination of the two, neutral is in the middle. We can go either way, bending up and down. Pwm stands for pulse width modulation. You hear this a lot and see this a lot on things like old MOOC since usually on it the square wave oscillator, because we can change the width of that pulse. A square wave is very simply, a pulse is on or off, or a perfect square wave is the pulse width modulation adjusts the width of the pulse, quite simply, the luxury of something like Sarah, we can apply a pulse width modulation to any of these sediments. So we can do things like that. Next we've got nice, we've got three asymmetry options that's similar to bend apart from the work from a different point in the waveform itself going from the center. They are, I believe off to the right-hand side website. I believe that off to the left and the right. And then we've got one that goes either way, much like the bend algorithm, like so or 0. And it creates a phase inversion of a current. Mirror, creates an exact mirror image from the center, I offer some really interesting shapes to be created. Next, we have three re-map options. When we were into remap, we get the little pencil icon just here on some versions of serum. It does appear to be a magnifying glass. I'm not sure why it's different on a once. And this allows us to remap the basically linearity of this particular wave cycles. We can do things like this, push it up, and by double-clicking, we can actually add them more points and start to really shape our wave cycle as much as we went across the whole wave table. And just by doing this, this gives us a whole new wave table. Or we can choose the amount a remaps, Bye. The three remaps, the simply different algorithms with the same functionality. Quantize what's very much like a bit crush up. And while we introduced quantized more of a reduced bit rate, we get the effects everything in real time as well. The FM modules in here do not update in real time like the others, but they effectively modulate one wave table with a another, as we can see here, FMN from b. So this will be FM modulated from oscillator, be am ring modulation from an FM, from noise, FM from sub and backed off to as we go through it and making some of our patches will definitely be making use of some of the modes and combining them with some much elation and things in the matrix. But hopefully that's given you an idea of why they're so powerful. They can allow you to do. We've pretty much just use one wave cycle and one that part of a wave table. And been able to make it pretty much unlimited possibilities come just from that alone using that functionality. So let's move on to the next section of this. Just quickly understand that the sub and noise oscillators. 5. Sub & Noise OSC: Okay, so now we understand how the mean oscillators function. We've got two oscillators that go hand in hand with them. Give us some extra usable functionality outside of all the craziness. So first off is the sub, we can activate this up just like so. And it's got a set of predefined, a waves oscillator shapes like you would find on most sense. Now, first thing to always know is this very first one that looks like a sign, and the second one also looks like a site. The second one is actually known as around a rectangle. I can think of this as a distorted square wave to the second one is actually known as a rounded rectangle. You can think of this as a distorted sine wave. We push a sine wave to its absolute limits. It flattens off the top and this is kind of recreating that distort a sub. You get some extra harmonics. And this just helps us get to that process without having to take the subdirectory and distort it to get those extra harmonics so we can have a pure sign, but we have the rounded edge option as well. Outside of that, they're pretty normal triangle saw, um, square wave and a pulse modulated square as well. We have an Octave control, so we can't always have, so it will play a one octave or two observes all the way to four octaves below everything else, making a very useful for being us up. We want it to bypass the filter and will always be a sub sine wave below everything else we switch on direct up. It's always going to bypass the filter section forest. Additionally, we have the noise section, we can switch the other. We can also enable Direct up. Now here we have a selector which, you know, it looks a little bit different to everything else. Well, it's basically a sampler so we can load a different sounds into here. And all of these are wave sounds, so we can actually add our own, the same or a very similar way that we would install presets into Sarah. If you'd like to know how to do that, we can check out the installing presets video further on in the course. What this allows us to do is mixing things like a noise samples into what we're creating. And we've got a phase, a random amount. So it's not always triggering the exact same part of the sample every single time. We can also switch on this, which will pitch the sample relative to what we're playing on the keyboard. With their off, it will always trigger the same picture of the sample. One shot mode means it won't loop. And we can also adjust its pet. So if we wanted it to be really high pitched, Hess for example. And maybe we'll want to pass it off to one side and have it really loud. We've got those options that, those mixed in with our mean. Amb oscillators allow us to create a solid subs with a direct OUT that isn't ever affected by the filter. And also load in a very basic sample option. So we can add things like analog noise and give a real impression of a analog synth or just a bunch of noise everything can cut through. We'll use in some of our patches and I'll show you why it can be a benefit to you. So now that we've covered those, let's dive into our filter section that understand the options available to us. There. 6. The Filter: All right, so let's look at the filter section. We'll turn off the direct outs from some noise. So they also go into the first and we're going to switch the filter on like so none of the top section here we can load are different filter states just by clicking on it or by talking through on the arrows. General conventions like the 6121824, they refer to the sleep types. For example, if I were to just minimize serum for a moment and we'll bring up logics, IQ. We just put a filter on here and I'm bringing it out like this. You can see this filter here. And the way it slopes down quite quickly, it slips down by 24 decibel per octave, which is quite fast. Sleep, if we were to change that to minus 12, we can see it takes a lot longer to, was in fact to reach 06 takes three octaves. Basically. It's a gentler sleep and you can still hear more of the sound. And right through to the 24 being a much harsher. And on here we can actually go all the way to 48, which is like an instant couple of notes and you would be losing anything above or below that filter. So that's what the numbers refer to in a lot of the filters, which are going to have things like mg, which a ladder filters. And off the low and high pass, we know what those are going to be. So it takes all of the higher way, a high takes all of the low away. A bandpass takes the high and low away around a particular band. Peak is a similar thing, but instead of a rolling off, it's like two shelving and we can have a peak point. It's like having a really harsh resonance always that it's really heavily controlled via resonance. And, and not just the opposite to band where we can just knock out a particular frequency in terms of it rooting. We've got very simple switch the light on and that will be routed into the filter. So a and B, a and B oscillators into the filter. This is going to be noise. This is sub little keyboard here is key truck. So what this will do is depending where you've set the cutoff and what keys you play. As you can see, but the notch it tracks relevant to the case this is key tracking. So say we have a particular frequency here. This is going to track that frequency across the keys as we play. That can be applied to any of the filters types can be especially useful if you just always want to maintain some low end. And high IQs are going to have more high-end, but you just work to stay there. It's always going to track with the cut-off and resonance, they're going to vary. The resonance is going to vary ever so slightly dependent on the type of filter we've got him play, for example, in the nacelle. It's going to decide how much we can take out on that nudge. Whereas something unlike the low sex, it's going to be something like the low 12. It's going to be the bump in the point where the cutoff starts to occur. And self-explanatory. Now, Dr. Dr. boosts the signal and feeds it back into itself. So it feeds, the signal comes out of the filter back into the photo up. Creating distortions can be really useful. Effect has a similar effect, but it's a different type of distortion and will affect the resonance specifically. This is a variable control and can change with some of the other filter options. For example, on the high sex, there is no option because there is no resonance change on somebody who like the welfare. It's actually a frequency adjustment. There's a variable control that can change depending on the filter type we've got running into actor, that's all breakdown of the filter. So let's now have a look at the modulation matrix and we'll start with envelopes. 7. ADHSR: Alright, so let's have a look at the envelope sections in here. So envelopes are essentially our ADSR. They allow us to control parameters overtime. Now, we've got three envelopes in serum and v1, m2 and m3 hit. N1 is kinda special, is always linked to amplitude. So a is the amplitude of the scent. So if we put an attack here, it's always going to control that parameter, but then still free the reachable to be linked to other things. So for example, I could link this envelope to also function with something like that. Cough of the filter. And to link a control. When we've got the highlighted, we get the four arrowhead, we can drag it and drop on the control we wish to control. As you can see, it's now linked to there. So this will now also control the cutoff filter. That's how we make that they'll attack sound. But it's emulate one. There's also always go into control aptitude. Let's have a look at envelope to and how we can adjust and control these. We have four points by default. Right at the bottom here, top, top, bear, and down here. And then we've got these five controls. Crystalline to attack is going to be the point between, is going to be the distance between these first two points. Basically it's going to be a sleep here if we push it up so we can see it a little bit more. We've got a nice curved sleeping in the middle. We have a handle so we can control whether that's a nice linear cut or a logarithmic curve in either fashion. And we can then dial that back and have it to be a nice quick attack. So that's how attack portion for like a whole portion. A whole portion is the length of time that's going to occur before decay happens. Kay, in, and drop the sustain ever so slightly. To sustain this, this point here. This is the point at which when it is held for a long time, it will pause at that moment into the note is released to k is the length of time it takes to go from the top of the attack to that sustain. Since this is the length of time to go, attack here hold for whatever length of time here, decay is there section along here until we get to here. This is sustained and it will hold the sustain and sustain is a level. Once we release the note, we then got onto the release and that is going to be a length of time it takes this to release. So if we were to just remove a modulated from the cough, this now link envelope to, to the filter cutoff and we'll have it so it fully opens up and we can really see how this whole behavior works. What we'll do, we'll go to emulate one will give that unless long release as well. So there's still going to be some sound that we can now see. It's long attack, decay, sustain, and release. And that's how we can set those envelopes up. Now once we've set them, if we don't want that to change, we can click on the lock and it's going to lock them. That's gonna let us not alter those accidentally woman moving around or anything like that for having trouble navigating them. We've got the envelope zoom slider here. We can just use our mouse wheel over that because we can make this much, much longer, all the way up to 12 seconds to manipulate them. That way, we can just zoom in and operate as we'd like to just to. So that's an introduction to envelopes and how to listen to parameters and hopefully a nice explanation of a H D off way which is attack, decay, sustain release. Let's move on to having a look at the LFO section. 8. The LFO Tools: So in serum for LFOs, and unlike the envelopes, none of them primarily linked to anything all the time by default. When LFO is, is a low-frequency oscillator, allows us to basically send a signal to move something different increments in time. And we can choose the shape by which it does that as well. Since it demonstrate this, we're going to select LFO 10 to the cutoff control of the filter. Now when we press a note, we can see that this triangle shape for pavement and places to filter. It does this currently linked to a rate of a BPM which is based on the DAW. So it's assigned, this BPMN indicates rough, it switches to hurts 0 hats will give us nine movement. We can go from an incredibly low naught point, naught one hertz per second, for example, would be one cycle per second. You can work out what you need based in hats. But in most cases it's far more sensible to have BPM and have it linked the BPM of your track. At which point we get increments of time such as two bar, one bar half, quarter notes. Much like an ADSL, we can create an LFO shapes in here, o, using the photo icon here we can load shapes that are ready made, for example, of a sine wave. But because these are adjustable shapes with double-click, we can completely control them and make our own unique other shapes. The Greeks gives us. The minute we've got a group of eight weeks ago to say a grid in 16. This is going to help us define a lot more where we want those particular notes and things to lie. It's the 16th. Much more simply. We then got mode. Trigger off. Trigger will retrieve the LFO every time you press a new note, which continue the LSI running. And initially as it performed a little more like an envelope stuff. So you depends on what you need and what you would like the patch to perform. Like thinking back where we chose BPM before we've got a MCH underneath this isn't an anchor point. Essentially what this means is whether or not the LFO will always be syncs to the same point based on the track. Again, it ties in heavily to the BPM and how you track plays as a whole. It can be very useful for keeping lots of different since performing in exactly the same time. And it's useful most of the time when it's switched on trip. And dot refers to the rake types being in either triplets or a dotted. And you can have a look at your concise setting CEDAW for examples of triplets and dotted. So we had to look at the rate control already. If we haven't look at rise, what rise does is gently introduced the LFO. This can be useful much like the warp factors where I introduce in together. So if weight, clicks and pops of sudden drastic changes, having a short amount of rise can help bringing something in a little bit more subtly. To say really useful for building rises very, very easily. Do they actually would imagine, does almost the same thing, but it has a delay before the LFO will actually stop. And smoothing smoothens out these points. So for example, I've got this very harsh change here that can cause clicks and pops smoothing with smooth out ever so slightly for us. So now we know how to sell LFOs and how to link them to parameters. And the law section, we're just going to look at the mud matrix where we can basically south macros for multiple controls, virus single control. 9. Macro Control: So in this section we're going to have a look at the most macro controls, which can be useful when you need to control multiple parameters, but have them be dialed in exactly the same amount. It's much, it's much more efficient way of writing automation as well. Say, for example, that see if we can link drive and frequency to one singular control. If we right-click on frequency over here, and we get mod source, and we're gonna set it to macro one. We can see there's now a macro one, either, hey, now we've got hours of hey, we can drag that and link it to other premises to so as to drive and frequency, we can set the amounts to be individuals or frequency could cover the whole spectrum, for example, for this habit. So drive can only push away up. Now when we post this macro is a half of the frequency to cover a little bit. If the drive, as we press the note, we can change the frequency and the drive. We decided we wanted to be able to drive harder. Haven't go the opposite way as well. So we could bring the drive to start really doubt, but actually it reduces as we increase the macro. And we do that by little icon here. I can say now, then MacRae, we reduced the drive to increase the frequency. And those are macro controls. And the next section we're gonna go if the effects are available in serum, and then we're going to start creating some patches. 10. Dimension Expander: Okay, so if we switch tabs at the top, just up here to where it says affects changes that section for us. We've got all of these different effects options in here. And I'm going to go through and explain that what some of them do and many of them were going to make a lot of use of when we design our sounds. The first off, we've hyper dimension, just tap on the little blacked out light to switch it on and it adds it into the rack for us. Technically it's to distortion plugins the hyper and the dimension. Now, if you've used massive in the past, the dimension expander is very similar to what dimension does here. The Haifa is a little bit like a detuned chorus going on. And they combined together to make a very interesting sound. So we can change a basic sought to from this to this. And when we then mix in dimension as well, instantly got some very interesting sounds. Having a mixed control on both is very useful so we can dilute the percentage and have a balance of the original sound and a blend of the effect. Meaning we can have just for the, the hyper and I'll create a blends to taste. A hive was quite interesting in that supports a unison them much in the same way as we saw on the oscillators. And the de-tune does again give us that spread. So if we go to two for example, and teaching, it's usually we get big spread off to the side and we can go all the way up to seven unisons here with each unit really does fill the whole spectrum. That we get something slightly different, that it has the rate of the detuned. So we can bring this right down. Will sounds very static for bringing it right up. However, there's just all over the place so we can dial in and nice balance in between. I usually find no more than really for ever needed on here. And something around the lower end of the rate can be really cool. Or somebody like that, for example, gives lows a great facing violence and dimension. And we've already got a sound that we can be quite creative with it. Okay? So that's unless I review of the heifer dimension. 11. Distortions: Next in Iraq, we've got distortion, switched this guy and that's a great time now to show you that we can completely rearrange our affects C Now we have to, and if we wanted to change the order and have distortion go first, we can simply select distortion here and drag it up and it will reorder the rack for us, giving us a top to bottom signal flow. And we don't want the hyper-dimensional affected the most, which they're disabled it, but we're gonna leave it in Iraq for the time being. So distortions got a couple of modes in it. We've got, by clicking on the selector here, we can choose our distortion mode, and they're all based on various types of hardware or digital distortion and vary wildly in how they all sound. I would advise having listened to them and dialing in what's gonna be best for that particular sound. When we do some of our sound design, we will be using certain ones for certain reasons and I'll dive into them a little bit more. Therefore, you next within distortion, We've got a filter very similar to what we've just been looking at. Apart from trimmed down and far more basic, We've got a similar interface. And just by clicking here, we can control our cough and our resonance, as we can see here. They can also be controlled by using the number those at the bottom with frequency and Q, It can be pre or post distortion or disabled entirely. And you can switch between low-pass, band-pass or high pass with a blend in-between the two, which is a nice touch. Rather than being just three instances, we can kinda balance it as we go through, think got driver, much like the other filter, it simply refills back into itself the more you send it through. And you can see the end result of that here in the visualization. We've also got again, that mix controls. We have about the original signal and the distorts the signal. You can freely switch between the different distortion modes with a key Hout, get listened to them. You can tell them in that way once you found the kind of distortion you're after. 12. Flange and Phase: With flanger, phaser and modulation based effects, which can give a really nice stereo field, but they have different effects and how they work. For example, the face is going to be frequency-based and feeds back into itself. A flanger works in a slightly different way, depending on what you need you reach for one or the other. I'm aphasic would generally give you some more of the traditional, say, sci-fi affects. Both can be incredibly useful, especially for width and modulation and movement in a sound. For example, if we have the mixed full on the flanger array up, it will be very obvious what's going on. But that very rapid movement left or right, if we feed it more into itself. For a quick and easy way to create a rise of fail. We can take the depths of the essence. It doesn't modulate half as much, but can still give an effect. We take the depth, since we are up in frequency. The phase is going to affect how that modulation is perceived by your starting point and where it moves. We have an extra control for phaser because we can choose the frequency that's fed back in phase. It can be used some Talk Box style effects as well. Again, it's very dependent on its rate. Now both of these come with a BPM sink as well. So we can't actually sink to the BPM off the truck, giving a really specific field at the desired moment. You start doing things like linking these with LFOs as well. So I am parameters. We can get very creative in deed. 13. Chorus: Of course, there's another modulation effect. This time it's got to delay options. And this because it's making a copy much like what we saw with the hyper-dimensional being able to have a union symbol of course is a, in this case a four course based unison going on. And we used the delays, depth feed and the low-pass filters to adjust how those courses behave. That's how we create that. Well, chorus effect. I tend to prefer a much lower LFO rates, but it can, like the others precinct with the truck. Low-pass filter or the end of the chain can be switched just by tapping on Etsy catch the high-pass as well. It was quite likely that you're going to want to blend the mix of this so we can have all this extra high-end energy on the side like this. Then we can have the original sent in the middle taking up all the buddy and weight. And this just gives a big wide stereo field to trick to get a really wide synth sound. So of course is very useful for certain applications, but can lead to very busy sounding sentence. 14. Delay: The delay effect in serum is pretty damn powerful. Actually, it's an independent left, right. As well as having feedback control, an EQ, ping-pong top. Even though it looks pretty simple and it is very simple to control. So feedback is quiescent. B, how much does it feed back at the original signal into the delays of C all the way down to 0, original signal with a single delay coming out if we feed it back, however, by 70%, we get a lot more delay. Repeat pretty that on ping-pong, pink ones who was going to left and right. As a ping-pong delay. Today is going to have the initial trigger and it's going to feel like it's been tapped out quieter level over Nivea. Therefore, BPM and link, just this very simply means left and right and we linked together. So any changes or make Ruby on both switches off. However, we can change laughter I independently. If we have this on normal, this will create a stereo delay Stowe producer on BPMN. We can create very different rhythmic changes. Take BPM off however, and keep the numbers relatively similar within the same BPM range but different. And that's where you get that really wide quick stereo effect. Some cool delay sounds. Ping-pong may really interested in and give every long revalue type tile. And obviously we've got a very simple filter module so that we can track it down here. It's going to filter like say fluorescent work effectively is a bandpass. And if we lift the alphabet and bringing out to the right, it's going to work. My life halfs and vice versa. On the other side. So very powerful legal tool with lots of features but very simple to use and quick and easy to set up. And once you know what she wants, what each control does, and it's pretty easy to get what you want very quickly for me. 15. Compressor & EQ: Okay, so the compressor affects module, pretty standard compressor for the most part apart from one magical switch just under here, where we switched multiband on and we see on no more gain indicates a here. Switches to three separate bands. And what we do to set the differences of the balances. We can click here and we can just adjust where each one's going to have this effect in there. We've got high, mid, and low. The left-hand side is the threshold. So for example here, the low would get compressed whereas the higher MIT, which get pretty much left alone. And then after that everything else is still working on like the ratio, the attack release in gain of the compressor itself. So if we've got an kinda, I'm really sound like with some modulation, the high-end suddenly pops out. We can use the most about just to really control the higher end, for example, like so. And with the compressor, nice and simple EQ. And basically for a two band EQ with frequency and gain, we can change the types of the bands from shelves, two bells, or to a filter type as we are high-pass and low-pass, very simply, we've got Q calculation in the center, and again, control on the right-hand side. Notice how the gain doesn't take effect on the filter that will on the shelf. And the bell parameters. 16. Reverb: The Reeve up module inside serum has two options. We have hole and plate, which are two distinctive sounds in terms of revamped. However, after we've chosen which type of sound way after the premises remain relatively the same, Certainly in the same layout. Poor, for example, does have a spin and spin depth, whereas the plate has a dampening effect as well as width. Like with the other effects, it has a mixed control, but this is really prevalent with revamp, is we don't necessarily want our sound to be washed out. We'd always like a balance. And somewhere in this left-hand side is usually going to be about right. Size is super important factor. We can have these overly large washed out revamp sounds. It's generally going to be too much. Smaller sizes, small prefer they add, the cuts are quite important. So let's go full mix of it's just paying the effect and increase the size. The low couple takeaway low end while leaving high-end. However, the high cut, those things that it's opposite. If we push the high all the way up, we can hear nothing. Those who bring in my head. We are low-frequency back. So it works in the opposite way that you would expect. These two can easily overlap each other and give us almost no sound or silence. Tonight, that high cut off is actually all the way through the left. Same for Lotka. Dampening is how quick the high-end loses its energy. So a 100%, we get almost none of the high end diverse off the high-end bull ring out for the whole length of the reverb. And the width, much like we were doing before with our Unison spread and our detuning gives a nice wife fails to the sound. We can mix that end with a certain amount of the reverberation of sound in a gang give a wide presence feeling while maintaining all the power in the center. The last effect in the chain is the filter. And this is pretty much the same filter section from inside the synth of serum, except we're able to now use it amongst our affects, a mix up in a different order, rather than it being directly applied to the oscillators inside serum. To look on here, we've got all of our same profiles and the controller is the same as well with caso of resonance drive, fast changing depending on the type of filter being used and omics control. Now, all of these effects laid all in together, it would seem as if it's a huge effects chain, but serum is very optimized. We can actually have all the effects in, without any real issue when playing back a synth. And that gives us pretty much a limited mangling possibilities. So now let's move on to designing. So now let's move on to understanding the matrix section. Then we can start designing our sounds. 17. Mod Matrix: So to explain the BCG matrix, we need something linked up, say, let's load up a preset. So other mud matrix does is it shows all the connections that have been made on the synth itself in a linear format. We can scroll through them and see what they are. We can see the source over here on the left, and then the destination shows up here on the destination, the amount here is the control set. Now we can see that all of these are pushed, right, but they slightly is also bidirectional. So remember before when we linked to the cutoff and we had to, when we linked the things like the cutoff and effects. And to do that invert, we had to change the knob controls to be on one side and then invert the way it was assigned by dragging it backwards. Well, and here we can quite simply just do this and we could get that inversion straight away. The other thing to note in here is the type. So we have two options here. We have one just going straight to the right and then Eric bank both ways. So one is destination mapped. So where ever the Nobel control is, it goes onwards from that back or forth. Bidirectional, which allows us to move in either direction, can generally get the same result regardless of what he did. It's just a preference for how you work and how you get that particular sound. And the moat section, you see everything is start out here. We can click here and very quickly get an invasion or bypass if we needed to have an ox source, meaning we can actually send, meaning we can actually have a two different sources blend together and get some very complex results. Let's have a look at doing that on the filter cutoff, which is currently at F01, is also put it into LF F4. And see how he's got a second control for the output. And this link, the oak source, which goes to this thinking, OK, sauce to the waist, hip official is currently linked either phi one. So if you move it will hear drastic difference. Let's give it an auxiliary source of other high for now. So now you can hear how edify force controlling LFA i1, which is controlling the way stable position. And that's the pennant seven auxiliary source. But she can't really set up easily without going into the mic. Tricks hit. So that's our advanced routing inside serum. Let's get some making some basis. 18. Serum Filter Flair: So in this video, I'm gonna show you how we can make a very different feel, a different five, using the filter section and changing an automating some of those parameters on your baselines. So I've just put together this very rough sketches and I've also made a new patch which is DMB roller three. Obviously if you part of the course that's going to be available in your file. So you can use the same file if you want to follow along up at the drum break in there for you as well. And I've just put this in very simple looping. And what we've got those have jumped and character for the most part. And the short notes, a longer note just kinda wobbles and feels a bit flustered if you will. So what we're gonna do is use the cutoff and add some extra automation in the DAW to change the fear them really live in that up. So if we take a look at the notes, just play and down here, got these lots of shortstops. And the base is designed to have lots of character in those. If you go into effects, for example, the drives pumping up really quickly in time with the music. As well as the wobble and oscillation That's all moving, as well as a slight change in the cut-off. But when we get to the London note, it kind of becomes less of a performance. Well that whole discard bear character, we're going to have a little bit of extra flat vet just using probably the cutoff resonance or maybe the drive a little bit as well, and just automate those. So the way we would do this in logic, there's a really simple way that I like to connect things, and this works in most DAWs. If you switch your automation over from a read to learn, and if you don't have learned, it might be called touch. They do work slightly differently, but it will still give us the tools we need in logic. For example, I'm going to go over here and I've got Touch Latch and right, I'm just going to switch it to touch. And what I'm gonna do is play the track back just for a moment. I'm just going to move the three controls that I want. Now that I've done that with a buck from touching back to read, if I press a for the automation lanes, we can do that with dropdowns here. I've now got three automation lanes here, have those exact parameters for me with the slight changes. And what we're gonna do is just work over this longer note here. And we're gonna do something like create maybe a cutoff, wobble in that period and we just go roughly time it with the music. So it just grows like that. Perhaps not lie extremely. And also during that time I think we'll dip the resonance away slightly. School actually cut the resonance out like this and bring it back. And right towards the end, we're going to move that push we did with the drive back towards her and the section there. So now we've got so it's exactly the same basis. It was just by changing those three parameters. We've really pumped up how it's going to feel for that bit of music. It's exactly the same base, nice, just with a couple of changes. And because we know our automation, we can bring it roughly back to where it was before. It gives it an extra character to it. Let's check out with the automation on that section. Then we'll loop again without and we can see if we prefer and it changes we made. Yeah, So it maybe it's a little bit out of control. So what we should really do is come back here into the section that controls the filter. If you're somebody like FL Studio, you can actually put shapes rate into here. And I'm going to just roughly Tiamat with the music, with the BPM. Maybe it will have that she's just there, just momentarily at the end MATLAB. And we can maybe even just in the last moment, just here, quickly bring the resonance backup almost like a kind of escapes for a second. Our gives us a nice little scream That's really cool. A way that we'd really sort of flare this up in a trap. I would look right where this is the slice through one of my sounds here. And I'll just move it, take all the drums out just for that moment that happens, right? K gives a core facts right? Now that's just one simple thing we can do. Then once we've done this as well, we can try out a different filter types and just get a feel for what they're going to do. For example, we had this on the low 12. Perhaps we could try out where one of the comb filters. We could simply just flip through filters and 57, we're after. Comb, age, sex for example. That gives a crazy, crazy feel to the sound. That's just another way you can kind of flay your bases up and use the same patch and retain that same patches feel just with a couple of quick automation tricks on particular notes in your music. 19. Custom Wavetables Pt1: All right, so we should have a pretty good grip on serum or by this point. And now we're going to start diving into some of the really incredibly deep things as if this wasn't complex enough already. There's another couple of layers to it that go even further than what we've already experienced. And we're going to start with the Table Edit or the wave table editor. To, throughout these videos, I've been ignoring this little icon just here. What this does when we click it, it opens up the table at it. There's a couple of things that we can do in here, but essentially what this is allowing us to do in various ways, build our own wave tables. And what this really does is operates as an additive synth engine in the fact that we can pick and choose our harmonics and bring those to create a specific way or a specific set of tables. But we can also put in formulate, control as well. So mathematically created an pre-made parts of waves that we started off on the blank saw wave. So that is what we've got in front of us. And in the top section here, we can see we've got like these trailing off harmonics. In the lower section. We've got these alternate half up, half down. And with a slider, it goes on for a very long time because it's covering the full spectrum of frequency. Adjust this view before Zoom over here, it's currently on forex. We tap it down, we can keep going until we've got the whole lot, all the interview here. But if you want to edit specific frequencies, we can zoom in with the, with the times eight. So just really simply click and slide. When we make an adjustment, the wave form at the bottom will automatically change. We can hear what's happened straightaway. Degenerate the right frequency. So this is pretty much noise. Sorry. Randomize. Randomize. The random 16-bit. Essentially usable randomized noise. On noise style waves. We draw even harmonics only. We've selected that when we drag across like this, will only get the evens. I should expect. Same with odd reason the randomize is for the bottom 16, 32, 64 bins is they are the most useful for creating wave forms. As we've seen, the higher ones just tend to add waves too small to even fit in with the one cycle or to be audible, but they do affect the waveform in its character. So if we take the original wavelength for the same thing twice. First for example, if we shift the octave down before a more useful, just to Dalian. More useful, yeah, yeah. Essentially even more useful enough. We give it some more low harmonic. We've now got our own waveform created that way. So that's just scratching the surface on the wave table editor. And the next section we're going to look at this middle section here where you can completely create your own waves using the tools on the left-hand side. 20. CUSTOM WAVESTABLES PT2: All right, so now we are going to look at the wave table editor with the visualization. Now kinda got this oscilloscope thing in the middle here. And on the left-hand side we've got all these different tools and shapes. And we've also got this blue one here which says to FFT Editor. Basically if we make an adjustment in here, we'll get the FFT adjustment up here. For example, if I just quickly do that to this poor thing here, nothing up here changes. Or if I switch this, I'm going to do that. We get the FFT change up here. This is based on a grid at the bottom here. Currently have it set to 00. If we do that, we've got complete control. We can take a shape like this and we can draw a very, very fine details. And you'll find this lags a little bit because it's insanely powerful and this is mirroring left and right. That's plus we have this bottom control on here, which is mirror. If we switch that off, now, only affect the wear with joy. What merit, more usable waves and perhaps less crazy creations can pop the grid lines. If we pop the grid up to you, just something like 22. This is perfect for creating things like perfect sine waves, perfect square waves. But if we choose either of the tools here, we can pop that in and we can then pop your investment. And we've now got our perfect sine wave instead. Once it a perfect square, we could just do the flood and the flatbed sites. And those because we've got two FFT, it shows us what that would look like in the FFT editor wants to do a saw wave, same principle. Mix it up however you desire. Now if we expand the growth, we can also adjust things like the level. So if we give the height now for we can actually move these up and down as well. And obviously as we expand the group the other way, we can start being a little bit more detailed in the types of waves and things that we put in here. We can create very extravagant cycles. I'll see once we've done that, we can just click over here and it's going to copy it to our next one. And then we can make another cycle. Same again. And just keep building up. And then eventually we've built our own wave table with these positions is really, really easy, right? Some things that can be a little bit more subtle. We've got the noise here. For some reason my select, it doesn't select around these blocks like halfway through, but I should be on noise. Then if we select a singular block and drag, we can actually add noise just to that particular area. So if we wanted to create, say, a sine wave sounded analog, how the bed noise directly in the wave itself could do this. So we've just got two blocks. Make a perfect site, go to the noise and just add a touch of noise for that really buzzy kind of broken sound in sine wave. And we can be far more subtle with it as well. Just a bit noisy and dusty. This one's just allows us to adjust the height and we can use this to find a crunch things off if we push this into the limit, limits it, and then we can bring it back. We've now got the kinda crushed off square wave. Just a cheeky way to make things nice and easily there. The dotted line versions, dotted line versions connect a one to the other. So if we go to a more complex grid and we put something like this over here and this over here. Now we try and run with the dotted line, is just going to join them up so it makes a smoother way to as much as it possibly can. And then we can adjust levels and things that we can run that through again and get that. Well, we can run the smooth one through, smooth it off like that. There's another way that you can create your own wave forms. The last one we're going to have a look at the formula section, which is incredibly powerful. Okay, Let's have a look at the formula section. And below this video, they'll be the table of all the particular formula details that you can use. So what you can do in here is use a mathematical formula to create particular types of shapes very, very quickly and easily and mathematically correct. So for example, if we do something like sin open bracket multiplied it's amount by Pi, that should give us a sine wave. Like so. These are overly complex and there's a million and one things you can experiment with. However, fortunately, a lot of the useful things have been put into this little menu, just tests we can do this singles and like just saw for example, which is really simple code, you can just pop Axin. So in phase, perhaps little bit more complex. There's lots of useful things in here and that effectively like waveforms that are available, otherwise, you might want to save them. Quite useful in the most thesis, the kick drum one. Really useful waveform for a stray away. And we could save that as our own new custom wave table. And to do that, we could go into a safe and to tables, go into user and give it a name in the sample from f of t, For example, we go and that will be saved in there as a customer waste table. So just to summarize, across the top here is effectively like doing an additive synth. We can add in your harmonics to create whatever you need in the grid here we can use different shapes and tools to create different wave shapes, PR, wave shape here. And we can remember I have 256 in total. And then we can also create these with mathematical formulas like I say for which will all be available below for you. Unfortunately, we don't have a mathematical formula to translate, which we're really good. We could draw things in and see what this formula is would be a really lead to understand how they work that way. Instead, you need to experiment with everything, provide it to be in the next document. 21. Simple Reese: Let's look to make a really simple, detuned, real sound that is used in many, many types of music. Now, one thing that's not really going to care so much here is when we play a sound higher up, it's going to be perfectly in pitch where as if it was sampled, it was gonna raise up and pitch. It's gonna have to play the sample faster. We can kind of still get some feel of that, but it's actually a lot more versatile way to do it this way rather than the classic resampled way. So what we need to do here, we're gonna put oscillator a and B, and both on the soil wave being the same thing over and over. Now, we are going to make use of off fine tune and been a detuned one down by say, ten, the chin up by 15 or so and see what we get. Brilliant. So we're starting to get that phasing sound that's dropped both of them by one octave. You can get that pulse to change by pitching either up or down on either one. When the switch, Mano, I'm gonna switch little, gotta have a little bit of momentum. And we've got some slight in the notes and make the attack almost instantaneous on the Cape. Now make sure and bring it down by just sort of a dB, just so it's got some kind of change. And we've lost a lot of the weight by teaching the source like this because they've cancelled each other out in the low end. And the reintroduced the sub, knocking down one octave, discriminant some weight. We can use that rounded squaring. And the other thing, this news is a bit of noise and there's a trick here we can do that gives us that nice pitched up or feel. So let's switch the noiseless later on, we're gonna make sure we switch the key follower. Remember we talked about that and how it matched the keys. And it's already an AC hm, one that might work for us. Yeah, not too bad. Scopes are a little bit more fuzzy if we have got anything. It's just filling out with a bit of noise that awesome we can do beyond to the filter will just put a low filled with a six dB sleep. Just taking that really extra high fuzziness away, it just makes it feel a bit more like the original Reese. I mean, he's put a and B both. That's within the affects assaulting but a little bit on the filter. And that's as simple as that. And then depending on your tracking, might wanna adjust the fine tune to get it to pulse slightly differently. Something else we can do is make use of an LFO as if it was an envelope to have all the high-end ended, just pull it back ever so slightly. So LFA, we're gonna put that on. The cutoff here, is we're gonna make it so the LFO goes into trigger mode and we're gonna put an envelope, it, we're gonna put the LFO into envelope mode and have it so it opens right up, double-clicked, but another point, and we just want to tail off really quickly. We can use a slope like that. If you put trigger on, it would trigger with each note, but it's going to keep looping around. Let's slip off a little bit more time. With monitoring glucose. If we move one to the other, it went trigger. Based on repress a new note. We get that little burst of noisy stuff. So that's one way we can build that classic detuned riding resound. 22. Low End Saw: So in this video, we're gonna make it this low end soy-based. That sounds a little bit like this. All right, so let's get to making some sounds with serum now that we know how to navigate around it and all the feature set of this beautiful sinth. So first thing we need to do, we are always going to start from an initialized patch in these videos when they go to menu, when they go to init, preset and initialize as it we're going to give us that saw wave one. So for this instance, we're gonna go for kind of a super sore bass sound. So we're gonna start with quite simply, store wavelets already inhibit by default at the moment. Really simple, plain saw wave, nothing fancy going on what we're going to start with the unison. The very first thing we're gonna do here, which is going to bring that up to probably three and just play a note and just bring the detuned into where it sounds good and it's not to detuned somewhere around the desk and the work for us. We're gonna switch on oscillates a b. Now we're gonna keep that on the soil wave that we are going to bump up a one octave similar thing here, put this onto three and we're gonna DO that teaching. And again, we can go maybe a little bit further on the high end and we started to get lots of cool phasing sounds now drop an octave. Super simple so far. The minute Everything's really spread out, we kinda need some solid weight in the middle to give us a really fulfilled without sounds, we're going to switch on the r sub i and we're going to change a sub two, a saw wave as well within the misguide down an octave. So we now covering three octaves with OneNote. We can give it a little bit of character with a filter just by switching off filter on. We're in a pretty good place. What we're gonna do here is take the cough, really download. We're gonna send a, a, b and the sub to the filter. Slowly rise up. Give it a character maybe with some resonance. And we're going to drive ever so slightly. Okay, in the amp envelope we can do with just a little bit of an attack just like this. And then what we're gonna do is take the handle and curve El Paso. It's still a really fast attack with its smoothen. This is such a sound you'll find it really occupies over your drums by giving that quickly or skip up, you can still get the transients if he jumps the city really nicely. Okay, next thing we're going to have a little bit a portmanteau, just switch slides between notes ever so slightly. Over here in the voicing section, we're going to drop that to mono. And it was starting to get a really nice sound. Now, we're gonna jump into the Effects section here. We use two effects on this. We're going to revamp in, we're going to pop the compress it in. We want the compress it to go in a loft where they put the full mix on the revoke Sichuan or listen to it for the moment. And we just want some high-end gonna bring that size right down, will switch onto plate, the dampening off and widen the outlet law. Let's bring it back to a blends will have about IPS and revenge. And the last thing we want do is control all of that with a bit of compression and give it quite slow attack, quite a slow release. The around the 200 kinda era. That is our, a low-end ripping, soy-based save our patch. We're just going to click on here. And in the serum patchy section, we make sure we go presets and then I set them into user. In this case, we'll call this low-end saw base. Now, whenever we want to load it, we can fit onto user low-end saw base is there for us. 23. DnB Roller 1: Guys, in this video, we're going to make a heavy roller DMB style based. It sounds like this. All right, so the cell, we're gonna make this a little bit more complex than the super saw that we did previously. And we're going to be assigning the LFO to lots of things, to get lots of movement with the sound. And it's one of the ways that you can create a really dynamic and moving sound without having to do lots of automation on the other end of it. So let's look to do that. We're going to start off with a wave table and find the shape that we like. So he's just gone that PWM, Juno and I've just held down and just just found something that stands out. And we're probably just going to stick with that in that one particular frame is doesn't move in the wave table around. So the first thing we're going to do is use the Unison to spread the outlet we did before and bring back on the de-tune. So it's pretty narrow when they use an LFO just to keep spreading that out. So we can take LFO one here, drag it onto the teaching, and we don't want it to go the full amount. We're just going to bring that control back, probably somewhere around here. That's quite cool, but a movement already know the blend is going to be the overall balance. We went to adjust that as well. So we want it to mainly be let this and then push it open like that. So we're gonna bring LFO r_1 onto the blend as well and then throw that into roughly like this. Shape wise, we can do pretty much anything we want within the LFO. If we double-click, we can have a couple more points. Let's do something a bit more vicious. Substance, get somewhere. Let's drop it in octave. By this course, we really hear what's going on now. We're gonna make sure that weight sticks. And with this, we're gonna put the sub in this MOOC on the rounded corner has offered by an octave. That's helped us get loads of weight into it already. Oscillator b, I want to create some extra movements. So let's switch oscillate a, B on, a off and the sub off for them in order to try and find something where we can get a resonant shifting around our area here. The analog of BD psi might work for us. What we're gonna do now is bring other phot one and we're going to think that's the wave table position. It's tried different. La, la, la, la, la, la, la, la Cosa crush while books where they well, no, no, no, no. Nlm Spring was a and the sub bucket one and then n, m and n and l and m and n and m, n and l and m and n, m and n, m and n and n and m and n and n and m and n and m and n. And maybe take it ever so slightly off Sais with a random element to lend lm, lm, lm, lm, lm, lm, lm. Lm. Lm, lm. No. No, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no. Okay. There's something else I want to get out of this patch. I want it to have a kind of analog pitch bend where the notes quickly shift without using port a mentor and having to switch notes. So it triggers every time we jump into the matrix, we're gonna go into, say, a source for envelope to, and we're gonna send that source to a destination of global and must tune them. We want to change the directionality so it's just going the wrong way. Just pick the alphabet. And now if we go to envelope to, We're gonna take hold completely often we want k to be pretty much gone as well and we're just going to have release. Were were were were were were were were were working on another one that we need sustained. Completely off. They'd bring decay backup. That depending on that, the k that brings on date back down payment, foster release, just that decay. And then another and then m and n, m and n and l, m and n and m. And now we're just getting that star. It's a bringing us right up. And I'm not really exaggerate. Malala, Malala, Malala, Malala, Malala, Malala la la, la la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la la. Philips. Then we can add a bit of noise. And what we'll do, we'll go into analog and Tate and on and on and then remembering the level we're at about an ANOVA non-melanoma lemme, lemme, lemme, lemme, just to fill the space up. So next affects, we're going to really use those to bring this into its own. So let's do hyper-dimensional assessed. Remembering the size down in dimension would have been the mix up quite a bit. And then I la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la manana. And the 11% teaching on the Haifa with the rate quiet down. And then I'm gonna nanomolar. And then expect to la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la. And we can try it, bringing it flanging for extra stereo width. And then MN NMN on m and n, m and n, m and n. And then I'm gonna la, la, la, la, la, la, la. And another, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la man on m and n, m and n, m and n, m and n and m and n m and Anna, Anna, Anna, Anna, Anna, Anna. Clipping distortion in after this man on another no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no. The good news is that the digital analogy, when the brain oscillate a B down a level. When we use the compressor to bring a lot of high-end outwardly with most abandon. And then I switched the voicing over to Mano. And I think just to see some of that Harsha high-end away now we're just gonna put all three into the filter. Really subtle. 60 BCE sleep when they use LFO T2 on the cough and give it just the tiniest of movement. Let's try this faster BPM reduces the level of the sup of a little bit. And we can maybe found the filler alphabet and drive. See if we can put it in context. And works well with the rounded sign. But we can also per square wave and Tao the level back and get a completely different field. So there is a big roller type drum and bass, bass. 24. DnB Roller 2: Okay, in this video, I want to show you how we can take a piece that we've already made, which was the DMB row, the one that we can do some subtle changes because of how versatile serum is to make it into a new patch. I'll just show you a couple of little things that we can do good and make this patch into a completely different base. So we're going to change oscillator one and we go into spectral, will go grab a Bode metal and straight away this gives us a completely different field. And the other thing we can do is drop the crushed by just one octave. And now at the cart backup to look at LFO r1 and potentially slow it down as well. That we want to keep that movement as well as holistic LFO x3 and LFA three to the wave TO position as well. And we don't always go quite as far, but we've given it to options and movement now, and we can now take it to a sine wave as well. Just rebalanced Boca Olympic. Somewhere else we could do is take your offer, the square wave and back down to irregular sub c. Give us more room to bring this backend. And we can flip things around as well so we can take the Bode. Madeline, put that back down so it's a single unison. Or automation now for teaching and bland aren't doing anything. But let's take crosswalk, which is actually the lower octave. And let's bring it up to say five. Fatah intense, but protect the DH him back down. And we apply that same automation that we had before in oscillator a, we can create some interest in movement there instead. Keep working much better for the equally try different octaves. And we could drop the oscillator a Octave. Now that we've made this stereo, completely different, fell right? And bear in mind, we've just been using the same melody over and overhead. First, just hear them side-by-side known we've built them from pretty much the same patch and kept the same movement and see if they could maybe work in the same project side-by-side to roll a one followed by row two. And that's just taking one patch in, changing a couple of parameters to really build it into our own thing. 25. Fizzy Wub Bass: So in this video we're going to break down this sound. And for this one, I just want to really show you some key features. We're not gonna build the sound from scratch. We're just going to note that there's literally four kinds of automation going on. Some effects and a costume, LFO. And that is the only things that really make this sound. They're actually very, very simple. For example, the oscillator is the basic minute I was just has these four basic wave forms in it and it's the second waveform selected. This sign with kind of a harmonic oscillator b is the standard saw as pitched up three octaves. Oscillator A's pitch down on a one octave for sub is on, again are rounded square that we've got an LFO links to the FM. So it's the from B. So remember we did that FM synthesis using oscillator b, two frequency, it modulates oscillator a and that's happening there. And that's linked to LFO one which has got this costume envelopes up and it's got re-trigger switched on. So each time the notes pressed, it really triggers and its sink to the BPM as well. And then we've got Lozi just silence afterwards. So actually, if the hole it down for ages, so we can get that over and over really easily. That's then also linked to the level of the main oscillator as well as at the level of the sub. So without those actually gotten nothing happening. Look, because it's FM modulation to oscillate a. And the sub-mix up the low end. We've also got the cutoff being modulated, Which is just doing a and the sub and it just opens up that top end for the moment that that is really all there is the building, that entire sand, which is very, very simple, we are going to affect, we've got four effects on distortion, compress out or revamp and EQ. Now the reverb mix is connected to this just down here. We try and make it really well. Just making use of that macro control there so we can just really quickly adjust it without having to go back and forth into hit. And if we were to take off for the distortion here, that's just doing some basic shape into a sound, but then we can have the mix as a preference to it. Alright. What we could maybe do is link another one of the macros to the mixed control. This side, if we want to have the destroyed sand clean sound without desk. Now if what control over that and that's how we can make that really easy, like sharp, stubby base, how sound? Very, very simply inside serum Pepsi, you've got the course, download the abase house, fizzy one patch and break it down for yourselves. 26. Global Dubstep Bass: All right, so we've gone over all of the GUI of Syria and we understand a lot of the features in it. And we've even done some of the basic types of bases that we can make. And we've got to grips using a lot of those tools. And hopefully you've been experimenting and making your own sound. Now we're gonna move on into more of the intermediate design and we're going to look at some of the advanced features. And let's start with this particular bass sound here. And the reason of style, but this is the patch actually looks very, very simple. We've just got the saw wave we are using are rounded sign and we've got a low-pass. That's all that seems to be going on. However, we're making use of a lot of other features. However, we're making use of some of the global features to achieve that sound. It, if you were to just copy the patch as it is here, you'd get a very different result. In fact, it would sound like this. Not nearly as engaging, right? So let me show you how we built that patch up. So when we initialize, we're just going to be starting with us saw as normal. Now, one of the powers that comes out of everything here is something in global, and here we've got some equaled stack. And what this does, it changes the tuning types of the unison stacks. And then we have a mode, and that changes the mode of those stacks, whether they're linear, exponential, etcetera. And we're gonna make use of those unison stacks on the sort of give it sound. We're going to bring the detuned down a good chunk and we bring the Yunus and up to about six. So now we've got quite an intense sound. Now if we go into global and we changed the stack, just have a listen. To Azure can hear you very, very different sound. By the way, the unisons or stacked. And what we were doing with this to get well those high shrieking sound. And then in a combination with that, instead of having it linear, we're actually going exponential as well on the mode. So to change the stacks, you can have them independent on both of the unisons or I just grab in the middle and just changed all of them just by dragging up and down here. And the mode exponential and just be changed by tapping the arrows. Now the one on the left is oscillator a. The one on the right is oscillated B, I've just changed both just, we've got continuity and what we're looking at. So now instead of R saw with this sound. Why so cool that interest in sound very different to the saw wave we initially had. It's not got that feel that we had and we very simply created that with our LFO, is we just take LFO one, attached that to the costs off on the filter. And the filter, we're going to use a 24 paths. So it's a really harsh cup, but we want to dial it back so it only moves a little bit each way and bring it right back like so. Instead of having our trial, we'll have our sign. Easiest way to load it is click on the folder, go to Basic and go to sign. And as now, therefore us like so, so we need to switch the filter on. So we're halfway there. The rate, we put that to one over eight. Now you give it a little bit of resonance. And the last thing we did is just introduce r sub e. And again, we're using around it onto its mixture harmonics. And we're just going to put the level up a bit on our SAW and everything else that can be diodes to taste. So I just left it as here, but we could absolutely jump into affects. Try the hyper-dimensional distortion. You maybe even play about with the envelope. And the last thing to give it, that fear of kind of wobbling a moving along all comes with the voicings. We're gonna switch over to Mano. We wanted to go into legato and then we're going to give it some portmanteau. And that's what just helps it swing from notes and note. Whether you have a go at trying to make this patch and using the different unison stacks. If you're struggling, remember, just download this patch opening up in serum and break it down for yourself. 27. Pitch Changing Bass: Ok, let's break down this slow dubstep type of base that also has a kind of pitch effects and things going on, some different automation that we can use to create the effect. It sounds a little bit like this. So you might hear in future base as well. So there's four effects on this list. Disable those off the bat. So now we're left with all of the weight pretty much comes from the sub disabled the sub. We've just got the lead type sounds. So it's really how are we creating that? Well, there's three main things that were amazing and controlling. Yeah. So the oscillator type doesn't matter massively what we're using, but we're using this MSP W from the analog table. And then the three things that we're controlling, the way we're controlling them is what's really important here. So LFO one, we've just created this gentle sleep up. And that just opens up the filter over time. So short notes, it doesn't have time to fully open the filter, but the longer now it starts to bring that n, right? That's where you start to get that sound. The second thing we're automating here is the course pitch. And we mentioned that previously and what it does and that we've created this kind of a weird as I foe here where dips off. And of course pitches actually pitched up by 7.43 because that's where works best, orderly. And this LFOs linked to it. And it's only adjusting by two. But watch what this does and then listen to the sound and we'll disable the filter is causing the pitch to wobble up and down. Let's make it a bit more extreme towards the end, for example, we can double-click to other point and just drag that up. And we've been quite subtle with it, but it's all to be different. And this first part, I takes a sudden dive, niggers up in pitch and then it comes back down and we can really hear that happened. If we'd start the course pitch from 0, it sounds pretty different. And if we give it a lot more and it's automation even more so achieving this by air. So a place we liked and just have it modulating by around two. We had the upper, about 7.45. Now, it can be quite difficult to program. The course fits in here and there seems to be no way to do it. Let's dive into another global feature. If we go into the label, we can switch on, double-click for type values on controls if we enable that. Now when we go back to our course fetch, we can in fact double-tap and type R 7.45 back in much more simply. So LFO to control switch, LFO one slowly opens the filter. In. An NFL F3 is controlling the level and that's what gives that a wobbling effect, is very quickly going in and out. We can be more extreme with that. Now we have also linked list to a macro, macro f4 is linked to LFO F3 rate. So we can do this. Maybe we should put there so it's far more extreme. Or we could have a starting FEB without having a third tobacco are subgroups sulla weight back. And then there are facts that help us achieve everything we're after in the team. If we have a local on the EQ, takes away some of the extreme weight multiband compressor in the flu. I hope spring off the top of fuzziness out. Slight delay. And reverb. This preset for yourself and experiment with the speed and especially LFO E3 and how you can make the performance of this hyper bass sound really change, but it's always going to maintain its weight due to the sub. If you find the sub is disappearing, simply switch on, direct OUT. 28. X Y Axis Movement: Okay, so an exercise for this video is to load up at this patch, the big bad wolf, analyze it and break it down for yourself. For the most part. Everything used in hears things we've already covered with one exception. And I'm going to show you that now is how to create a fade or an internal side chain, which is a really useful thing and I've linked it to a macro. So instead of having to like side chain at your base, you can very simply automate the timed event, things like the drums to get through by doing this kind of application, what I mean here is listen to how quick this bass sound starts. Okay, it's really in the way of the kick drum. However, if we look at macro one where I've named it side chain, if we push that up a little bit, LFSR one now has a slower start time. So the way that we can introduce that is actually pretty simple. I'm going to go over to lf five just to demonstrate this, take this point here. We need to do is right-click and we're going to modulate on the x or y axis. You can then use and bus one and bus two. Bus T2 will allow us to link this to different things. So far as to send this to macro one, I now get this slider here is linked to that. When I adjust that, it's going to move to that set point. And that is how we can create that kind of movement. Now we can move this around and it's attached to that point. No matter what we do with it, uh, needs a miti trigger to move. It won't move freely. Now we can set by how much this happens inside the matrix. So if we go into the matrix and scroll down in this patch, we've got Macro one, LFO to link type here. And we've got an amount slider here. If we adjust the slider size or the bar moves, we bring it down, it becomes smaller the way that we get the slope that we have. For example, in LF at one is to just use the handles here. So we could now do something very similar. And that is how we are getting that to happen. By automating control, you can change how the bass performance at different segments and it doesn't just have to be linked to something like volume. We could link it to wave table for example, wherever you want to attach the LL FIT. But if we were to take edify 1L, also link it to the Wave stable position. Not only did we change how the sound behaves, but also how it sounds just with that single macro control. And having the ability to actually change the LFO and how the LFO works based on that macro control may also not limited to just having 1 control. You can really go crazy with this by generally find to get the best results for a single control that controls most other parameters, gives you the best result. 29. True Mono Unisons: Okay, in this video we're gonna look at a global control again, which allows us to make kind of a ripping resound. But we can do a slightly more advanced wave before we did it with two stereo sound, so left and right channel facing each other in that course, the phase in and out to happen. However, sometimes we want to keep that always dead center and half like a ripping Mano effect instead. So I'm gonna show you the theory just using the soar here, like before we need a copy of this, instead of using oscillator b, we're going to use unison, and we're just going to have two copies of it detuned to start with when they're bringing the detuning, we wait to 0. So it's still going to be this. We need to do now is into global and this is oscillates a when you fit the width down to 0. So it's now going to take those two unisons and always play them dead center no matter what we do. So what we can do now, we press OK. Egan okay. We can hear is different, is purely in the middle. But now when we detune it, it never becomes stereo and why they always sit right in the middle. Now when we combine that with a sub, we've got that rip and interring saw the need for ripping and tearing saw base, but it's still stuck right in the middle and it's always going to be a purely mono sound. Remember if you've changed that on oscillator a enclave where you can never make it stereo. But if we leave B to have a 100, then we can still get some stereo width. Let's maybe put this up one octave, which probably bring that nice wide sound Stoke or nice ripping based. For the most part, we can probably distortion and we get to easy, right? I hope that was helpful. 30. 28 Wobble Basics: Hello, guys and girls. In this video, we're going to break down the fundamentals of a wobble base. I'm going to show you the key features of what you can do. But then from that really down to you to experiment with filter types of oscillators, LFOs and envelopes are going to function to get the result you're after. But with what I'm going to show you, we can up so you get the basics down. What I've done here in Logic is literally used three stock leaps to get some dubstep vibe, drums and just thrown a melody on. And it's a completely initialized serum. So nothing special at all. What we're going to build this from scratch. So the absolutely fundamental to the wobble base is obviously that pulsing feel that you get. However, we always want the low end of the fundamental of the sound to be in there. Simple way to do that in serum, because switch our southern straightaway and we're going to go to Direct out. So that's always going to have the subs in there for us. And we can drop that, I think one octave down, probably a safe bet. So that's just this guy here now. All right, so oscillator a, currently just a saw wave. It's completely fine. Let's make sure oscillator a is sent to the filter. And we can see it is with filter Alia, which I'll filter on go. So that's filtered it down for us, it straight away. And the 12s pretty good. Although I quite liked to do 24 sleeps and be really kind of vicious with it. Again, is the flavor for you and what you want to do it. So now we need to link something to this that's going to make it wobble. Well, we can use LFA-1 if we had down to LFA-1 and just drag that over to the CAF control. We're going to have a good start off what we're after. Except at the moment it's all over the place as couple of things that we need to do on the LFO. First off, let's just start with a sine wave. So on the folder's icon, we're gonna go over into that, into basic and downside. And that would draw assigned for us, save us doing well without clicking. So happy day. So that's going to work a little bit better for us now it's a little bit slow. 1 over 4. Can we be pushed up probably to 1 over 8? Whatever for my work as well. Like your preference. The movement is obviously moving far too much. So let's dial that down a bit and we're going to choose where I will set. A generally a little bit of resonance is going to give some bite to it. Obviously the sign isn't the most exciting sounding thing is a neither is just using the default saw wave is to get that kind of growl, dubstep fear when he sees something other than just a saw really. We get into val we've got although phones or phones. Who cares? This one there. And that this has got lots of nice vowel vocally sounds to it. If you want to change how it feels overtime, we could do something like put the LFO CO2 onto the wave table position like this, which maybe drag it backwards like this. And instead of having it on a synchrotron that BPM off and just put their rate, they're really, really low. It's always going to be moving this way between some of the other vowel tones. A disgrace, a bit of movement, a time. Do we want to put this down an octave today? Let's try out. Well, that works a lot better for us, right? So do you think we want to put the level up effect? Okay, so let's go back to LFA-1. That's all absolutely basic, fundamental, slight wobble base. There's a couple of things that we can do here now. We could do things like modulate the rate, for example. So it would go. Like that, we could record that and really simply if I just go to say a latch on my DAW and just do this. That should hopefully have recorded enforce. Let's just jump into the effects and I'm just going to put a compressor on here real quick just so we can slap this a little bit. So performance-wise beside wave isn't particularly entertaining. Even if we do keep switching up the rate inside the NFA, we can do a lot more so we could maybe always have it. So at first it does this sign, but we can up the grid size so we could perhaps double it to say 16. Then we could just change up how this kind of performs over the course if you just double-click to add in some more points. So here we could just have it perhaps pulse once and then have a real quick sauce cycle as well. We do these works are reset in the middle. You might find here that needs to adjust your rates and your automation to get the feel of that you're after. A completely different way we can do this in sarah is to instead use an envelope. So what we'll do, we'll just right-click up here. We can remove all much basis. So LFOs no longer tied to that envelope. This envelope three to walk off. Now, another thing about an envelope is we can have it change over time too. If you maybe do something like that which opens up the filter and then combine it with another photo as well. We can add extra elements into the wall, would fear of it. More per month by month by month anomaly because on the envelope we can do things over time. We can have slept gently down over the longer notes. Amazon Prime and a lot of families in almost a month by month on, on, on, on this use latch again to just take our automation down to touch slower. And among them on-prem analog. With families. Families are more prone analog and analog. Amazon Prime analog. Meaning I'm on my phone and I mark them off. If you want to play around with it. Really slow rates as well. So it's just unlink LFA-1, LFA three here just to demonstrate this tax rates that say just over the course of a whole bar here. Yeah, let's do a rate that's actually over four bars on the LFO here, but the grid up to the maximum of 16. So each section here is actually going to correlate to one bar. What we can actually do is really complex modulations are wobbles that particular time period. If you do something like this and it starts to get really, really complex. And this now covers the entire loop. Or the aim the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, I'm at the, namely the, now we can kinda cross-pollinate these. So we could now take, say, every simple, basic sine wave again with the automations and also link that to the cough. So we've now got two LFOs. So we have a two other photos that feed into the cut off in different amounts, right? The, the, the, the, the, the, the, the, the, Let's take our sine wave one again and give it some automation to speed up and places me the mean. The mean in doing this while the LFO, LFO 3 is doing some work as well. But we should make it so that LFOs three or so has really fast-paced automation going on. In the fall. Really from here, once you've got this modulation side of it down, is completely down to you find the, the kind of sounds that you're after. We can use. We use lots of the other tricks in the course, such as the Reef app section on using the high-pass site, but the mixins forehead, these, the high school size, NCBI so Fails. He also play around with some of the other filter types. If we sample the standard late 2004 for the cutoff further back, we hit the things like the Maltese will give us really interesting cells. Things like thicken up with unison at distortion and activities. And that's really the basic tools are building up any wobble base that's going to be aimed at adults that or just generally getting that feel hope that was helpful. I hope that was helpful for you, and I hope that's given you some ideas and how you can use the LFO's and envelopes together well with the filters to build up that wobble basis type of sound. 31. Dirty Sub Bass: Okay guys, In this video we're going to make the dusty sub bass sound with just gives you that big fat underlying sub bass where you've got lots of melody, you don't earn big in-your-face baseline. Just want something to put weight under there, but still nice dusty field to it. So it's going to sound like this. And obviously if you're part of the course, you'll be able to download the patch with this. So you can have a look at the patch and then really follow along with the tutorial as well. Let's give that a go. The way that we're gonna do it, pretty simple to do. And we do need to start off with something like a sine wave. So make one this way so we can go, we can just go into the wave editor here. Let's just grab this hair down to 22. This hair, this hair sine wave is created. Okay, I wanted to wobble about ever so slightly, so we're going to put the ammonia, takes poly away, Legato on. I'm going to put the portmanteau, a touch here as an extra homologous into this upper GI effects that hyper-dimensional crackup teaching slightly here to the innocent just helps to separate out of it. They'll be up on the next. But distortion of switching to diets, especially to downsample, which is 18 to 19 percent, can take your best shot and then bring them back. Some polarize itself. A professor yes. In the matrix will take source to destination, global master chain it. This way. The media is making the page rollover basis when he discovered that the case control and bring that right out. The k him present with them. Let's say for sure that noise oscillator got x, we've got Hmm. She got a sample. One shot my dog, Tao the level of accurate spinosum. And when to use the shelter distortion of some ALA Mozi. To pass 12. Driver. Hello. Is it that some of the other options, catalogs doesn't get oxygen to that as well. For example, sample noise is that That's how you get that nice moving some base just to sit for life pretty much any old melody I've lived here with, hopefully, see you guys in the next one. 32. Thumping 808 Bass: What's up, guys and goes, It's an, In this video, I'm going to teach you how to make a desk a await the pitched up or rolling bass sound. Okay, so this is a relatively simple patch, but does use a few of the features in the course, but we'll break it down in its entirety. So let's start off and we'll just initialize the patch again. We're just going to go initialized preset. So now we've just got which works, but it hasn't quite got the performance factor we're after. Now, instead of starting with oscillators and things like that, performance is a big part of this. So we need that movement and that swing, and that comes down from the voicing section at the bottom. We're going to switch onto your monitor, which is going to take a Pollyanna way. We're going to put legato on, we're going to be portmanteau to always. And depending on your bpm, we're gonna just the portmanteau I found in the kind of 140 region, somewhere around the 18 milliseconds kind of worked scale with might also work nicely depending on your melody. So now it performs a bit like this. That's got more vibe to it already, right? But we wanna make this, that huge AOA smashing thing going on. So we go into our oscillators, we go into analog, we're going to be the sign. So by default, just a sine wave, but as we push through, it varies up slightly. Simply play this and choose where sounds are best for you. I found generally right here. And being less to add a bit of movement to it as well. We're here. Why not? Let's do that. Let's pop LFA-1 on the wave table and knock it back a little bit. And we're going to put this on a really low rates were switched off BPM that knock the Hertz back to say like one cycle per second. And that's just going to move between different parts of that waveform. That's got a real shape to it. We could certainly take that back even slower. That's just going to really slowly move and it just gives it a change over time. Cool little thing that we can do that. So big thing here is the filters. We need to make sure that filter switched on and the a is switched on, then it goes to number 1 and we're going to bring the cough back just a touch. Just got a super weighty sound. Now we're going to go pretty much maxed on Drive or give me some fat as well. All right, there's another performance element we need to do this, that we need to get this sounding. Great. So let's go into the metrics. We're going to go in here where the tick ever like to my envelope 1 is always assigned to the volume of serums when to start with Envelope 2 and in destination, we need to go to global master tuning. We want that little picture up flat to happen. So on envelope to JNI to make it a really short stub can just do that by grabbing the decay point Embry in it right down. And we're just going to push this up here by say, 12. That's too long so we just can keep dialing this back. In the UPS 24 baggage that hard kick their eyes. Once we've done that, let's jump into effect. And a couple of things in effect, hyper-dimensional does some great things. Just by switching out. I fill up our show a bit more feathery push to teach you in a while. I bring the rate down and size, we bring that down and then just a mixed bag 20 percent and that distortion does Geomagic outlet. And those are all the techniques that are really in there. Now something else we can do is with the filter itself that may be different, like push the resonance up with an envelope back and work really, really caught. So if we take say envelope three sticks out onto the resonance that we definitely want to jump up that much just to give it a little bit of a push. But what we do, we give that bit of an attack so it kind of sweeps in. What? We can do that same envelopes shading only as far as actually push it a little bit harder. And depending on how you can play, play around with the portmanteau time. And like I say, on 145 of 80 milliseconds be about right? And it is simple as that, ladies and gentlemen. So those are the fundamentals that you need to create that. And we did that extra little bit of a moving the wave table that I'm talking about, but a flex to the sound and feel the movement to it. You don't have to do that and it will remain a lot more static over I like kinda analog fear that creates by just move it ever so slightly. I hope that was helpful for you guys and I will see you on the next one. Sure.