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Learn Arturia Pigments in under 3 hours (everything explained) — Transcript

by Bound to Divide · 23,273 words · 4,344 segments · language en · Watch on YouTube

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0:00hey guys welcome my name is bound to
0:01divide and over the next few hours i'm
0:03going to be taking you through every
0:05single parameter in pigments
0:07so that by the end of this lesson you
0:09are an absolute genius with pigments and
0:12you know exactly what you're doing and
0:13how to create any sound you want
0:15well maybe not but
0:17you should at least know what each
0:19parameter does
0:20and know your way around the synth if
0:23you don't have a strong understanding of
0:26subtractive synthesis already i suggest
0:29you should go out and learn that
0:32because i'm going to be talking about
0:33things like filters and envelopes and
0:35lfos without explaining what exactly
0:37they are
0:38um
0:40because that's just a bit beyond the
0:41scope of this the whole point of this is
0:42just to understand how the synth works
0:47so if you don't have a basic
0:48understanding of subtractive synthesis
0:49i'm going to leave a link
0:52at the bottom of the video in the
0:53description
0:55to a
0:57website called centorial and this is how
0:59i learnt subtractive synthesis and i
1:01recommend it to everybody it is an
1:03affiliate link so i do earn a commission
1:05but i do stand by
1:07that software 100
1:09even if
1:10even if you don't use my affiliate link
1:12and you just go out and buy it without
1:13that link i still think it's just the
1:16best way to learn synthesis
1:20okay so what we're going to do is we're
1:22going to basically go through
1:24each parameter one by one
1:26and i'm going to explain them in detail
1:29what they do and how they work
1:32so let's get started
1:38okay so right at the top left here
1:40you'll see next to the pigments logo is
1:42this little burger menu and if you click
1:44on that you have the option for a new
1:46preset so this is how you initialize the
1:47synth basically
1:49um click on that and then you see we've
1:51got a nice
1:52plain preset that we can then start
1:54working with
1:56and then the next one is save preset as
2:00so
2:00that's going to bring up this window and
2:02in here you have the option to give it a
2:04name
2:05an author
2:07and you can save it in a bank
2:09so by default it'll save it to
2:11user bank but if you wanted to create
2:14your own new
2:16user bank
2:17if you wanted to create your own new
2:18bank
2:19for example if you're creating a preset
2:21pack
2:22then you can just click in this box and
2:24you can also type in it so i'll just say
2:26new bank
2:29for pack there we go and then
2:32we can also give it a
2:34type so you can get really like
2:37detailed here with all the
2:40descriptions of your presets so that
2:42later on it's super easy to
2:44filter it filter down through your
2:47library and find any sound that you want
2:50based on you know all its
2:51characteristics and stuff so i suggest
2:53filling this out as accurately as
2:55possible so let's say this is a baseline
2:58and we just add a comment like um
3:01play and
3:04first octave
3:06or whatever just any any comment that
3:09will help the the user use the preset
3:12and then we'll say it's an acid base
3:14comes from
3:15um
3:16it's like a synth wave acid base if
3:19that's even a thing and then
3:21characteristics let's say it's um
3:24it's analog sounding
3:26okay then we can save the preset or we
3:28need to give it a name so let's just say
3:33acid base
3:36test whatever
3:38okay
3:38save it
3:40and now
3:43and now that presets had been added to a
3:45new bank and i'll show you how to find
3:47that in a bit
3:49so let's just finish going through this
3:50menu
3:52okay then the
3:53next option here is import
3:55so this is how you'll import banks and
3:57presets that you buy and download it'll
4:00just open up an explorer and you can go
4:01and find it and then add it into the
4:03synth
4:04then the next up is export so this is
4:08where you would export presets and banks
4:10so if you wanted to then export your new
4:14bank full pack that we've just made
4:16this is how you do it click on export
4:18and then
4:19that'll open up an explorer again and
4:21you can just
4:22save it like that
4:24okay then resize windows very
4:26self-explanatory this is just how you
4:28resize the ui i've got it 120 now for
4:31the purpose of this tutorial
4:34and then you've got this tutorials menu
4:37here which will open up
4:38to the right here
4:40um and another way you can access that
4:43is just by clicking this little gear
4:44icon
4:45um which will also open up settings and
4:48your midi
4:49settings
4:50and the tutorials window and this is
4:53just where you can find a bunch of
4:55i guess arturia approved
4:58tutorials
4:59that cover all the different sections of
5:01of the synth
5:03kind of like what i'm doing now but
5:05i guess more broken up into different
5:07sections
5:10and
5:11then next up is the help
5:13menu here where you can access the user
5:15manual
5:16and then frequently ask questions and
5:18then about just opens up this window
5:21where you can check your version and all
5:23of the other information about the synth
5:27okay so that covers the
5:29next up is going to be this
5:31synth this preset explorer window
5:35and
5:36it should open up initially on this
5:38explore page
5:40and this is basically just where you'll
5:42see all of your different presets and
5:44you can also search for presets and what
5:47you'll notice is if you start typing
5:49here let's say you just start typing
5:51chord because i just want to find a
5:54chord preset
5:55what'll happen is it'll
5:57it'll pop up different
5:59filters so here say filter by style
6:03and that's just because it's found a
6:04style that says chord
6:06but it's also found
6:08presets named with the word chord in the
6:11name
6:12so
6:13whatever you type it'll search for
6:15different
6:17for anything really if there's a style
6:19that matches that name it'll bring up a
6:20style
6:22if there's a designer an author that
6:24matches the word chord it would have
6:26said filter by designer so for example
6:29if i search victor it should
6:31give me
6:33an option to search
6:35by filtered by designer victor morello
6:37so now i can search for all of his
6:40stuff so it's really quite a nice search
6:42function in there quite advanced
6:46and then over here on the right you'll
6:48see all the information
6:50about each preset so it'll give you the
6:52name and
6:54basically everything that i filled out
6:55when
6:56we saved the preset and you can also get
6:58a
6:59basic very basic view of what the preset
7:02looks like so here you can see the
7:03different engines the different
7:05waveforms that they're using
7:07um the utility
7:10you can see filters so here i can see
7:11there's a low pass filter and i can see
7:13it's got a bit of resonance on it
7:16you can actually see the filter moving
7:18and and the different engines if they
7:20were modulated you'd also see that
7:22waveform move around and stuff
7:26okay then we have the store where you
7:29can search through the arturia store and
7:32download
7:33buy and download
7:34preset packs
7:38i'm not sure if you can actually
7:40preview them in the synths
7:42let's see
7:47oh that's pretty handy yeah you can also
7:50preview
7:51some of them some of them are locked so
7:53yeah that's that's pretty cool
7:56being able to preview presets innocent
7:59is something i've never seen before in
8:00any other synth i love that
8:03um okay so then next up we have this
8:06next category here that says my library
8:10and you'll see there's recently played
8:13so that's self-explanatory everything
8:14you've recently played in the synth will
8:16pop up in this
8:17menu
8:19and then you have liked presets you can
8:21see i've liked one preset and how you do
8:23that is
8:25if you hover over any preset this little
8:26heart pops up over here and you can
8:28click on that
8:29to like it
8:31and then you'll see your liked
8:34preset pop-up over here
8:36then we have saved presets
8:39so anything that you've created and
8:40saved or if you've modified a preset
8:42that you like
8:44and you saved it it should pop up here
8:46and save presets
8:47and then you have your banks like we
8:49created in eubank and here you can see
8:51this new
8:52bank
8:54and then playlists so you might be
8:56wondering what a playlist is what the
8:57point of a playlist is well you can
8:59think of a playlist
9:01kind of like a playlist in record box or
9:03any dj software that you use
9:06it's just an easy way to access a list
9:08of presets
9:10uh nice and quickly so if i wanted to
9:13create
9:14um
9:15let's say i was a live performer and i
9:18wanted to perform with pigments
9:21and i wanted to just access like
9:24five different presets
9:26uh then i could just go in and find them
9:28so let's just make a new playlist here
9:31and we'll name this one
9:33test two
9:34okay so now i want to
9:37add some presets to this playlist
9:40i can just go to
9:42my explore and just find some ones that
9:44i really like for example this one let's
9:47drag it down into test two it's add this
9:50one
9:51and you can see it's adding it to the
9:53playlist it's not it's not removing it
9:56from this explore page so you're just
9:58basically
10:00creating a reference to
10:02the preset in this playlist so you don't
10:05have to worry about dragging stuff
10:07around it's not going to move it from
10:09one place to another it's just going to
10:10copy it or reference it
10:13so now we've got a bunch of presets that
10:15i like that i'm going to be using my for
10:18my performance and i can access them
10:20here in this playlist
10:22so yeah
10:23that's your playlist and that pretty
10:25much covers everything that's
10:29you know interesting in this page
10:34let's go out of that and then next up is
10:37this little window and you'll see
10:39there's a little heart here so this is
10:40another way to quickly like presets that
10:42you like
10:44and then add them to your like page so
10:46if i
10:47just go down here i can
10:50go to a preset that i like like
10:52geometric and then i can like it and it
10:54should pop up in like a
10:56section over here
10:59okay then we have
11:01three buttons over here first one is
11:03synth and this is how you
11:06access the main panel of the synth where
11:08you can go in and edit it and
11:11configure it and modulate it and
11:12everything then we've got an
11:14effects section and this is where you'll
11:16be
11:17accessing
11:18uh all your sound effects eq reverb
11:20delay
11:23and then we've also got a sequencer
11:26that's an arpeggiator and a sequencer
11:30so those are how you access these three
11:32buttons and i'm going to dive into each
11:35one in detail but i just kind of want to
11:37cover this entire bar just so you know
11:39what each one of these buttons do first
11:43okay so the next button you'll see here
11:46is this little light bulb it might
11:47already be yellow or it might be gray
11:50and this is the sound design tips
11:52feature and this is also something new
11:54that i've never seen in any other synth
11:56and it's really handy and so basically
11:58what it is is it's
12:00it's a
12:02author defined parameter so when
12:04somebody's creating a preset
12:07they
12:08might have certain tips for that preset
12:11like let's say
12:12i want to say
12:14this filter
12:16it sounds good if you
12:17if you use it at
12:20between 300 and
12:22900 hertz but if you move it much
12:24further than that the presets gonna
12:25start sounding bad and that's a tip that
12:28you would probably previously have
12:30defined like in the comments of your
12:31preset
12:32um but if you have like
12:35ten different tips
12:37there's often not enough space to write
12:39it and it's like really
12:42it's a lot of work to write all that
12:43information in so a quick way to do this
12:45is to use this tips feature so you'll
12:47see if i turn it on
12:49a bunch of these parameters have light
12:52these little light bulbs next to them
12:54and they are defining the optimal
12:56amounts so they're not actually doing
12:58anything
13:00uh
13:00they're not physically changing the way
13:02the synth works or anything it's just
13:05it's just a guide so so you know that if
13:09i use this modulation amount
13:12the designer intended for it to not go
13:14any further than that yellow line goes
13:20but you can also edit these and add them
13:22yourself so
13:23if you click on the drop down arrow
13:25you can
13:26click
13:27on advanced edit tips and that will
13:30allow you to edit
13:31tips so if i want to add a tip to this
13:34filter cut off to say hey i don't want
13:37this to go higher than a thousand hertz
13:39or lower than 100 hertz or at least i
13:42want to tell the user that
13:44it sounds best in that range i can then
13:47go and hover over it and click on this
13:48little
13:49button while we make sure that advanced
13:52tips is enabled
13:54and then i can drag this
13:57parameter up and down
13:59so i'm just clicking on the yellow line
14:01and dragging to set the maximum
14:04value
14:05and if i click on that line if i right
14:07click on it then i can set the minimum
14:09value
14:11so now i can define my range that way
14:15so now people know that if they drag to
14:17the left here more or less to 100 hertz
14:20or to the right
14:22or
14:22i've set it a bit higher than i should
14:24so let's just set it to a
14:26thousand so we know where it is now i
14:28can drag oh i can
14:30left click and drag that down
14:33now i've set my range and i can lock it
14:36again by
14:38disabling this
14:41so
14:43there we go that's basically how you use
14:45the the tips feature also you'll notice
14:47if you hover over this
14:49this tips you'll get some information
14:51about the sound designer you'll also get
14:54to see the comments
14:55uh like here it says mod will control
14:57the chords number of voices so now we
15:00know that if we
15:01[Music]
15:03if we bring up the mod wheel we'll get
15:05more voices
15:08[Music]
15:11okay so yeah that's a pretty handy
15:13feature then next to that we've just got
15:15the output volume here
15:17so we can just set that if it's peaking
15:20or clipping
15:22you can turn it down
15:26and then we've just got little volume
15:28meters over here for the left and the
15:30right and then i've already explained
15:31this this is just your settings lets you
15:34access the tutorials
15:36uh
15:37all your midi configuration which i'm
15:39not going to go into detail on because
15:42that's pretty self-explanatory you know
15:44if you have a midi controller you can
15:47assign
15:50different buttons and knobs to different
15:52parameters and using this window
15:56it's also got a
15:58learn function here
16:00where i can just
16:06where
16:06it's also got a loan function here where
16:08i can just choose a parameter say pan
16:10and then if i want to map it to
16:12something on my
16:14controller i just
16:16manually turn it with my fingers
16:19and it will
16:21pick it up
16:22and assign it automatically as soon as
16:24you touch that control
16:27okay so that covers everything at the
16:29top
16:30next up we're going to start getting
16:31into these engines what they do and how
16:33they work
16:34and we're gonna work through all of the
16:36different controls on this page one by
16:38one
16:41okay
16:42so the next part we're gonna be having a
16:44look at is your engines
16:46okay so the way to think of engines is
16:48just basically a placeholder for a sound
16:52source
16:53so you you'll see if you click on this
16:54drop-down arrow here
16:56you have different types of sound
16:58sources you have analog wave table
17:00sample and harmonic
17:02and i'm going to take you through all
17:04these different ones but just think of
17:05it like a a module so you can either
17:08choose to have like an analog waveform
17:10or a wavetable synth and this makes
17:13pigments
17:14um super flexible because it can
17:17you can you can
17:18convert it from
17:20basically an analog synthesizer into a
17:22wavetable synth
17:25into a sampler
17:28and then you can also
17:30use this harmonic engine which allows
17:32you to sort of
17:33um
17:35create your own waveforms so the way to
17:38think of uh the synth is kind of like a
17:41combination of
17:42um all these powerful other synthesizers
17:45out there it's like taking serum and
17:47diva
17:48um
17:49and
17:51um
17:52i don't know whatever sampler you can
17:54think of and kind of just combining them
17:56all i know
17:57serum has a sample in it technically but
18:00yeah it's just super powerful to be able
18:03to then uh combine these two different
18:05engines because you have two options and
18:07you can then go and combine a wave table
18:10synth with
18:11an analog synth
18:13there's just so many options
18:15so yeah let's uh let's jump into this
18:17analog
18:18engine
18:20and just go through all of the controls
18:23so over on the left here you'll see
18:25the section called tune and between each
18:28of the uh engines tune this tune section
18:31will look slightly different
18:33um so
18:35just keep that in mind if you switch
18:37from analog to wave table you'll see
18:39that drift button uh that drift knob has
18:42disappeared
18:44and then in the sample function we have
18:45this filter
18:47and in harmonic we don't have anything
18:49there other than this queue
18:51so
18:52yeah just keep that in mind
18:54so first up we have course
18:56tuned so this is going to control
18:58the the master tuning in uh in semitones
19:02of this entire
19:04um
19:05module over here so all the if you
19:07wanted to control
19:08uh let's say you wanted to pitch every
19:10single
19:11oscillator here up 12 semitones you
19:14could go into each one and pitch them up
19:16individually like that
19:19but that takes a long time instead you
19:21could just pitch
19:22the master tuning up
19:2412 over here and then all of these
19:26oscillators would be pitched up 12 semi
19:28tones
19:30and then you also have the fine tuning
19:31which is just
19:33you should know what fine tuning is
19:36then we have this
19:37little keyboard here which
19:39basically allows um
19:42or tells the synth to pay attention to
19:44which key is being pressed on the
19:46keyboard and play the
19:48the relative pitch
19:50of that key
19:51so if this is turned off and i play the
19:53c
19:54oh sorry i've only got the noise
19:56oscillator turned on at the moment let
19:57me just turn up one of these oscillators
20:01we hear c
20:02and if i play this e over here
20:05we still hear c
20:08so it's
20:09the pitch is now just locked to c unless
20:12i go and change the tuning over here
20:18so if we enable that then we
20:20can use it like a regular synth where we
20:23hear all the notes
20:25um then underneath we've got this q
20:27which stands for quantize
20:29and we can quantize
20:31um
20:32basically the modulation of the pitch to
20:34certain keys so let's say i wanted to
20:37tune this to c major
20:39um if you think of this like a keyboard
20:41you've got all your white keys down here
20:43and your black keys up here so if i
20:45wanted to make a c major scale then i
20:48could just turn off
20:49these top ones
20:51and now if i had to modulate the course
20:54tuning
20:55it would ignore all of these pictures
20:57and just snap to the next available
21:00white note essentially and to just
21:02display that
21:04i'm going to
21:05assign this lfo to the course tuning
21:09and don't to worry worry too much about
21:11how i do this right now
21:13because we're going to cover modulation
21:14and how to do that later on
21:17so yeah let's just
21:19modulate this using this lfo
21:21so without quantize we'll hear all these
21:24pictures
21:26[Music]
21:28going up and down so it's just sweeping
21:30through that pitch range
21:32uh if i turn on quantize now we're just
21:33going to hear the entire c major scale
21:35as long as i'm pushing the c note on my
21:38keyboard
21:39[Music]
21:43and it transposes them based on what key
21:45you use so you'll see this first node is
21:47is uh is blacked out
21:49um
21:50and the reason for this is that this
21:52isn't actually your c major scale it's
21:54only a c major scale because i'm pushing
21:56the c key
21:58this black key just represents the root
22:00note of your scale or the tonic so if i
22:04uh play the e
22:05it's going to play an e major scale now
22:08what i'm basically telling this
22:10quantized to do is to just lock to the
22:13major scale
22:14um
22:16so yeah you can just essentially define
22:19a key over here and then it'll lock all
22:21your pitch tuning
22:24or your pitch modulation to whatever
22:26scale you have
22:28and by default it's chromatic so all of
22:30them are enabled
22:32so i'm just going to turn quantize off
22:34now oh actually just remove this mapping
22:40okay
22:41then we have uh this drift key and what
22:44drift does is it it emulates um
22:47like a
22:50synth that's kind of like uncalibrated
22:52and going out of tune
22:54um
22:56on the different voices so
22:58for example we have if we have one
22:59oscillator enabled and we turn this up
23:02we don't hear anything because it's it's
23:05controlling the relationship of the
23:06pitch between
23:08the three oscillators so if i enable
23:10this one
23:12now we're hearing two voices
23:15and if i turn up the drift
23:22every time the key is re-triggered you
23:24hear the p the tuning goes slightly
23:26differently
23:27um and this can well it says here and
23:30this little tip if you look at the
23:31bottom here it makes uh chords wider
23:36but it can also make them sound pretty
23:37bad
23:42so sometimes you're getting a chord
23:43that's tuned really nicely at
23:46this highest value and sometimes they
23:48sound out but anyway if you're trying to
23:50make a synth sound that was like really
23:53vintage and kind of
23:55low-fi
23:56then you could use this
23:58or just use it as a lower value to
23:59create something that's a bit more
24:03alive
24:03[Music]
24:09[Music]
24:13so the higher you go the more chaotic
24:15and out of tune it gets
24:18okay so here you can see we've got this
24:20unison
24:22section over here
24:24and it has different modes you have the
24:26classic mode which is just your basic
24:27unison
24:29function so we can increase the number
24:30of voices here
24:33and we can detune
24:36and we can use stereo to make them
24:38either wide or
24:40centered and
24:44and then we have the
24:46chord mode here and this basically takes
24:48the different
24:50voices and tunes them at whatever
24:53interval you choose so at the moment
24:54it's set to octave
24:56so i'm going to be hearing all these
24:57voices pitched at different octaves
25:01[Music]
25:02but if i start adding like uh if i set
25:05this to five
25:07then we're hearing a
25:08fifth and then i think that stands for
25:11major
25:13we have a major seventh
25:15major ninth
25:17oh sorry that first one is a minor
25:20and here's your major
25:25that's um
25:27[Music]
25:32yeah so you can just go through them and
25:34and see all of them different sus4 and
25:37whatever
25:38so that's how you basically make chords
25:41inside the synth
25:43and then we've got this super function
25:50and that just basically sounds different
25:51to me
25:54[Music]
25:58sounds a bit more dramatic i guess
26:06doesn't sound too far off
26:09from the other one
26:11so yeah just experiment with those and
26:12see which ones you like
26:15okay let's go over into this section now
26:18um so you'll see under oscillator one
26:20you've got a sync button
26:23and if you don't know what sync does it
26:24basically
26:26hard syncs the other oscillators
26:28to oscillator one so if you had
26:31let's say oscillator two
26:33pitched
26:34up three semitones what would happen is
26:37the
26:38the waveform because it synced to us
26:41later one it wouldn't sound like it was
26:42three semitones higher it would take the
26:46the wave cycle and only repeat it every
26:49time this wave cycle repeats so the pit
26:52it's playing at the same pitch but it's
26:55going through more cycles
26:57uh before repeating
26:59and if you pitch it down then it kind of
27:01cuts the
27:03the waveform shorter
27:05and repeats it like halfway through its
27:07cycle or whatever
27:09anyway the whole point of sync is that
27:11it creates these like interesting um
27:14timbres that
27:16can often sound kind of like metallic
27:19um but you you can just experiment and
27:22see if you like it
27:24so if we play these together you can see
27:26i'm pitching this down
27:29but because it's synced to the first
27:31oscillator it doesn't sound like it's
27:33going down in pitch same thing if i
27:34pitch it up
27:38it still sounds like it's tuned the same
27:40as the first one it's now just creating
27:42these like interesting metallic times
27:47[Music]
27:49so yeah i really like sync you can get
27:51some cool interesting sounds out of that
27:54and then the fm button just enables fm
27:57and how you actually do fm over here is
28:00in this modulation section
28:02so at the moment it's set to oscillate
28:04to three here in the source
28:06and that means that if i turn up the
28:07amount
28:09um
28:10these are going to be fmed by oscillator
28:13three
28:17[Music]
28:21that sounds kind of strange
28:23it sounds like
28:29oh that we go i think the fine tuning
28:31was making it strange
28:33[Music]
28:36so yeah
28:37you can hear the uh
28:39fmming happening
28:41uh if we change the pitch of this we get
28:42a different type of fm
28:47[Music]
28:49so that's how you do fm and then you can
28:50also control um how what's fmming it so
28:53at the moment it's led to oscillator 3
28:55we can also set it to noise
28:58and then we can get some really cool
29:00sounds
29:04and then you can also change
29:06the type of noise that you you want to
29:08choose but i'll get back to that
29:10so anyway that's how you do fm
29:13and you'll see each of each of these two
29:15have fm switches so you can turn them on
29:18and off if you only want to fm1
29:19oscillator
29:21and then you have this key button which
29:23is the same as this key button so if i
29:25turn this off this won't follow the
29:27pitch that i'm choosing
29:30over here
29:31it's just going to be locked to
29:33um
29:35it's going to the frequency is going to
29:36be locked so it's not going to be
29:37changing pitch when i change keys
29:41so most of the time you probably want
29:42that enabled but you can get some
29:44interesting
29:45patches
29:46um by turning this on and off
29:51and then we've got course tuning and
29:52fine tuning
29:54and you'll see the fine tuning has
29:55different modes and so the difference
29:57between the modes is um how it's being
29:59tuned so if i set it to offset
30:02you're basically fine-tuning it based on
30:04hertz
30:08um and if i set it to relative it's
30:10fine-tuning it based on
30:12fractions of semitones
30:14[Music]
30:18um
30:19okay and then on this one basically the
30:22same as that except we don't have fm
30:24because this is our fm source
30:27okay then over here we can select
30:29different waveforms
30:31and um that's pretty self-explanatory
30:34the same on each one
30:37and
30:39here you'll see this width function that
30:41stands for pulse width
30:43so you'll see some
30:45some oscillators have it enabled and
30:47some don't so the triangle wave
30:50you can adjust the pulse width on that
30:52and you can also adjust the pose width
30:54pulse wave
30:57[Music]
31:00and then we have volume controls for
31:02each oscillator
31:04and we have this output section so we
31:07can choose which filter here you can see
31:09there's two filters
31:11and we can choose which filter each
31:13oscillator
31:15or which
31:16filter
31:17all the oscillators are going being
31:19routed to
31:21[Music]
31:27you can also do a
31:29combination of the two
31:33so yeah you can see it there in
31:35percentage amounts which how much of
31:37each oscillator is being rooted
31:39uh the sound is being routed to
31:43okay and then we have uh output volume
31:46too
31:48so this is the output um
31:50basically straight from the engine into
31:51the filter
31:53so you can actually kind of like
31:55drive the sound into the filter
31:58by setting the volume higher
32:02um
32:03this isn't the output volume of the
32:06sound once it's gone through all the
32:07effects and the filters
32:09for that you want to be using this
32:11volume control over here master volume
32:18okay and then we have the noise section
32:20so i briefly touched on that when we're
32:23talking about fm but here we can choose
32:26different types of noise
32:28uh just
32:29you don't know what red and blue noise
32:31is well if you just listen to them you
32:33can hear if i turn this to the left it's
32:34kind of like a
32:35low past
32:37noise
32:39just like a rumble
32:44and sorry let me just turn off these
32:46filters
32:47so
32:49it's kind of like a darker noise with
32:50more sub in it then the white noise is
32:52pretty flat
32:54and blue noise is like um
32:58it's also it's almost like it's been
32:59high passed so it's taken all all of the
33:02lows and mids out of it so think of this
33:04almost like if you've got your noise and
33:06then this is like your filter making it
33:08dark and bright
33:13um and then the modulation i've gone
33:15over that this is where we're basically
33:17choosing
33:18uh the modulation source either
33:20oscillator or noise and then the amount
33:23of modulation
33:27okay so that covers the analog section
33:30next up we're going to be having a look
33:31at wavetable
33:36okay so next up is the
33:38wave table engine
33:41and now if you're familiar with serum
33:43you know what a wave table is but
33:44basically if you're not wave tables
33:47uh essentially a collection of waveform
33:50cycles that you can morph between
33:54and create
33:55pretty interesting sounds with so here
33:57we have for example a sine wave
34:00a triangle wave saw wave and a pulse
34:03wave or square wave
34:05and if i take this position knob and
34:07cycle between them and play a note
34:09[Music]
34:13you can hear how it's morphing slowly
34:15between the wave tables
34:17and you can do this with
34:19pretty much any sound source so you
34:21could load in like a kick drum and then
34:23it would create a wave table out of that
34:25kick drum and you can get super
34:26interesting
34:28sounds with that i'm not going to get
34:30too much into wave table synthesis in
34:32this
34:33this is more just about how pigments
34:35does it
34:37so
34:38looking at the
34:40engine module here wave table we've got
34:42the tune section
34:43which is basically the same as the
34:45previous one it just
34:47is missing
34:48the drift
34:49function over there
34:51but we still have the quantize and we
34:54still have unison
34:55um everything else is the same
34:59okay so up at the top here we have a
35:02it says here basic waveforms and that's
35:04basically the name of the wave table if
35:06we click on that we can load in
35:08uh different wave tables
35:11so here you can see we've got a
35:12different wave table here
35:18um
35:20and there's a few different things we
35:22can do in this window we can also import
35:25wave tables so here if we click on this
35:27folder it'll import a folder of
35:29wavetables
35:31so if you have a folder of wavetables
35:33that maybe you bought from a third party
35:34or something you can
35:36import them through that button
35:38you can also import single
35:40wavetables samples but you can't do it
35:43if you have any of the arteria
35:46wavetable
35:48banks selected over here you have to go
35:50to imported or
35:52create a new folder and import that
35:53folder and then import the single
35:55folders into it so basically if you just
35:57use imported here you can see i imported
36:00some random samples just while i was
36:02playing around and testing it out so if
36:04you click on this you can then
36:06go and find a i've just got one of my
36:08sample packs here and i just loaded in a
36:12base brass tab or whatever it is it's
36:14just a
36:16just a sample
36:17and if i click ok now you can see it's
36:19selected over there
36:21and here you can see my
36:24wave table is is loaded up here and we
36:27can hear it
36:29[Music]
36:30[Applause]
36:31[Music]
36:37so yeah that's how you load in your own
36:38custom wave tables
36:41um
36:43and you can also delete wave tables by
36:47hitting this x over here it won't delete
36:49the the source file so it'll still be
36:51there so don't worry about it if you
36:53accidentally accidentally
36:54delete them
36:55and you can also delete banks if you've
36:57loaded them in there
37:00okay
37:01then you have this these arrows which
37:04just lets you cycle between them
37:08and
37:10here we have this morph function so if
37:12you turn that off what it'll do so let
37:13me just the best way to
37:16illustrate this is with the basic
37:17waveforms table because we've only got
37:19four waveforms here so if i turn off
37:22morph and then i drag
37:24between each wave cycle it's gonna snap
37:27to each one it's not gonna move slowly
37:29between them
37:29[Music]
37:34now you may have noticed i've got this
37:35uh visualizer up here
37:37um if you want to know the name of it
37:39it's called mini meters by direct you
37:41can just google it i'm not an affiliate
37:43or anything but people always ask what
37:45it's called so i thought i'd save myself
37:47some time by telling you now
37:50and i just enabled this basically just
37:52to show the oscilloscope because we're
37:54going to get into some interesting
37:56things like phase distortion and wave
37:57folding and it's easier to explain if
38:00you look at the oscilloscope
38:02anyway back to this so morph will allow
38:05you to cycle slowly or morph
38:08smoothly between each waveform
38:14[Music]
38:16as opposed to having it off
38:18it snaps
38:21cool and then you have this uh 2d and 3d
38:23button so that just lets gives you a 2d
38:25view of the waveform as i move between
38:28it you'll see it changing
38:31as opposed to looking at the 3d version
38:33[Music]
38:37okay and
38:38[Music]
38:39yeah just one thing to note you don't
38:42have to use this to cycle between
38:44through this wave table you can also
38:46click and just drag your mouse in this
38:47window and it'll also let you
38:49morph between the wave cycles
38:54all right
38:55and then going over to the left here
38:58we have a bunch of different modulators
39:00and
39:01distortion
39:02types
39:04so first one is fm so frequency
39:06modulation so this is how you do fm here
39:10basically just using the amount
39:13uh this knob over here
39:15or you'll start hearing the fm
39:18and at the moment i have noise selected
39:20so that's why
39:22you're hearing this weird crazy fmming
39:25but you can also choose different
39:26waveforms
39:29so here let's just select sine wave so
39:31you can hear more classic fm sound
39:37[Music]
39:40and you have two different modes here so
39:42linear and exponential
39:44so linear is more gentle and the wave
39:46table will sound in tune if you push it
39:49up just a little bit
39:52[Music]
39:57um but if you set to exponential you'll
40:01hear almost immediately goes out of tune
40:09and you get this crazy fm
40:12um
40:13if you use this exponential one so
40:15probably most of the time you'll be
40:16using linear
40:18anyway maybe not
40:21next up is phase mode
40:23so phase modulation basically takes
40:26a source and
40:28will cause the phase of the wave
40:32to
40:33basically re-trigger based on that
40:35source so the moment it's set to key so
40:37every time an incoming midi node comes
40:40in
40:41the phase of the waveform will
40:44re-trigger
40:47[Music]
40:55um and so yeah just play with these
40:57because you can get pretty cool
40:59uh effects with this phase mod
41:03um and then you can use an oscillator
41:06the mod oscillator to re-trigger it
41:08[Music]
41:10and that's pretty cool
41:12[Music]
41:20uh you can also use self which uses um
41:23it's basically re-triggering based on
41:25the the tuning of the wave table
41:27[Music]
41:32and then random that so that just
41:34happens randomly every time
41:36uh you play a new midi note
41:38[Music]
41:42you can hear i'm hitting the same note
41:43but each time it's slightly different
41:46[Applause]
41:47because the
41:48phase is resetting and re-triggering in
41:51a random position
41:55okay and then next up is phase
41:56distortion so this is a
41:59i mean i've never seen phase distortion
42:01before so i had to read the manual about
42:03it
42:04and i suggest you do the same because
42:06i'm not going to be able to repeat
42:08everything i've just read
42:10but basically my understanding is that
42:12it takes
42:14your waveform
42:15and then based on the target it kind of
42:17morphs the wave
42:19the waveform
42:21and a good way to
42:22visualize it is using this oscilloscope
42:25so
42:26i'm going to actually set the course
42:27down here the tuning of this
42:29down pretty low like to 24 so we have
42:32this
42:33nice
42:34big
42:35uh wave cycle to look at and then you'll
42:38see
42:38with the different
42:40models as i increase the phase
42:42distortion you'll see what happens to
42:43the waveform
42:45so with skew
42:48it almost starts becoming like a
42:51saw wave
42:52and then it goes even further than that
42:58but it has the effect of adding some
43:00some pretty nice harmonics to this plain
43:02old sine wave and if we morph this into
43:05a more of a saw wave you can get some
43:07really cool
43:09uh distortion
43:11[Music]
43:16let's let's try some other ones so this
43:18is round and i think this is more like
43:21um
43:22square wave kind of shape
43:28where this triangle pulse
43:31one
43:32[Music]
43:34and octave plus
43:37[Music]
43:40so yeah it's not just i guess it's not
43:42super important that you understand
43:44exactly how this is working more just
43:46about experimenting when you're creating
43:48a preset
43:49and seeing which ones sound good and
43:51which ones don't
43:53in that specific scenario
43:55[Music]
44:00and then we've got this fractalize i
44:02think this is um
44:03they said it basically starts stacking
44:05copies of the the waveform on top of
44:07each other and then
44:09morphing them based on them
44:14so you can get pretty crazy with that
44:16one
44:19okay and then we have wave folding which
44:21is a pretty common type of
44:24distortion and it basically folds the
44:26wave back over itself
44:28or back onto itself
44:31but just to show you how it sounds
44:35[Music]
44:40we have different shapes that we can
44:41choose too so the first one is a
44:44sine wave
44:45oh so
44:48i think i may have misunderstood this
44:50let's just quickly
44:51check this out
45:12okay so wave folding is a pretty common
45:16type of distortion and what
45:18traditionally is known as is you take
45:20the
45:21the wave table and basically fold it
45:22back on itself
45:24and that creates some interesting
45:26harmonics but where this differs is you
45:28have a
45:29kind of like a third-party waveform that
45:32folds back over onto the original one
45:35and here we have different shapes so we
45:36can use a sine wave and this is how it
45:38sounds
45:40[Music]
45:46you can have a
45:47triangle
45:48[Music]
45:50which is pretty similar and then this
45:53waveform i don't know i can't remember
45:54what it's called but
46:01you can get some really cool like gritty
46:03high end with that
46:04[Music]
46:15and then all of these you can modulate
46:17them using the modulator here you can
46:19see this line kind of points to this
46:21modulator
46:27phase distortion doesn't do anything
46:29with that
46:30[Music]
46:37so yeah it can get pretty crazy with the
46:40wave table oscillator
46:42and then over here on the right
46:46you've got filter mix which i've
46:47explained before
46:49you've got the wave table position which
46:51just lets you morph through the wave
46:53table
46:54and then volume
46:55self-explanatory
46:57and then the modulator
47:00which we've already gone over
47:03you have different modulated shapes
47:06and different tuning modes
47:09um
47:10so yeah
47:11modulator is basically just a
47:14another
47:15uh oscillator that's used for modulating
47:18different parameters and parameters that
47:21it's modulating you can see
47:23through this line over here
47:27okay cool
47:35all right so that's the wave table
47:37section
47:39uh sorry so that's the wave table engine
47:42next up is going to be the sample engine
47:48all right welcome to the next section
47:50which is the sample engine
47:55okay so this is a basically just a
47:57sampler you can load samples in and play
47:59them back
48:01but there's many different
48:03things you can do to edit the samples
48:05and we've also got a cool granular
48:07engine which we'll get into
48:10so yeah let's get started so up here at
48:12the top first thing you'll notice here
48:14in the tune section is that it has a
48:16filter instead of
48:19on the other ones we had some other
48:20functions i can't remember quite what
48:22they were yeah we had the drift on the
48:23analog and on wavetable we had nothing
48:27uh now we have this filter over here
48:29which basically just works like uh
48:31almost like a filter you'd get on like a
48:33dj controller
48:36drag it to the left low passes the
48:37sample
48:38to the right it high passes it
48:40[Music]
48:45okay and then over here we have the
48:47sample selector so here we can choose
48:49samples
48:50and we can actually audition them if you
48:53make sure you update your pigments to
48:543.5
48:56um this little earphone icon will appear
48:59and then if i
49:03click on different samples it will
49:05it will play them back
49:07it'll audition them for me and you can
49:09set the volume of the audition
49:13and yeah you can also load in your own
49:16samples
49:18uh using this import button
49:21um so it's basically just like so it's
49:24pretty much the same as the wavetable
49:26import
49:28sample selector that we've gone over
49:31before there's nothing really super
49:32interesting about this view
49:34uh you can also import folders
49:39um and then these buttons are just to
49:40switch between samples
49:43and then over here on the right we have
49:45three buttons main edit and map and
49:47we'll go through those one by one
49:51uh but i just want to give you a little
49:52overview of this what we're seeing over
49:54here so under the main section we're
49:56seeing
49:58a bunch of slots here so we have six
50:00slots and we can load up different
50:01samples into each slot so here we can
50:04just click to add sample and we can load
50:06in
50:06another one
50:08over here
50:09so you have to double click samples to
50:11load them in
50:13so now we have
50:16a cool little jungle sample over there
50:18if we click on this one it'll play this
50:20piano sample if i click on this one it
50:22plays the jungle one
50:25um and if you're wondering if we can
50:27play both samples at the same time we
50:29can and i'll get into that when we have
50:30a look at the map section because that's
50:32where you do that
50:34but let's just have a look at the
50:35granular section next because that's in
50:38the main
50:41so to turn on the granular engine and
50:43i'm going to just use this sample here
50:44because it's a bit more interesting
50:46if we turn on the granular engine
50:50we can basically play back the sample
50:53in really interesting ways and create
50:55really cool
50:57sounds especially with like pads and
50:58stuff
50:59so now you'll see if i play this
51:03we have basically little copies of each
51:07sample being repeated back to us
51:10and the way that that gets repeated is
51:12controlled by
51:14our start times and the direction pitch
51:17all these different
51:19buttons yeah knobs here
51:22so let's go over them
51:24so first of all and here we have a
51:26direction knob
51:28and
51:30this
51:31is basically controls where the
51:34the granule samples get played forwards
51:36or backwards or combination
51:38so
51:39here we can see if we drag it this way
51:42start getting some forward and some back
51:4450 of time pretty much
51:47these are all reversed
51:52okay then the density here basically
51:55and adds randomness
51:58um
51:59to the the rate so here's
52:01here's basically the rate at which new
52:04samples are added using this density
52:06hertz
52:11so here you can see we're getting
52:14one new sample every one hertz
52:19and that increases
52:20then we can add some randomness to it
52:27which is pretty cool
52:29and then we can also add some random
52:30pitching to it
52:36and we can actually control that
52:38because like let's say you were using
52:40this piano sample which is a bit more
52:42tonal
52:42[Music]
52:44and you wanted to add some random
52:45pitching
52:47but you want it to be a bit more musical
52:48than that because that's kind of just
52:50sounds out of key you can quantize it
52:51using this quantizer over here and let's
52:54say we only wanted to do
52:56um fifths then we would have to leave
52:59that one on which is seven semitones
53:01higher
53:02now if i play it
53:06now we have something a bit more musical
53:08we could also set it to maybe just
53:11octaves so just leaving all of them
53:13switched off
53:14[Music]
53:24and we can also change this pitch
53:26disperse dispersion so at the moment
53:29you'll hear you're getting those lower
53:30octaves in
53:32and they sound a bit muddy so maybe we
53:34want just the higher higher octaves so
53:36we just switch this to higher
53:46now we're getting some
53:48some just octaves in there
53:50all right so i'm just going to turn this
53:51pitch off
53:55and then we have the start
53:58control and that basically will randomly
54:01tell the
54:02the grains to start in different
54:04positions
54:05from the start point and the start point
54:08is controlled over here
54:10[Music]
54:17and we can also control the dispersion
54:18so if we want the start point to be
54:20before
54:22i think we have to bring this start over
54:24here
54:25okay so now you're seeing all of them
54:27are starting before the line
54:31we switch this to after all of them are
54:33starting after the line and then both
54:37we're getting a combination of them
54:43then we can control the shape of the
54:45envelope so at the moment it's quite a
54:47smooth
54:49sound because it's a triangle so the
54:51sound's fading in and out
54:53if we set this to the left it's more of
54:54a saw
54:58it's more like stuttered to the right
55:01it's more like a sweep
55:02and you can choose a bunch of different
55:04shapes over there too
55:09okay then you have the size
55:12and that basically
55:14sets the duration of each of the samples
55:17so if i set the super long
55:21each each little grain
55:24lasts 600 milliseconds
55:27super short
55:33and you can hear the effect there
55:36um and then there we go we can add some
55:37randomness to that too
55:41some are short
55:42some are long
55:45and then we have some more controls here
55:48so width would um
55:50create the
55:51offset between the left and right
55:53randomly so
55:55you get this wide image
55:58set it all the way to the
56:00left it's all very mono and centered
56:04[Music]
56:07and then we can also add randomness to
56:08the volume of each grain
56:18so yeah you can uh just by playing with
56:20these you can start getting super
56:21interesting sounds probably get a bit
56:23more interesting
56:25with this
56:26if we had to like maybe set this in the
56:28center
56:31and you bring up the time
56:35the whip
56:40some randomness to the starter
56:45now he's really starting to get
56:47something
56:48quite interesting as opposed to just
56:50playing the sample back like this
56:57so yeah this granular engine is super
56:58powerful and
57:00fun to play with
57:02and then we have this uh edit
57:05tab over here and this basically just
57:06lets us edit the sample so
57:09for example we can
57:11trim the sample if we wanted to only
57:13play black play back a certain section
57:15of it
57:16so here are the trimmers so this is the
57:18star trimmer and this is the end trimmer
57:20so if i only wanted to play let's say
57:22the section with this transient in it
57:25and nothing else
57:28we can
57:29zero in on that
57:34and then on the left here we can tune
57:37the sample so if you're working with the
57:39piano note for example
57:42um it says that the note is in c3
57:46and
57:47let me just set the start to the
57:48beginning here
57:51and i'm just going to turn off the
57:52granular engine for now
57:57let's say the piano the original sample
57:59when we imported it was actually at e
58:01then we could go to the root note and
58:03set it to e
58:06and that just tells the synth
58:09to basically transpose the note
58:11from e
58:13uh down to essentially c if we're
58:16playing the note c
58:18um so it's a fast way to tune it if you
58:20know what's key the samples in then you
58:22just set it over here then you don't
58:23have to play with the transpose to
58:25actually tune it to the keyboard
58:27it's going to set that back to c3 i
58:30don't know if i can type oh there you go
58:33and then obviously you can transpose it
58:35or fine tune it if you want if it's like
58:36slightly out of tune
58:40um transpose is also useful if you want
58:43to change the octave
58:45um
58:46and then you have playback yeah so this
58:50basically controls the way the sample is
58:53played
58:54are we playing it as a single sample
58:57do we want to loop it how do we want to
58:59loop it um and all of that so let's go
59:01through that
59:02so yeah at the moment it's set to normal
59:06we can reverse it so the sample
59:09reverses all the way from this point and
59:11if we set the start or the end of it
59:13over here
59:16and start getting some kind of cool
59:19reversed effects
59:24um
59:25and we can also loop it so once we
59:27enable loop
59:28we
59:29will hear that the sample starts to loop
59:32it's reversed so now we're going to hear
59:33it looping backwards
59:34[Music]
59:40and it also has this release button over
59:42here and what that means is it just
59:44tells the
59:45loop to continue looping
59:47as long as the release stage of the
59:49envelope is going so if we just have a
59:51look at the envelope
59:53this vca envelope
59:55if we increase the release
59:57all i'm going to do is quickly tap a
59:58button on my keyboard
1:00:01[Music]
1:00:03and now you can hear it continues to
1:00:05loop
1:00:06through that release
1:00:07section i'll make it even longer so you
1:00:09can hear it more clearly
1:00:15so it keeps looping until the release is
1:00:16complete
1:00:19if i turn that off
1:00:22[Music]
1:00:29even if i set the release super long
1:00:31[Music]
1:00:33it just plays it once through and
1:00:34doesn't doesn't loop it again
1:00:40okay
1:00:40so
1:00:42the loop mode we can also do forward or
1:00:45back and forth so if we wanted to play
1:00:47back and forth we can
1:00:52it's just going to go back and forward
1:00:54and you notice you'll notice that
1:00:56looping it that way is not
1:00:58it's not very smooth so we can use this
1:01:00cross fade this loop fade to cross fade
1:01:03it
1:01:04but that won't work unless we start set
1:01:07the loop length shorter than our start
1:01:10and end length so if i set this a bit
1:01:12longer
1:01:14you'll see these little buttons here
1:01:16these
1:01:17little triangles appear when you enable
1:01:19loop
1:01:21um you can set the start over here and
1:01:23maybe the end a bit shorter
1:01:24and now you'll see that crossfade starts
1:01:26to appear
1:01:32now we have a really smooth loop
1:01:37[Music]
1:01:39okay um
1:01:41and then next up is the mix so we can
1:01:44control the gain of the sample
1:01:46so when we're playing multiple samples
1:01:48this is pretty useful because sometimes
1:01:49you might want to have like
1:01:51i don't know this one being
1:01:53a lot quieter
1:01:57than this one
1:01:59maybe this would be the main sample
1:02:02you want to be louder you can also pan
1:02:04them left and right and make like a
1:02:05really big stereo image
1:02:10and then you can use this button here to
1:02:12copy samples
1:02:14so you can copy to another slot here we
1:02:16have six slots
1:02:18and then you can also reset the state of
1:02:20the sample so like all the
1:02:22different start points and stuff get
1:02:24reset to the default
1:02:26and you can also remove the sample from
1:02:27the slot over here
1:02:31um i've already gone over the start
1:02:34function over here so that just sets
1:02:36where the note starts from
1:02:40you can see all the grains are starting
1:02:41from there now
1:02:45volume and modulator as far as i can
1:02:47tell modulated doesn't really affect
1:02:50much in the
1:02:52um
1:02:53sample section
1:02:55oh one thing i didn't go over was this
1:02:57snap here so snap what snap does is if
1:02:59you have a sample that has a
1:03:02portion of it let's say the end of it
1:03:04where
1:03:06um
1:03:07there's a zero amplitude so it's
1:03:09completely silent
1:03:11then with snap turned on
1:03:13these um start and end points will snap
1:03:18to these zero points so that you can
1:03:19easily
1:03:20find
1:03:21sections where there are
1:03:23zero crossings and snapping to them can
1:03:26just help remove pops and clicks
1:03:30okay so that covers main and edit and
1:03:33now we have maps so if you're wondering
1:03:35how to get two samples to play back or
1:03:38more at the same time this is how you do
1:03:40it so there's multiple mappings at the
1:03:42moment it's set to single so only the
1:03:43selected one will play back
1:03:48and i want to just go back and enable
1:03:49the granular
1:03:51um control here
1:03:53because it's it's a lot more fun to play
1:03:56with multiple samples with the grain
1:03:59function
1:04:04uh
1:04:05okay yeah let's um let's have a look at
1:04:08this so
1:04:09the next one is keymap and
1:04:13basically this what this does is it maps
1:04:16each sample over
1:04:17certain octaves so here you can see we
1:04:19have
1:04:20six octaves
1:04:22on this on our keyboard and in octave 0
1:04:25we'll be playing sample a and an octave
1:04:29c1 through to c5 we're playing octave b
1:04:32and we can control that by dragging them
1:04:34around here so if i drag this into slot
1:04:36c we'll see
1:04:37the first two octaves on our keyboard
1:04:39are mapped to a
1:04:40and then from c2 up to c5
1:04:43rc
1:04:46and it's kind of hard for me to show
1:04:48that uh actually i can open up the
1:04:49keyboard here so
1:04:52[Music]
1:04:56attending this
1:05:13hmm i'm not sure why it's not working
1:05:17should be playing this one back
1:05:19at octo zero
1:05:23let's try maybe my keyboard wasn't set
1:05:26down low enough
1:05:29oh there we go
1:05:30yeah so this uh
1:05:33this keyboard doesn't go down to octave
1:05:34zero
1:05:35but i've just set my midi keyboard to
1:05:38down an octave and now when i'm playing
1:05:40this
1:05:41bottom note you can see it's playing
1:05:43that a sample back
1:05:45very deep
1:05:47and as soon as i switch up to the next
1:05:48octave it starts playing
1:05:50uh the b sample
1:05:53okay so for key and velocity mapping
1:05:57uh could be a little bit confusing but
1:05:59basically this
1:06:01layout tells you what it does
1:06:03so
1:06:04we can map
1:06:06our
1:06:07different samples to a range of three
1:06:09octaves so at the moment you'll see the
1:06:12range is set from c2 to c4
1:06:15and we can switch
1:06:17through that cycle it up to c3 to c5 or
1:06:20whatever okay so at the moment it's c
1:06:22two c three and c four
1:06:24and these
1:06:26samples a b and c are mapped to c two c
1:06:30three and c four so if i play a note c2
1:06:35it's playing a
1:06:38c3
1:06:40we play b
1:06:42and then c4
1:06:46playing c
1:06:48but if i i what i did there is i played
1:06:50it at a very low velocity if i played at
1:06:53high velocity on c2 it's going to play
1:06:56this
1:06:56d sample so you'll see the samples are
1:06:58stacked on top of each other
1:07:00if i play c2 on a low velocity plays the
1:07:02a sample
1:07:05if i slam it
1:07:07we play the d
1:07:09c three
1:07:10blow
1:07:11slam it
1:07:13e
1:07:14and so on
1:07:16so that's how key and velocity mapping
1:07:18work
1:07:19oh and you can also
1:07:21set the threshold of the velocity using
1:07:24this
1:07:25slider over here
1:07:28okay so the sample picker here is
1:07:31basically just a knob and
1:07:32it lets you select all the different
1:07:34samples and they get distributed equally
1:07:36over the range so if i had five samples
1:07:38they would be distributed equally over
1:07:40this range and you can also modulate
1:07:42this so you can kind of like sweep
1:07:44between them with an alpha or something
1:07:49then we have this round robin function
1:07:52and
1:07:53it'll basically switch between each of
1:07:55these samples
1:07:57uh as you're playing so each time i hit
1:07:59a midi key it'll switch it'll choose a
1:08:02the next sample
1:08:04um and this is great for like things
1:08:05like drums and
1:08:07stuff where you you want to have each
1:08:09hit slightly different then you could
1:08:11load in all those different hits and
1:08:12cycle between them just using pigments
1:08:16but another thing to note with the round
1:08:18robin sampling is that if we have the
1:08:22granular engine enabled
1:08:25round robin's going to start picking
1:08:27different samples four different grains
1:08:31so now you can see
1:08:33each one of these samples is getting
1:08:34grains played back
1:08:37at the same time
1:08:41and that's really cool because now you
1:08:43can get
1:08:44really interesting sounds of this
1:08:55[Music]
1:08:57um and then random will just play the
1:09:00samples in a random order
1:09:06um if we turn off granular engine
1:09:14i just play the same key over and over
1:09:16again it's just choosing random samples
1:09:18but if you have granular enabled
1:09:20it's going to play them in a random
1:09:22order for each grain
1:09:27okay so yeah that's a really fun little
1:09:30module we have over here
1:09:35that's pretty much everything i think
1:09:37for the sample engine
1:09:40so next up we have the harmonic engine
1:09:45okay so now let's have a look at this
1:09:46harmonic section this harmonic engine
1:09:51so basically what this is is just
1:09:52additive synthesis and if you don't know
1:09:54what additive synthesis is i suggest
1:09:57reading up about it maybe before
1:09:58watching this otherwise you might get a
1:09:59bit lost but to give you a brief rundown
1:10:02on additive synthesis
1:10:04with subtractive synthesis we typically
1:10:05have a
1:10:07waveform more complex waveform like a
1:10:09saw wave
1:10:11typically
1:10:12or something like that and then the
1:10:14process of shaping it is done through
1:10:16removing harmonics through filtering
1:10:19um
1:10:20and just shaping it using you know
1:10:23envelopes and shapes and
1:10:25uh sorry all those envelopes and lfos
1:10:27and stuff
1:10:29um so it's more more like
1:10:31how
1:10:33a sculptor would work you start off with
1:10:35a big block of clay and you chip away at
1:10:37it until you have the shape or the sound
1:10:39that you want
1:10:41where
1:10:42with this harmonic engine it's it's more
1:10:44additive synthesis where you're
1:10:46typically starting with just a sine wave
1:10:49um and then you are building partials or
1:10:53harmonics on top of it so
1:10:56any um
1:10:59any sound can be broken up into
1:11:01uh basically two parts where you've got
1:11:03a fundamental
1:11:05frequency so like the bottom most
1:11:07loudest frequency
1:11:09um and then on top of that there's a
1:11:11bunch of
1:11:12harmonics
1:11:14and so with
1:11:16additive synthesis here we can
1:11:18illustrate this if we just bring down
1:11:20this partials partials means uh
1:11:22harmonics just another word for it uh
1:11:25down to one
1:11:26and play it we just hear a sine wave
1:11:29you can see the sine wave over here
1:11:30[Music]
1:11:33and then we can begin adding partials on
1:11:35top of it
1:11:39ah sorry there's a filter on let's just
1:11:41turn the filter off
1:11:42[Music]
1:11:45until you eventually have a saw wave
1:11:47[Music]
1:11:49um and then we'll be using a whole bunch
1:11:51of other
1:11:52functions here to essentially build out
1:11:54a sound that we
1:11:55or whatever sound you want
1:11:58um so yeah let me just take you through
1:12:00all the controls so we've already just
1:12:02briefly touched on partials and i think
1:12:03this is probably the best place to start
1:12:06here there's partials means harmonics
1:12:09i've already said that
1:12:11and you can have a maximum number
1:12:14defined here of partials so
1:12:17if you click on this drop down arrow you
1:12:18can set it to like a maximum of eight
1:12:21that and you can see all the partials
1:12:23here
1:12:24uh kind of it's quite nice because it's
1:12:26quite visual
1:12:29so if i have this turned all the way to
1:12:30the right it's going to have a maximum
1:12:31number of eight harmonics or partials on
1:12:33top of it
1:12:35and we can go up to 512
1:12:37which is basically like a full sore wave
1:12:42um
1:12:45okay and then you've got this volume
1:12:46control which controls the volume of the
1:12:47partials
1:12:50it's not really displayed here it
1:12:52doesn't really reflect
1:12:55but you can hear
1:12:56you can turn them down and up
1:13:00okay and then just going back to the top
1:13:02here you've got the smooth button here
1:13:04and what this does it'll it'll basically
1:13:06just smooth
1:13:09the movement um
1:13:11like if you're modulating partials and
1:13:13changing stuff
1:13:15with this filter here um you'll hear
1:13:18that it can be quite jumpy and almost
1:13:20like quantized
1:13:22but this will just smooth
1:13:24the movements so if you're making a
1:13:26sound and it sounds kind of like jittery
1:13:28and jumpy you want to just smooth it out
1:13:30that's the button you want
1:13:33okay and then in this little box over
1:13:35here you see you've got this window drop
1:13:37down arrow this is your partial
1:13:38modulation mode and there's different
1:13:40ways basically you can
1:13:42start to shape the sound and modulate it
1:13:45and
1:13:46create interesting sounds that you
1:13:48pretty much would not be able to make
1:13:50with subtractive synthesis
1:13:53so the first one is called window
1:13:56and basically
1:13:57how this works is you have you can see
1:14:00this knob is linked here to this
1:14:02modulator and so it's basically doing fm
1:14:05but what we can do is we can use the
1:14:07position and the window size
1:14:09to zero in on
1:14:11a certain portion of the harmonics and
1:14:14fm only those so if you only wanted to
1:14:16fm the high end of your sound you can do
1:14:19that
1:14:20which is really cool because you can't
1:14:21really do that with
1:14:23traditional fm in subtractive synthesis
1:14:25so let's just test that out
1:14:27i've got this saw wave and what i'm
1:14:29going to do is just pitch it down so
1:14:30that we kind of covering the full
1:14:33frequency spectrum here i'm going to
1:14:34pitch it down 24 semitones
1:14:39okay and now if i start to
1:14:41fm it
1:14:43getting that typical fm
1:14:46sound that you would hear
1:14:48but we can then change the position
1:14:51and you'll see that's our window that
1:14:53we're working with
1:14:55and let's say i only wanted to fm one
1:14:57little harmonic over there
1:14:59i can do that
1:15:04and start getting really interesting
1:15:05sounds and you can increase the window
1:15:06size
1:15:10[Music]
1:15:12let's just try having the very top end
1:15:17[Music]
1:15:24you can hear this these it's making
1:15:26sounds that you know otherwise you would
1:15:28never hear
1:15:29in traditional subtractive synthesis so
1:15:30i love this harmonic engine i've been
1:15:32playing around with it all morning and
1:15:35um
1:15:36been making some really interesting
1:15:37sounds
1:15:39then you can control the gain
1:15:41of the window so if we wanted to just
1:15:44turn up this section
1:15:46um that we've just modulated we can
1:15:50[Music]
1:16:00um and it also kind of works almost like
1:16:03an eq so if you just wanted to turn up
1:16:04some harmonics
1:16:06without fmming it you still can't do
1:16:08that
1:16:12i can just turn up the gain on the
1:16:13specific
1:16:16[Music]
1:16:21yeah pretty fun
1:16:22okay and cluster how it works is it
1:16:25basically
1:16:26pulls partials within a given window
1:16:30uh closer together
1:16:32so let's uh just visualize that and see
1:16:33how it sounds
1:16:35so here
1:16:38we can change the position
1:16:41oh sorry
1:16:43here we can we have to increase the
1:16:45density first of all
1:16:47and you can see it's pulling those first
1:16:48two partials closer together
1:16:53and it sounds pretty nasty but if you
1:16:55play with the position and the clusters
1:16:58you can start getting really cool
1:16:59sound so let's
1:17:01move this position up
1:17:05and i'm going to bring down the number
1:17:07of partials
1:17:09and what i want to do is kind of just
1:17:11bring the
1:17:12top few
1:17:13partials closer together
1:17:22let's go even further down and we can
1:17:24make almost like a respace because what
1:17:28will happen is as the partials get
1:17:29closer together they'll start phasing
1:17:31with each other
1:17:32and that's typically how you make a
1:17:34respace you have two
1:17:36waveforms and then
1:17:38you kind of detune them slightly and
1:17:40because they're a little bit out of tune
1:17:42they go in and out of phase and it makes
1:17:43that kind of like um
1:17:46what do you call a pulsating kind of
1:17:48effect
1:17:49um but the problem with like a
1:17:50traditional respace is
1:17:53that it does it with the entire
1:17:56um the entire sound including the
1:17:59fundamentals so usually you'll have to
1:18:01split it up and make a separate sub base
1:18:04uh so that sub base isn't phasing and
1:18:06then
1:18:07high pass the
1:18:09uh respace
1:18:11so that
1:18:12yeah so that you have like basically
1:18:14your mid base which is the
1:18:16respace and then your clean sub base
1:18:19anyway we can we can create a base like
1:18:23like that
1:18:24where we have the fundamental untouched
1:18:27and just the
1:18:28partials on top of it are phasing and
1:18:30then creating this really cool and
1:18:32stable respace
1:18:34let's do that
1:18:36so if we set this to a maximum of eight
1:18:38partials and we just turned it down so
1:18:41that we are only getting the first two
1:18:45then we've
1:18:47then we can take this
1:18:49partial position until we
1:18:53get
1:18:54only the second one
1:18:58i think we actually need to get
1:19:00the top two there we go
1:19:07and now you can see as i turn the
1:19:08density up it'll pull that partial
1:19:10closer together
1:19:11[Music]
1:19:21and now you've got a really cool respace
1:19:23[Music]
1:19:29and as you can see if you have a look at
1:19:30the spectrogram
1:19:33the bottom node or the fundamental isn't
1:19:35phasing at all
1:19:37completely stable
1:19:41so i thought that was a really cool
1:19:42discovery
1:19:43[Music]
1:19:45so yeah the cluster
1:19:47mode is really cool
1:19:50and then we got this shepherd
1:19:52function which is basically a shepherd
1:19:55tone is
1:19:56is almost like an effect
1:19:58where it sounds like something is
1:19:59permanently going up in pitch
1:20:03um i think it's like a psychoacrystic
1:20:05effect
1:20:07and how they achieve it with this is
1:20:09basically the
1:20:11partials move slowly
1:20:14up or down depending on what you do with
1:20:16this knob so let's
1:20:18play our sound and we'll just increase
1:20:19those partials again so we can see it
1:20:22we can change the position here
1:20:25and the window size
1:20:27let's just do it with the top
1:20:30top ones over here let's increase the
1:20:32size
1:20:33and then you'll see
1:20:35if i drag this down and start shifting
1:20:36them
1:20:38or shifting them up
1:20:43um and you can also increase the gain
1:20:46[Music]
1:20:49and so what it says in the manual is to
1:20:51achieve that shepherd tone effect you
1:20:53need to create an lfo
1:20:56um with more of like a ramp shape
1:20:59so you can
1:21:01i think you can adjust the symmetry of
1:21:04this
1:21:07and play with this until you get there
1:21:09we go now we're getting more of a ramp
1:21:11shape
1:21:14let's bring the phase up
1:21:17and then bring it down really slow
1:21:20and now we should be able to map that to
1:21:23the gain so if we just click on the lfo
1:21:27one
1:21:28and we can map it here to this
1:21:35and i think they said you should bring
1:21:36this up to around five
1:21:38and then
1:21:41we want it to be unipolar
1:21:44or wait let's leave it bipolar
1:21:47bring it all the way up to five there we
1:21:48go
1:21:49so now it should slowly pitch up
1:22:02yeah now we have a basically a sound
1:22:04that sounds like it's continuously
1:22:06pitching up even though the fundamentals
1:22:08staying the same the partials are slowly
1:22:10moving up
1:22:14so that's pretty neat
1:22:17okay then
1:22:19here we have the ratio and basically
1:22:21this is just
1:22:23um
1:22:24if you think about it as like the
1:22:26the way the partials are calculated so
1:22:28how it works is you have the fundamental
1:22:30and then the partials are just multiples
1:22:33of that fundamental so it's all just
1:22:36maths and you can change the ratio of
1:22:38that and get some
1:22:41pretty interesting
1:22:43harmonics going
1:22:44let's just increase the uh
1:22:49wait why am i filtering this now let's
1:22:51just go back to window here
1:22:58oh it's because i've got a limit of
1:23:00eight
1:23:06okay so yeah to just illustrate this
1:23:08[Music]
1:23:17that you can see exactly what it's doing
1:23:18so it's just basically shifting all of
1:23:20them up based on whatever you set this
1:23:22ratio to and then
1:23:24just double click it to set it back to
1:23:26one
1:23:27to get your more classic
1:23:30harmonic series
1:23:32and if you bring it down you can start
1:23:33getting really weird
1:23:43stuff like that
1:23:46where you have this like
1:23:49undertone series almost
1:24:00happening um so yeah you can play with
1:24:03that
1:24:04and get some really weird stuff then uh
1:24:07under the ratio you've got amount
1:24:09and amount is basically just a
1:24:11modulation parameter
1:24:14at the moment it's set to a modulator
1:24:15here you can see a sine wave so it's
1:24:17just going to be doing fm
1:24:24i'm going to just bring this back down
1:24:26to -24
1:24:30[Music]
1:24:33and there you can hear the um
1:24:35fmming
1:24:37okay and just on that note i might as
1:24:38well go over the modulator here um i'm
1:24:41not sure if i explained this before in
1:24:42the other engines but on modulator you
1:24:46can do cross mod
1:24:47so
1:24:49you can
1:24:50cross modulate between two different
1:24:51engines so for example if i set this to
1:24:53engine two
1:24:54and then engine two is set to analog
1:24:58if i play a keynote
1:25:00you'll hear both of them but i can turn
1:25:01down this and just use it as a modulator
1:25:06and then
1:25:08when i i can start fmming to that
1:25:13modulator let's actually uh let's bring
1:25:16down the partial so that we can hear the
1:25:18the fm because we're going to be
1:25:20efforting to this saw wave so that
1:25:22should start adding harmonics back
1:25:27um let's turn up this fm amount here and
1:25:29then we can start fm it
1:25:35[Applause]
1:25:43there you can hear it
1:25:45um and then you can control uh like
1:25:47different parameters on engine two like
1:25:51noise we can turn up the noise
1:25:54and then start fmming to noise
1:26:02[Music]
1:26:10so yeah that's just this modulation
1:26:12section
1:26:15okay and then we have the shape here and
1:26:19parity so if you have a look at parity
1:26:20it says 50 odd and 50 even
1:26:23so if i just turn this back up here
1:26:26uh we can see our
1:26:28saw wave let me just uh reset
1:26:32all of these
1:26:33like this shepard tone and
1:26:38cluster
1:26:39reset all of these
1:26:45and
1:26:47that there we go now we got us saw wave
1:26:49back
1:26:50so at the moment we've got 50 arden 50
1:26:53even
1:26:54um partials
1:26:56and that basically is what forms the
1:26:58soul wave sound
1:27:00we can drag this to the right and start
1:27:02getting more even harmonics
1:27:06it sounds like that or we can go and
1:27:08just get odd harmonics
1:27:10which is basically
1:27:12what makes a square wave
1:27:15and you can blend them into each other
1:27:22i think the even harmonic sounds pretty
1:27:24weird
1:27:26but yeah you can get interesting sounds
1:27:28like that interesting shapes
1:27:32um
1:27:34okay so this tilt section if you think
1:27:38of um like a fade in any door
1:27:42like um you know if you drag in a kick
1:27:44drum sample and you just fade the edges
1:27:47that's basically how i think of tilt
1:27:49um
1:27:50but only the
1:27:52the top end of it gets
1:27:54faded
1:27:55so let's just play with this and see
1:27:58here you can increase the mud so
1:28:00um so yeah i guess it's not ready like
1:28:03that because you can also
1:28:04kind of make things louder with it on
1:28:07the top end so if i turn this up
1:28:08basically the high end
1:28:10of the
1:28:12series gets
1:28:14louder
1:28:15[Music]
1:28:17and this tilt offset basically sets the
1:28:20position where that
1:28:21tilt starts
1:28:23so if i turn this up we're going to
1:28:24start losing the fundamentals
1:28:35um and if i turn it down
1:28:41bring this offset down it's going to
1:28:42start kind of fading out the topic
1:28:52and then you can see that fate that i
1:28:53was talking about
1:29:01i guess it's almost behaving like a type
1:29:03of a filter over here
1:29:06okay and then this section is called the
1:29:08spectrum section
1:29:11but the way it behaves is kind of just
1:29:12like a complex filter like if you use
1:29:15serum you'll see comb filters and
1:29:19reverb filters and all these weird types
1:29:21of filters
1:29:23and this is just a way to shape the
1:29:25sound and get something interesting and
1:29:26you have two options here we have a
1:29:28spectrum a and a spectrum b
1:29:31and this morph
1:29:34knob over here
1:29:36allows you to
1:29:37uh blend them and morph between them
1:29:39so let's just play this
1:29:41saw wave that we've created here
1:29:44and we can increase the depth
1:29:47of this one
1:29:48and now you can hear how it's filtering
1:29:50it it's carving out certain frequencies
1:29:54and we can move between the two
1:29:56different shapes that we selected
1:29:58[Music]
1:30:01and you can start getting like
1:30:02interesting vowely sounds by doing this
1:30:05morphing over here
1:30:07and remember i spoke about smooth if you
1:30:09have smooth turned off it'll start
1:30:10sounding a bit
1:30:11not smoother
1:30:12[Music]
1:30:17um
1:30:18so you might want to turn that on
1:30:23and so yeah basically you have a bunch
1:30:25of chrome filters i guess this is like a
1:30:27resonance comb filter or something i'm
1:30:30not sure you can check out the manual to
1:30:32read more in depth about each one of
1:30:34these i think
1:30:36but i would just kind of cycle through
1:30:38them and see which ones sound cool
1:30:47[Music]
1:30:49and then you can use the section to
1:30:52control which part of this
1:30:54spectrum you're using
1:30:57so you can see the highlight a bit in
1:30:59blue is the only part of the spectrum
1:31:01we're using now for the filtering
1:31:07[Music]
1:31:13so yeah that's pretty cool
1:31:16okay then imaging is basically just
1:31:18stereo imaging and you can start doing
1:31:20interesting stuff with this you can pan
1:31:23certain
1:31:24partials left and right to kind of
1:31:26create a nice wide stereo
1:31:29field so the first one is called split
1:31:31mode
1:31:33and split mode lets you pan the odd or
1:31:36the even
1:31:38partials left and right
1:31:40i want to pan all the odd ones left
1:31:43and the even one's right
1:31:47that creates a
1:31:50nice wide stereo image it's kind of
1:31:52weird to hear this
1:31:53[Music]
1:31:54not not what i'm used to hearing
1:31:57but you can get interesting effects with
1:31:58it
1:31:59and then we have another one called
1:32:01random and that one
1:32:04basically randomly pans stuff left and
1:32:06right
1:32:08based on the rate
1:32:18and then we have this periodic one
1:32:22okay and periodic just basically
1:32:24creates clusters or takes clusters just
1:32:28groups of partials and pans them left
1:32:31and right so let's just test this out
1:32:38so there you can see
1:32:40certain clusters
1:32:43from being moved left and right
1:32:45we can increase this
1:32:51and look at that crazy shape that's
1:32:53happening here
1:33:13so yeah you can get some really weird
1:33:15and cool
1:33:16stereo effects with these
1:33:18imaging
1:33:20modes
1:33:22okay um and then everything else is
1:33:25pretty much the same the tuning and the
1:33:27output section
1:33:29same as all the other engines
1:33:32so yeah that's that's pretty much it for
1:33:34the harmonic engine
1:33:37next up we're going to be having a look
1:33:38at the utility engine
1:33:42okay let's check out the utility engine
1:33:44so if you're familiar with serum you can
1:33:47kind of think of the utility engine as
1:33:50two noise oscillators combined with a
1:33:52sub oscillator
1:33:55so
1:33:56and if you're not don't worry i'm going
1:33:57to explain everything
1:33:59so here's our first noise
1:34:02oscillator essentially and this just
1:34:04lets us load in essentially like a
1:34:07sampled sound so here we have white
1:34:09noise
1:34:11um and you can go in and you can find
1:34:13different
1:34:14things like textures atmospheres
1:34:17hardware
1:34:19um
1:34:20i guess this is just different kind of
1:34:22like noises that come from hardware like
1:34:24a tape wheel
1:34:27pretty cool
1:34:28uh you get like transients so you could
1:34:30take like a kick
1:34:34or
1:34:36whatever symbols
1:34:39little zaps
1:34:41so it's super handy for like crafting
1:34:44sounds in interesting ways because now
1:34:46you can layer in
1:34:48um like a kick drum as the transient if
1:34:50you feel like the transient in your
1:34:51sound isn't strong enough for example
1:34:54um
1:34:55so i love working with these
1:34:58so let's just have a look at um
1:35:00some of the
1:35:02i'm just going to load up a random sound
1:35:04here like a celeste here we go
1:35:07let's have a look at some of the
1:35:08parameters
1:35:10i'm just going to turn this up
1:35:14okay so
1:35:16this is just the phase retrigger so
1:35:18every time i
1:35:20hit my key every time there's a midi
1:35:23note
1:35:23the phase of the
1:35:25sample will start again from the
1:35:27beginning
1:35:29and if you set it to random each time it
1:35:31will play from a different random
1:35:33position in this waveform
1:35:38so you'll notice it becomes pretty
1:35:39inconsistent so most of the time you
1:35:41probably want to have it re-triggering
1:35:44unless you're trying to make something
1:35:45that's a bit more
1:35:47unpredictable
1:35:51and then we have length which just
1:35:54controls the length of the sample so if
1:35:56i really shorten this
1:35:58barely hearing anything
1:36:02oh i'm sorry i didn't include this loop
1:36:04so this will just loop it so if i hold
1:36:06down my key
1:36:08you hear that
1:36:09looping sounds a bit like a jackhammer
1:36:12um and then we have this key tracking so
1:36:15if i turn this on and i play different
1:36:17notes
1:36:21it's kind of pitching it up and down so
1:36:23you can play like an instrument
1:36:26leave this off if i play different notes
1:36:28they all play back at the same pitch
1:36:31and you can control the pitch 2 here
1:36:33with this tune
1:36:38and it's got a little quick filter over
1:36:40here if you want to low pass it
1:36:42or high pass it
1:36:46and then this is just the routing so if
1:36:48you want to send it through a filter you
1:36:49can send it through either filter one or
1:36:51filter two
1:36:53and then just some volume control
1:36:56and then noise two is identical to noise
1:36:58one it's just there for the reason that
1:37:01you can now combine
1:37:03two sounds
1:37:07okay and then lastly here we have this
1:37:09oscillator which is essentially what
1:37:11they call it is a virtual analog
1:37:15oscillator
1:37:17and so we just have a bunch of basic
1:37:18waveforms here
1:37:22and um
1:37:23we
1:37:24it's by default set to minus 12. so i
1:37:27guess the purpose of it was to just act
1:37:29as like a sub oscillator
1:37:31but you can't change the pitch using uh
1:37:34this
1:37:35knob over here and then it's also got a
1:37:37pulse
1:37:39pulse width um
1:37:41knob over here too
1:37:44um and then it also has the basic
1:37:45quantize feature so you can quantize the
1:37:48pitch of it to certain
1:37:50intervals
1:37:52and
1:37:53we got some fine tuning
1:37:56and then same filter mix
1:37:58and
1:38:00the filter volume here so the output
1:38:02volume of
1:38:06oh okay sorry
1:38:09yeah so we can choose the filter over
1:38:10here or we can choose where we want to
1:38:13route it to so at the moment it's r this
1:38:15is the volume that is being rooted to
1:38:18uh the filters we can also skip the
1:38:20filtering and go straight to the fx
1:38:22buses or just directly out to the master
1:38:27so this is handy if you if you want to
1:38:29have your sub untouched by any filters
1:38:31or effects you can send it straight out
1:38:33to the master
1:38:37okay so that's the utility engine
1:38:40next up we're going to be getting into
1:38:43the filters
1:38:47okay so let's have a look at the filter
1:38:49section now
1:38:51you'll see we have two filters
1:38:54and you can use either one of them by
1:38:56routing to them using this output
1:38:59section
1:39:00filter one or filter one or filter two
1:39:03um
1:39:04but you don't have to use both of them
1:39:07and now they basically just identical
1:39:09filters so
1:39:10we're just going to focus on this one
1:39:12filter for now
1:39:14um
1:39:14so at the top this is where you choose
1:39:16your filters so you'll see there's a
1:39:17bunch of filter types
1:39:19and we're going to go through all of
1:39:20these types so the first one is
1:39:22multi-mode and this is like the
1:39:25pigments
1:39:28proprietary filter
1:39:31you won't find it anywhere else
1:39:34and all it is is basically just
1:39:38um multiple types of
1:39:41basic shapes or basic filters that
1:39:43you'll find here so you get low pass
1:39:45filters with different slopes on them so
1:39:48going from 6 db to up to 36 same thing
1:39:51with the high pass filter and we get a
1:39:54band pass filter
1:39:56and a notch filter
1:39:58um
1:39:59and this is where you would configure
1:40:01modulation
1:40:03so
1:40:04it says yeah filter one fm source but
1:40:06it's not
1:40:08super
1:40:10accurate of a description if you ask me
1:40:13because
1:40:14you're not really doing fm if you're
1:40:16using an envelope to modulate the filter
1:40:20it's kind of just
1:40:23yeah
1:40:24it's more like um
1:40:27yeah it's just filter modulation i'll
1:40:29call it filter modulation
1:40:31because that makes more sense to me
1:40:34so this is like where you would um
1:40:36control the cuddle filter using an
1:40:38envelope for example so if i want to use
1:40:40envelope two here
1:40:42um we could
1:40:44modulate this over here
1:40:47let's bring it down
1:40:51and we need to send it to filter one
1:40:53[Music]
1:40:56and now you can hear that filter working
1:41:00[Music]
1:41:02just
1:41:03be aware i'm surprised that it isn't
1:41:05um animated but yeah this this filter
1:41:09you won't see the filter sweeping up and
1:41:10down doing whatever you
1:41:12are doing with modulation it'll only
1:41:14move if you
1:41:16move the knobs physically
1:41:18[Music]
1:41:22okay so yeah that's this filter it's
1:41:24also got a resonance
1:41:26but no drive or anything
1:41:29next is this low-pass gate and a low
1:41:31pass gate is like a combination between
1:41:34an amplifier and
1:41:36a filter at the same time so if you
1:41:38bring
1:41:40basically what it is is if you bring
1:41:42this level down all the way to
1:41:44here not only is it filtering out all of
1:41:48the harmonics
1:41:50it's it's
1:41:52essentially turning down the volume too
1:41:55so you can think about it
1:41:57like a vca slasher filter
1:42:00and you can configure that over here
1:42:02actually so
1:42:04you can have it working as an amplifier
1:42:08now you'll hear it's just basically
1:42:09turning the volume up and down
1:42:12or you can have it as low pass filter
1:42:16where it's filtering it
1:42:18or both and now you can see the level
1:42:20and
1:42:21the filter goes up and down
1:42:29um
1:42:30and it also has this little time feature
1:42:33over here
1:42:34there's vectral time vacuole is like
1:42:37some
1:42:38little
1:42:40chip thingy um
1:42:42and it's unique to this low-pass gate
1:42:45from my understanding but basically the
1:42:47way it behaves is
1:42:49the filter will open almost immediately
1:42:51but the way
1:42:53it closes
1:42:55it gets dictated by this time so
1:42:58if you have a really fast envelope on
1:43:00here this is the only way i could really
1:43:02hear it
1:43:04is if i bring down this decay like
1:43:07really short and let's bring up the
1:43:10envelope amount
1:43:18now you will
1:43:20notice that with this
1:43:22fast when you can barely hear anything
1:43:26just make it a bit longer
1:43:29a little more of the sound comes through
1:43:32slow
1:43:35now you're hearing a bit more of a
1:43:37longer decay
1:43:37[Music]
1:43:41so
1:43:41yeah it's it's subtle um
1:43:45but it is there it is happening
1:43:48um and then we've just got volume and
1:43:50pan pretty
1:43:52self-explanatory
1:43:54next up is the surgeon and i guess it's
1:43:56called surgeon because it's got a super
1:43:58steep curve i think it's a 64 db
1:44:01curve
1:44:02and it has different modes so you can
1:44:04have like a low pass high pass notch and
1:44:07band pass
1:44:09um
1:44:13yeah so it's um
1:44:16it's a really steep filter so if you
1:44:18want to get surgical then you use the
1:44:20surgeon
1:44:21um and the spread control is only for
1:44:24the bandpass as far as i know
1:44:26yeah i think so um so it won't be
1:44:29enabled unless using band pass
1:44:31[Music]
1:44:36um
1:44:38and you can modulate the cut off here
1:44:41using um
1:44:43whatever envelope or lfo you want just
1:44:46by clicking this plus here so if we use
1:44:48an lfo
1:44:51wow
1:44:53wow
1:44:56okay um
1:44:58and then
1:44:59there's nothing else really interesting
1:45:00about that sem
1:45:03that comes from a
1:45:05an analog filter it's modeled off an
1:45:07analog filter
1:45:10and um it's basically just a low-pass
1:45:12filter it's got some resonance it's got
1:45:14this um fm source
1:45:19um
1:45:21which is basically like just filter
1:45:23modulation
1:45:24oh i guess fm maybe stands for filter
1:45:26modulation
1:45:27i was i was reading it as a frequency
1:45:30modulation so maybe maybe that
1:45:32description is accurate not bad
1:45:36um
1:45:37and then
1:45:39we've got resonance and we've got mode
1:45:42so here's like morphs between
1:45:44um a low
1:45:46high pass and a notch
1:45:49um so yeah
1:45:51you can have all of those options uh and
1:45:53a bandpass
1:45:54or you can kind of just blend a mixture
1:45:56of them and get some cool filtering
1:45:58happening
1:45:59[Music]
1:46:03and um
1:46:05next we have this matrix-12 everybody
1:46:07knows the matrix-12 it's a really
1:46:10famous synth and this is the low-pass
1:46:13filter
1:46:14modeled off of that and it's got some
1:46:17modes yeah you also have a phase filter
1:46:19band pass low pass with two different
1:46:22steepness curves
1:46:24high pass and notch
1:46:28um it's also got resonance
1:46:30modulation and that's it
1:46:34then we have the mini which is
1:46:36based off the ladder filter from the mug
1:46:40and
1:46:41what's cool about this one is it
1:46:42includes filter drive which none of the
1:46:44other ones have
1:46:45so if you're looking for filter drive
1:46:47this is the filter you want to be using
1:46:50[Music]
1:46:54um
1:46:55let's see if i can just remove this
1:47:03[Music]
1:47:09yeah so that's the moog filter if you're
1:47:11looking for it
1:47:13then we got the jupiter 8 filter
1:47:16and this has just got two modes 12 and
1:47:1824 db and
1:47:20resonance and you can also modulate the
1:47:23cutoff
1:47:26and we have a cone filter
1:47:29um
1:47:30if you've never heard a comb filter it's
1:47:32pretty can be pretty chaotic but you can
1:47:34get some
1:47:35really interesting sounds out of it
1:47:37and basically
1:47:39from my understanding or from reading
1:47:41the manual
1:47:42it
1:47:43it adds a delayed version
1:47:46of the sound to itself
1:47:49which has the effect of
1:47:51essentially
1:47:54boosting and cutting certain
1:47:57harmonics but like very drastically very
1:48:01[Music]
1:48:02drastically it can actually become quite
1:48:05tonal and so sometimes when you're using
1:48:07this you actually have to tune the
1:48:08filter
1:48:10like you have to listen to
1:48:11in context and make sure that it doesn't
1:48:13sound out of key
1:48:14[Music]
1:48:17and then you can change the modes here
1:48:19it's got like a feedback mode
1:48:25pretty crazy
1:48:26feed forward which just looks like it's
1:48:28been
1:48:33um
1:48:34and then these are the modes low pass
1:48:36six van past six and high plus six
1:48:40it's got damping which is basically just
1:48:42like taking out the high frequencies
1:48:46[Music]
1:48:57so it's got keyboard tracking
1:49:03and with the current filter you usually
1:49:06do want to use keyboard tracking because
1:49:07it's so tonal so if you tune it to a
1:49:10certain frequency
1:49:12and then you play another note
1:49:13afterwards
1:49:14it will generally sound out of tune if
1:49:17you don't have keyboard tracking
1:49:19[Music]
1:49:23no maybe not in this case but in my
1:49:26experience when using it in um
1:49:29in serum you usually want to use
1:49:31keyboard tracking
1:49:35um
1:49:37yeah and that's everything with the comb
1:49:38filter then we've got a phase filter
1:49:43and you won't really notice this unless
1:49:45you use it in conjunction with an lfo
1:49:48so if we take this lfo
1:49:50and just assign it to the cutoff here
1:49:56start sounding like a phaser and
1:49:58if you turn up the poles it'll sound
1:50:00even more like
1:50:04[Music]
1:50:18yeah
1:50:20okay
1:50:22and
1:50:23let's see what else um there's nothing
1:50:25else on that one and we've also got a
1:50:27formant filter
1:50:28and here we can control the frequency
1:50:30and this is how you get your vowel
1:50:31shapes
1:50:36and you can morph between different
1:50:37vowel sounds
1:50:39using this more
1:50:40[Applause]
1:50:40[Music]
1:50:44and then you've got this q factor which
1:50:46basically is just
1:50:50resonance and the blend blends between
1:50:53the original sound and the filter
1:50:55[Music]
1:51:03cool
1:51:05um so that's all the filters
1:51:08um now you get some filter routing and
1:51:10so you have the option to root it in
1:51:13excuse me
1:51:14in serial or parallel
1:51:17so
1:51:18uh in serial you'll have filter one
1:51:22filter one's output going into filter
1:51:24two input
1:51:25and then
1:51:26this filter two will be affecting filter
1:51:28one
1:51:29um and then if you set it this direction
1:51:32they run in parallel which means that
1:51:35they both independently go out
1:51:37to
1:51:39the effects or to the master
1:51:44so yeah if you don't want filter 2 to
1:51:47effect filter 1 then you'll want to be
1:51:48using it like this
1:51:55and then
1:51:57you also have the split mode
1:52:00which gives you a few other routing
1:52:02options
1:52:03so here you can send filter 1 to fxa and
1:52:06filter 2 to fxb
1:52:08or you can send filter 1 to fxp and
1:52:10filter 2 to fxa so it just switches them
1:52:13around
1:52:15um and then we have an amp mod and this
1:52:17is super handy uh by default it's mapped
1:52:19to velocity so all you need to do is
1:52:21turn this up
1:52:22and now
1:52:24if i play the sound on my keyboard and i
1:52:27do a low velocity
1:52:28[Music]
1:52:30he'll be very quiet
1:52:31[Music]
1:52:36so now it's velocity
1:52:38sensitive which is great because most
1:52:41since
1:52:42setting this up takes a few clicks and
1:52:44this one's just
1:52:46right there and you just need to turn
1:52:47this up
1:52:48uh it has a bunch of other options too
1:52:50so if you have an expression pedal you
1:52:52can use that
1:52:54aftertouch you can use mod wheel
1:52:57there's just a whole bunch of different
1:52:58options
1:53:00over there
1:53:02then we have voice panning this is just
1:53:04going to pan the synth left or right
1:53:06[Music]
1:53:10and then we have the send level so when
1:53:12we get into the effects you'll see that
1:53:13we have a send
1:53:15and we can control the same level here
1:53:17too
1:53:18um but basically if i turn this up we'll
1:53:20hear the send reverb
1:53:28okay so that's it for the filtering and
1:53:30basically we are done now with the synth
1:53:32side of things
1:53:33next we're going to be having a look at
1:53:35the fx section
1:53:39okay so next up is the effects panel so
1:53:42if you just click on this button here
1:53:43you get to the effects
1:53:46and over on the left is basically
1:53:48we have two sections we have an insert
1:53:51section and an auxiliary section and the
1:53:54difference between these is um inserts
1:53:56are basically
1:53:58like
1:53:59loading effects onto
1:54:02a channel if you're working in your door
1:54:05and the aux is like a ascend so
1:54:08auxiliary basically is making a copy of
1:54:11of the sound and then affecting that
1:54:12copy
1:54:13insert is of directly affecting
1:54:16the original signal
1:54:20and you'll see under insert it says a
1:54:22sl a
1:54:24a to b
1:54:25so this is just the the routing
1:54:28so at the moment we have uh two inserts
1:54:32and the way it's rooted is insert a goes
1:54:35through this chain and then it goes
1:54:37through insert b's chain and then it
1:54:40goes out to the master
1:54:43but we can change that so we can have
1:54:46uh b going
1:54:47into a so now b comes first and then a
1:54:52um or we can do parallel so
1:54:55a goes straight out to the master and b
1:54:57goes straight out to the master
1:55:02um and then we have auxiliary
1:55:06and here we have the send and return so
1:55:08send is the amount of signal from the
1:55:10original
1:55:12um sound that's coming into the
1:55:14auxiliary section you can also control
1:55:16it here with the same level
1:55:19so if i
1:55:21play this now you can see on our aux
1:55:24you can see all the effects by clicking
1:55:26on these different tabs here on the aux
1:55:28tab we have a reverb so
1:55:31when i turn the send up
1:55:33i start to hear
1:55:35the reverb
1:55:36and i can control the volume of the aux
1:55:40or the return by
1:55:42moving this up and down
1:55:51okay and then
1:55:53these little boxes is how you control
1:55:56the order of your effects so
1:55:58let's just um turn off our auxiliary
1:56:00we're gonna now just look at our insert
1:56:03fx a
1:56:04okay so
1:56:05i've just set this back to
1:56:08a into b so now we're just looking at
1:56:10the insert a
1:56:12and just to describe what this is doing
1:56:14is we can drag these up and down and
1:56:16switch to the order so
1:56:18at the moment we've got a delay and a
1:56:19reverb we have to turn up the driver to
1:56:21hear them
1:56:28but let's say for some reason we want
1:56:29the reverb to become before the delay
1:56:31now we can switch those around
1:56:34[Music]
1:56:39and sorry i didn't mention this before
1:56:40but you can control the volume of
1:56:43bus a and bus b
1:56:44or the effects
1:56:46chain a and effects chain b
1:56:49by using these controls
1:56:54and then fxb is
1:56:56you can see here the routing actually
1:56:58shows you this little line which is
1:56:59pretty handy
1:57:00um but so now you can see it's going
1:57:02through fxp but fxp has nothing on it
1:57:06and then it goes straight to the output
1:57:12okay so
1:57:14both of these are identical so there's
1:57:16no point in me going through both of
1:57:17them
1:57:18i'm just going to go through the effects
1:57:20now so you can see what's possible
1:57:22um here you can click on the none button
1:57:24if you don't want anything in this
1:57:27panel over here
1:57:29and we can only do three effects per
1:57:33uh chain
1:57:35but it's fine because you've actually
1:57:37got six because you can root these into
1:57:39each other
1:57:40and six is a is plenty you can get
1:57:43pretty crazy with that
1:57:47and then another option here is you can
1:57:49copy effects so if you click copy
1:57:51effects you can copy
1:57:53your effects to another bus or to the
1:57:54auxiliary channel
1:57:58and then we have
1:57:59a whole bunch of effects so they're all
1:58:01categorized so we have time based stuff
1:58:03which is
1:58:04delay and reverb
1:58:06and so we have a basic and simple delay
1:58:08over here
1:58:11which has all the normal features you'd
1:58:13see as ping pong has time sinking versus
1:58:18um
1:58:19dotted or
1:58:20it hurts or milliseconds
1:58:22[Music]
1:58:26um you can find
1:58:28fine tune the
1:58:30timing of it
1:58:33uh it's got a feedback
1:58:35stereo width so we can make it mono
1:58:37or wide
1:58:41um
1:58:42we can high pass it all
1:58:46opposite okay and then the next delay is
1:58:51this pitch delay so if you want to delay
1:58:53that pictures up you can use this pitch
1:58:54shift over here so now you'll hear
1:58:57[Music]
1:59:00the the delays pitch up over time
1:59:02so we make them a bit quicker
1:59:04[Music]
1:59:06and give it a bit of feedback
1:59:08[Music]
1:59:11you can start getting fun results it's
1:59:13also got stereo offset so you can offset
1:59:16the right and left and make it wider
1:59:19it's got stereo detune
1:59:20[Music]
1:59:25you can also change the way it's it
1:59:28shifts so you can have it doing octaves
1:59:31[Music]
1:59:40octave down
1:59:43pretty interesting or just normal
1:59:47um and then it's also got a high pass
1:59:49and a low pass it's also got the spray
1:59:51um feature and you might have seen this
1:59:53in the grain delay in ableton
1:59:56i can get pretty
1:59:58messy
1:59:59but i think it basically splits the
2:00:01delay up into little grains and spreads
2:00:03them out
2:00:08over
2:00:10time um
2:00:13and yeah that's basically this
2:00:15this delay pitch delay
2:00:18then we've got a tape echo
2:00:20which i guess is more of like an analog
2:00:22kind of delay
2:00:23um and it's got this input volume so you
2:00:25can drive
2:00:28you can kind of saturate the delay
2:00:30[Music]
2:00:35i guess when that light goes red that
2:00:36means the delay is coming in a bit hot
2:00:38and clipping
2:00:40um which can be desirable
2:00:42and then same thing here this is where
2:00:44you set up the delay time
2:00:48you can fine tune that time and then
2:00:50intensity
2:00:52is basically just feedback
2:00:57and we've got stereo spreading
2:01:02and then the reverb is a really simple
2:01:04reverb
2:01:06we can adjust the room size the
2:01:08pre-delay
2:01:10decay
2:01:11we can dampen it
2:01:15to make take out that high end
2:01:19we can make it wide or mono
2:01:23and then adjust the input and the output
2:01:27okay and then we have distortion
2:01:30so here we have basically just a bunch
2:01:33of different
2:01:34distortion models
2:01:37um i'm not going to go through every
2:01:39single model here
2:01:40but basically how i use distortion is
2:01:44just try out all the different ones on
2:01:46whatever sound you're working on
2:01:47sometimes they'll work sometimes they
2:01:48won't
2:01:50but they've got all the
2:01:52stuff that you would see in in
2:01:55pretty much most other distortion units
2:01:59okay so next up is big crusher
2:02:03um i'm sure you've heard crushes before
2:02:10yeah so it's a bit crusher slash down
2:02:11sampler
2:02:13[Music]
2:02:15and then we have some some dynamic stuff
2:02:19so we have a compressor and a multiband
2:02:21compressor
2:02:23and
2:02:25this just has basic
2:02:27attack
2:02:28um
2:02:29release
2:02:30ratio just all the stuff you're having
2:02:32pretty much any standard compressor it's
2:02:35not super crazy it also has a
2:02:38auto makeup gain
2:02:40and
2:02:41here you can control the ratio you'll
2:02:43see that they don't have a limiter but
2:02:44if you want this to turn into a limiter
2:02:46just set it to ratio 100 to 1.
2:02:51and it works like a limiter
2:02:52[Music]
2:02:58and one thing i didn't mention is that
2:03:00all of these have presets on them and
2:03:03you can actually save presets so if you
2:03:06uh find a preset from let's say another
2:03:08preset pack that you like
2:03:11you can save that preset
2:03:16i don't know
2:03:18test you just give it a name
2:03:20and then
2:03:21you can go and access that
2:03:23preset again
2:03:25on another patch for example
2:03:28then we have under dynamics here we have
2:03:31a multiband compressor which is pretty
2:03:33similar looking to the ableton one where
2:03:35you've got this
2:03:37compression and expansion this above and
2:03:39below
2:03:40compression and expansion
2:03:43[Music]
2:03:46and you can control the
2:03:48output of the low medium mid and high
2:03:52and then it has this mode which is at
2:03:54the moment it's set to above and below
2:03:56so anything above and below these lines
2:03:59will get
2:04:00expanded or compressed
2:04:02and if you set it to this you'll see
2:04:04those bottom ones disappear
2:04:06and then it's only if the
2:04:09signal goes above this it'll get
2:04:11compressed
2:04:14and you've also got input
2:04:17attack and release
2:04:21[Music]
2:04:24and then the amount so this is i guess
2:04:26the dry wet
2:04:27[Music]
2:04:34okay and then we have under modulation
2:04:36we have a bunch of
2:04:39courses or a couple of courses we've got
2:04:41a standard
2:04:42chorus
2:04:43[Music]
2:04:45which just has all the standard controls
2:04:46rate
2:04:47delay
2:04:49depth feedback
2:04:52and then the number of voices
2:04:53[Music]
2:05:00and then we have a chorus june 6.
2:05:04um
2:05:06emulation so i actually own the
2:05:09the standalone plug-in for this and i
2:05:11quite like this chorus so it's pretty
2:05:14cool that they've included it in here
2:05:17it's really simple to use you can only
2:05:19really adjust the rate and the depth in
2:05:21the face
2:05:22[Music]
2:05:24and you can see that visually here
2:05:25[Music]
2:05:30and it's got dry weight
2:05:36and then we have stereo pan
2:05:42and this basically just
2:05:45allows us to pan
2:05:47the voices left and right
2:05:50and you can see it here it's just kind
2:05:52of swinging left to right and it's based
2:05:54on
2:05:56essentially an
2:05:57[Music]
2:06:00lfo and you can make it natural or
2:06:03linear
2:06:06so i guess
2:06:12one's more
2:06:13chaotic than the other
2:06:17and then it also has this mono base so
2:06:19if you wanted to put this
2:06:22stereo pan onto like a bass sound but
2:06:25you don't want the sub to
2:06:27have stereo information you can monitor
2:06:29the base and set the cutoff over here so
2:06:31anything below 100 hertz now will be 112
2:06:36hertz
2:06:37will be mono
2:06:40okay
2:06:41and
2:06:42you can also invert
2:06:44the left and right
2:06:46phase i guess
2:06:47[Music]
2:06:51then we've also got phaser
2:06:55pretty standard phaser with all the
2:06:57usual controls on it
2:06:59i'm not going to go super into depth on
2:07:02that
2:07:10also pretty standard
2:07:12um if you
2:07:14don't know what any of the controls do i
2:07:16assume that most people would but if
2:07:18you're still quite new to synthesis
2:07:19maybe you haven't seen all of them just
2:07:22remember you can always read what it
2:07:23says down here and it'll tell you
2:07:24exactly what they do changes the flange
2:07:27of feedback to subtractive rather than
2:07:29additive
2:07:30[Music]
2:07:34and it's always good to just listen and
2:07:36see what sounds cool
2:07:38rather than going off descriptions
2:07:42and then this is just a model of um
2:07:45bl-20 analog flanger
2:07:48or hardware flanger
2:07:50[Music]
2:08:00um so yeah that's pretty cool and then
2:08:04we've got a couple filters
2:08:06so first this is this multi-filter
2:08:09similar to the one that you have on the
2:08:11synth page here
2:08:13but it just doesn't have as many options
2:08:15so here's the modes you've got low pass
2:08:17high pass band pass
2:08:19and to
2:08:22comb filters feedback and feed forward
2:08:26then you can set the slope okay so maybe
2:08:29in combination with this you do have as
2:08:31many options maybe i was wrong yeah you
2:08:33do
2:08:34okay so you can set three different
2:08:36slopes on
2:08:38these lows and highs
2:08:41which is great
2:08:44and it's also got the
2:08:46resonance
2:08:50and then we've got a parametric eq
2:08:52which is
2:08:53pretty handy
2:08:58he cured straight straight in the synth
2:09:02and i'm sure everybody's used a
2:09:04parametric eq i don't need to explain
2:09:06how they work pretty much just click and
2:09:07drag
2:09:10um
2:09:11all right so
2:09:12that's pretty much it for all of these
2:09:15uh effects types
2:09:18so we've gone over the routing of it you
2:09:20know that there's two inserts now and
2:09:23one return
2:09:25and you know how to change the routing
2:09:27of those
2:09:29so next up we're going to look at the
2:09:33really awesome sequencer
2:09:37all right let's get into the sequencer
2:09:40but before we do that i just want to
2:09:41make a sound that we can quickly work
2:09:43with
2:09:44just a basic saw wave kind of pluck
2:09:47we'll bring down this cuddle filter
2:09:48[Music]
2:09:51and we'll
2:09:52use
2:09:53envelope 2 to modulate it
2:09:59[Music]
2:10:07let's just go into the envelopes here
2:10:08and change the shape
2:10:15and then we're going to add a little bit
2:10:16of effects here
2:10:18let's uh just give it a bit of delay
2:10:21a ping pong
2:10:22let's make it like eighths
2:10:26[Music]
2:10:29and give it a little bit of feedback
2:10:32maybe some reverb
2:10:33[Music]
2:10:39bring down the driveway
2:10:42just because uh working with uh an
2:10:44arpeggiator can get annoying if you
2:10:46don't have a nice sound to work with
2:10:49okay so just something simple
2:10:52all right so when you open up the
2:10:53sequencer you'll see this panel on the
2:10:55left and to enable the sequencer you
2:10:57have to turn it on using that button
2:10:59and now you have options to use an
2:11:02arpeggiator and a sequencer
2:11:04so the difference between arpeggiator
2:11:06and sequencer is the arpeggiator
2:11:09will arpeggiate a chord that you're
2:11:11playing so if i open up the keyboard and
2:11:12you see me play a chord the c major
2:11:14chord
2:11:17the arpeggiate is going to arpeggiate
2:11:19that chord it's going to break the chord
2:11:21up into individual notes and play it
2:11:23back to me
2:11:26the sequence on the other hand you'll
2:11:28see when i if you have a look at this
2:11:30section when i choose the sequencer it
2:11:32has a scale
2:11:34um
2:11:35that i can choose and i can edit the
2:11:37scale
2:11:38um so it's going to basically play back
2:11:41the notes that i choose in the sequencer
2:11:43so here it's all c so if i just hold
2:11:45down the note
2:11:48it's just going to play
2:11:49c over and over again i can shift these
2:11:51around and
2:11:54start adding notes
2:11:55[Music]
2:12:00okay so i'm not going to
2:12:02i'm going to start off with the
2:12:03arpeggiator because it's on the left
2:12:04here
2:12:06and
2:12:08underneath this you'll see there's a
2:12:09random randomized section
2:12:12and
2:12:13this randomized section is tied to these
2:12:15little dice blocks that you see over
2:12:17here
2:12:18and
2:12:19so
2:12:20in the arpeggiator and on the sequencer
2:12:22you'll see both have all these options
2:12:24for velocity active
2:12:27uh trig probability gate length and
2:12:29slide
2:12:31and i guess the easiest way to explain
2:12:32it most notes will be the octave
2:12:36so if i start playing just the mode c
2:12:38here
2:12:40and we set the second one up one octave
2:12:44[Music]
2:12:47we'll now hear that octave playing up
2:12:49but what we can do is we can add some
2:12:51randomness to this so if i slide up this
2:12:54random this dice button you'll see that
2:12:56this little gray lines around here get
2:12:59wider and wider
2:13:00and that's um
2:13:02basically the
2:13:04the range of randomness
2:13:06so it's not going to be random every
2:13:08time
2:13:09the the values have been generated and
2:13:11are displayed by these little
2:13:13light blue lines
2:13:20and now if i wanted to regenerate a
2:13:23new bunch of values i can use this regen
2:13:26button and now you'll see these
2:13:28jump around every time
2:13:35okay so it also has auto regen and i can
2:13:38tell it to automatically regenerate
2:13:40random values let's say if we do it
2:13:43every one bar
2:13:45you'll see every one bar that's going to
2:13:47regenerate a whole new set of values
2:13:53[Music]
2:14:00okay and then it also has this apply
2:14:03function so if i like these random
2:14:06values that it's given me
2:14:08maybe i want to actually apply them to
2:14:11the octave
2:14:13function here so if i click apply
2:14:16now we have got the these blue these
2:14:20bright blue lines have jumped into those
2:14:22positions
2:14:24and might want to turn off auto regen
2:14:26once we're happy with these values
2:14:28but you could use this um
2:14:31auto regen as a sort of way to introduce
2:14:33some
2:14:34uh
2:14:36humanness to
2:14:37your track
2:14:39let's say if you used it in conjunction
2:14:41with another function like velocity
2:14:44let's say we wanted to make this seem
2:14:45like a lot more
2:14:47of a
2:14:49human
2:14:50playing an arpeggio each note wouldn't
2:14:52be exactly the same you could use this
2:14:54auto regen to regenerate every eighth
2:14:57note so
2:14:59[Music]
2:15:03every value is going to be different
2:15:04every time
2:15:06and if we map this to the velocity the
2:15:08velocity to the amp mod we'll hear it
2:15:14if we bring up this randomness even more
2:15:24now you can really hear the effect
2:15:27so yeah this could be cool
2:15:29um
2:15:30let's turn that off and bring this back
2:15:33down
2:15:34okay so on the left here i mean on the
2:15:37left under rate you'll see we have swing
2:15:39so we can add swing to our
2:15:42arpeggio
2:15:46and this is where we define the speed of
2:15:48it so let's say we set it to sixteenths
2:15:54um we can also set it to dotted or
2:15:58triplets or just bpm synced
2:16:04then we have this polyrhythm function so
2:16:07how we currently define the length of
2:16:08the sequence is by dragging this
2:16:11parameter forwards and back
2:16:16what if we want different things to
2:16:17happen
2:16:18um
2:16:20polyrhythmically so
2:16:22to give you an example maybe we want
2:16:25i'm just going to reset this parameter
2:16:28maybe we want
2:16:30to pitch the third every third note up
2:16:34um
2:16:35but we can't really do it over here
2:16:38because
2:16:39you'll see that this comes around we've
2:16:41got one two three one two three one two
2:16:44so it's not going to be every third so
2:16:45we need to create a polyrhythm
2:16:47so essentially what we would want to do
2:16:49is drag just this channel down to here
2:16:52so that this three note pattern repeats
2:16:55continuously while the other ones go
2:16:57throughout this eighth note pattern
2:17:00well we can do that with polyrhythm if
2:17:02we turn that on
2:17:04now you'll see we can drag each one
2:17:05independently and we can achieve exactly
2:17:08what i wanted to achieve there
2:17:10so now we can bring this down and now
2:17:12every third
2:17:14note
2:17:16should be pitched up an octave
2:17:23and you can make the entire polyrhythm
2:17:25reset after a certain number of bars so
2:17:27let's say after half a bar i want
2:17:30everything to jump back to position one
2:17:34i can do that this this way
2:17:37[Music]
2:17:41so you can start getting really
2:17:42interesting rhythms when you start
2:17:43playing with polyrhythms and the realign
2:17:46function here
2:17:49okay so
2:17:51let's move into this window
2:17:55here we can see
2:17:56uh it just says up here um and this is
2:17:59under mode this is where we choose the
2:18:01the way it's played so if we just play a
2:18:03chord like a c major chord
2:18:08um it's playing it up currently it's
2:18:10playing all these notes in sequence
2:18:11going up and then resetting
2:18:14we can play it
2:18:15as played
2:18:17or
2:18:18and that'll be you know if i land my
2:18:22highest
2:18:23note first like the g note and then the
2:18:25middle note and the bottom note it's
2:18:26going to play it in that order
2:18:36so you can play in whatever order you
2:18:37want if you're using keys
2:18:39or you can choose down up down
2:18:42random whatever you want
2:18:44um
2:18:46okay so you'll see there's a i've
2:18:49already gone through this randomness so
2:18:50you know how it works you've got div
2:18:52which stands for clock divider
2:18:55and how that works is you can divide
2:18:57certain tracks
2:18:59by
2:19:00a
2:19:01fraction so let's say we want
2:19:04this one
2:19:05to happen
2:19:07um half
2:19:08half as often as all of these notes we
2:19:10can divide it by two so now it's going
2:19:13to stick on each one of these for two
2:19:16[Music]
2:19:18moving notes
2:19:21or we can make it go even slower
2:19:26and now it never even reaches that
2:19:28because we've got this realign function
2:19:30enabled
2:19:33so that's the divider
2:19:36and then we've got this reset function i
2:19:39briefly showed you it um if i wanted to
2:19:41reset
2:19:42this whole row
2:19:43and i don't want to go there and drag
2:19:45everything back to zero um then i could
2:19:48just click this button and reset it
2:19:52um
2:19:54okay and then this is just basically the
2:19:57sequencer or i don't know what i'll even
2:19:59call this
2:20:01yeah i guess the actual sequence itself
2:20:03so you have
2:20:0516 note
2:20:06options here
2:20:08you don't have to use all of them
2:20:10um and we can drag them independently by
2:20:13enabling this polyrhythm function or we
2:20:15can drag them all together
2:20:17if we want everything to move together
2:20:21right so that basically explains the
2:20:23arpeggiator
2:20:25next up is the sequencer and i think the
2:20:27sequence is where
2:20:28i would have the most fun
2:20:31so here you can start
2:20:33kind of writing melodies and getting the
2:20:35synths to do all the work
2:20:38you can get super interesting and alive
2:20:40feeling melodies by making use of
2:20:42velocity and octaves and probability
2:20:45gate length all of that stuff
2:20:47and we're going to go through all of
2:20:48them
2:20:49so
2:20:50we've already gone through
2:20:51random div reset and you know how this
2:20:54all works i'm not going to explain those
2:20:55again
2:20:56but the main difference here will be in
2:20:58the pitch using the
2:21:00scale function the transpose
2:21:03so let's have a look at scale so the
2:21:05moment it's set to chromatic which means
2:21:06it's going to play every single
2:21:08note all 12 notes
2:21:10uh in an octave but we can choose
2:21:13different scales so let's say i wanted
2:21:14to make something in uh natural minor
2:21:18now what you'll notice is that when i
2:21:19move these notes it's it's snapping to
2:21:22that
2:21:23key
2:21:25to the scale of natural minor i can't go
2:21:28from c to c sharp it just snaps to d and
2:21:30then to d sharp the third and then up to
2:21:32f g and so on
2:21:35so we can sit here and write
2:21:37a melody and know that it's always going
2:21:39to be in key it's quantized
2:21:41to our minor scale
2:21:43and don't think of
2:21:45c as c
2:21:47because it could also be a
2:21:50think of this bottom one as
2:21:52your um i guess they probably should
2:21:55have numbered it rather
2:21:57maybe one two three
2:21:59it would have made more sense because
2:22:01it's actually really just your root note
2:22:02so if i play an a
2:22:04it's playing all a's it's not playing
2:22:05c's
2:22:07if i play like a c d sharp that's going
2:22:10to be the minor third
2:22:12[Music]
2:22:15if i played at an a
2:22:17it's still playing the minor third so it
2:22:19basically transposes it to whatever key
2:22:21you're pressing
2:22:25so yeah we can write a nice little
2:22:27melody here just to test this out
2:22:44i like that
2:22:46okay um and now we can also transpose
2:22:48using this
2:22:52move it up maybe you want to move it
2:22:54down an octave this will be a quick way
2:22:56to do that
2:22:59or happen octave
2:23:06okay and that's really the only
2:23:08difference between the
2:23:09sequencer and the arpeggiator
2:23:12and now just to like kind of
2:23:14show it to you i think it'll be fun to
2:23:16sit and write a little bit of a
2:23:17polyrhythm using this and showing you
2:23:19how you can make this interesting
2:23:21so i'm going to turn on polyrhythms
2:23:24and let's use this velocity function
2:23:27and generate some random values for
2:23:30it um say let's bring it up like 36
2:23:34percent
2:23:39and let's bring it up even higher
2:23:42and let's just regenerate them
2:23:49okay i think i like that
2:23:51and let's make that polyrhythmic too so
2:23:54it's just going to be a bit more random
2:24:00and let's use this octave function to
2:24:02every once in a while it's going to
2:24:04maybe pitch down an octave let's do it
2:24:07on
2:24:08let's say on 5 here
2:24:11and let's make this
2:24:12polyrhythmic 2 so it's going to reset in
2:24:15a weird position then it's never going
2:24:17to be oh it's not always going to be
2:24:19this position 5 that's this is going to
2:24:21happen on because
2:24:23it's not synced it's polyrhythmic
2:24:30ah but we have it on real line so it is
2:24:32resetting so let's turn that off
2:24:39okay let's find make it a bit try and
2:24:40make it a bit groovier
2:24:42[Music]
2:24:57it's trying to close it back down a bit
2:25:04okay so the trig probability that can be
2:25:07interesting but i find sometimes it just
2:25:09sounds
2:25:10like the synth is up
2:25:12so
2:25:13um
2:25:14i tend to like either have it on 0 or
2:25:18100
2:25:19i don't like it when notes just randomly
2:25:21don't play
2:25:23so like you could create a bouncy rhythm
2:25:25like this for example
2:25:32and just to show you what probability
2:25:33would sound like
2:25:38[Music]
2:25:45i guess it sounds kind of cool if as
2:25:46like a background element but it's quite
2:25:48unpredictable so it can
2:25:50sometimes it sounds cool and sometimes
2:25:52it doesn't
2:25:54um
2:25:55and then we have gate length which is
2:25:56pretty fun
2:25:58so
2:25:58gate length basically
2:26:01tells the node when to cut off the midi
2:26:03note so if we bring this up a few of
2:26:06these up
2:26:06[Music]
2:26:17you'll see some of the notes are longer
2:26:20some can be shorter
2:26:24[Music]
2:26:37okay and then we also have the slide
2:26:38function here
2:26:40so the slide will basically just
2:26:42glide between nodes and this is
2:26:45percentage is basically how long it
2:26:47takes for that to happen
2:26:48and i find in small amounts this sounds
2:26:51good not in huge amounts
2:27:18okay and um another thing to note is
2:27:20that on this keyboard there's this
2:27:22little hold feature
2:27:23and that can be fun to use with
2:27:25arpeggiator because sometimes when you
2:27:27arpeggiate something
2:27:28you don't want to sit there and hold
2:27:30down
2:27:30a chord you just want to play it once so
2:27:33if i hit hold and i just tap a chord on
2:27:35my keyboard
2:27:39it's going to keep playing this
2:27:41infinitely until i turn hold back off
2:27:45so that's just something to note
2:27:46okay so yeah sequence is super powerful
2:27:49and super fun on this
2:27:52and next up we're going to be getting
2:27:54into the whole modulation section all
2:27:56these modulation sources
2:27:58and then we'll just work our way down
2:28:00the synth
2:28:01hope you enjoyed that and let's move on
2:28:04okay so we're going to be doing
2:28:07the modulation sources now
2:28:10and we're also going to be going through
2:28:11this panel and the macros
2:28:14so let's start over here on the left um
2:28:19well first let me explain how modulation
2:28:21works
2:28:23um so there's different ways to modulate
2:28:26parameters and almost anything can be
2:28:28modulated and you can have
2:28:31quite a few modulation um
2:28:33sources applied to any parameter
2:28:37so if i hover over parameter like uh
2:28:40let's go with let's quickly make this a
2:28:42saw wave so that we can actually hear
2:28:44the effect the filter has if i play a
2:28:46node
2:28:50let's say i want to
2:28:51modulate the cutoff filter
2:28:54i can do that by hovering over and
2:28:56clicking on this plus button
2:28:59and that opens up this window and now
2:29:01you'll see
2:29:02each one of these has a value of zero so
2:29:05let's say i wanted to assign or modulate
2:29:08the cutoff using an envelope
2:29:10here are our envelopes and i can just
2:29:13click and drag this up to let's say use
2:29:15envelope 2 to modulate that so now
2:29:17[Music]
2:29:20envelope 2 is modulating that and you
2:29:21can see envelopes here
2:29:24there's envelope too we can adjust the
2:29:26decay
2:29:28and all of that and we can hear it
2:29:30working
2:29:32to get out of this window you can just
2:29:33click away or you can click that little
2:29:34cross
2:29:36but that's not the only way you can
2:29:38modulate here another way is to click on
2:29:40the
2:29:42actual
2:29:43name of whatever source you're using
2:29:45here so in this case envelope2 if i
2:29:47click on that this window pops open
2:29:50and now we can see what's being module
2:29:52what's being used to modulate the cutoff
2:29:55so at the moment
2:29:56uh now we can see the destinations sorry
2:29:59so the destination here it says filter
2:30:01one cutoff
2:30:02and we can go through and
2:30:04use this to quickly
2:30:06assign many different parameters to it
2:30:08so let's say i wanted to
2:30:10also assign the resonance and
2:30:13maybe i don't know
2:30:15the wave table position
2:30:18maybe the volume
2:30:20now you can see each time i click on one
2:30:22of these
2:30:23rings and move a parameter it starts to
2:30:26it adds new
2:30:28a new column over here
2:30:30with the name and we have some values
2:30:33over here
2:30:34and we can delete these by just clicking
2:30:36the cross or you can just bypass them by
2:30:39clicking the on off button
2:30:42so in here you'll see those two values
2:30:44so this is just the amount and it goes
2:30:46from minus one up to one
2:30:50and it's got another one called side
2:30:51chain
2:30:53and how you can think of side chain is
2:30:56it's a bit of a confusing word to use
2:30:58because
2:30:58most of the
2:31:00producer community when they hear the
2:31:02word sidechain they think of a sidechain
2:31:04compressor
2:31:05but this is completely different
2:31:07this is essentially
2:31:09we can use another
2:31:12source
2:31:13to control
2:31:15um
2:31:16the amount of
2:31:18this filter one cutoff
2:31:21for example i think the easier way for
2:31:23me to explain is just to show you so
2:31:26let's say
2:31:28we set this to
2:31:30macro one
2:31:32now what's going to happen is if i set
2:31:34this to
2:31:35the value of one
2:31:36we're not going to hear
2:31:39really any movement in this filter
2:31:43let me just bypass that we're not going
2:31:45to yes so there's you can see the
2:31:46filter's not moving at all but if i turn
2:31:48up macro one
2:31:51we begin to hear it
2:31:53and
2:31:54a way to understand this is if you
2:31:57used serum before
2:31:59um you'll be aware of
2:32:02a feature called the awk source if i
2:32:04just open up serum here
2:32:07let me just show you
2:32:11in a new window
2:32:16um in syria in serum you have this
2:32:19matrix here
2:32:21and let's say you wanted to
2:32:23map an envelope here to filter cut off
2:32:27[Music]
2:32:31similar to what we're doing over here
2:32:33you also have this function here called
2:32:35aux source and if i map that to macro 1
2:32:39we also wouldn't hear that unless we
2:32:41turned that up
2:32:42so it's basically the same thing
2:32:44as that
2:32:51so just think of
2:32:53of this as a way to dynamically control
2:32:57um
2:32:59the amount
2:33:00of the modulation source
2:33:02and here you can use many different
2:33:03things
2:33:04i'm not gonna go through all of them but
2:33:06yeah
2:33:09okay
2:33:10um
2:33:11so that's that just basically covers how
2:33:13to modulate stuff so now we're gonna go
2:33:15through all the different types of
2:33:17modulators
2:33:18and what they do so first up we got
2:33:21velo which stands for velocity
2:33:24and uh that's just basically how hard
2:33:26you push the key on your keyboard
2:33:28you can map that to things like we've
2:33:30done this before with the ham mod so if
2:33:32i now place quietly
2:33:36uh sorry let me just on this channel
2:33:41quieter i
2:33:42press this or the softer i push my key
2:33:45the softer the synth is going to be
2:33:49so that's velocity and then under
2:33:52velocity you can
2:33:53you can adjust the uh
2:33:56the velocity curve i believe yeah here
2:33:58we go velocity curve
2:34:01um so you can make it linear like this
2:34:04or exponential
2:34:05so the quieter ones will be
2:34:08going to have such a huge range but if i
2:34:10hit it hard it kind of jumps around a
2:34:12lot more
2:34:15and you can also adjust the
2:34:17curves of after touch and if you don't
2:34:20have a keyboard that does after touch
2:34:21this doesn't really apply to you
2:34:23um and if you don't know what
2:34:24aftertouches i'm not really going to
2:34:26explain it you can just google it
2:34:29now you can also adjust the keyboard
2:34:31curve
2:34:32key tracking curve
2:34:37okay um you can see i don't have
2:34:39aftertouch so i think that's why this is
2:34:41not
2:34:42really enabled or
2:34:44i'm not sure why i can't edit that
2:34:47um
2:34:48so here you can also assign the mod
2:34:50wheel to different stuff i think
2:34:52everybody knows what a mod wheel is here
2:34:53we have keyboard tracking
2:34:56and midi expression so these are all
2:34:58just basically
2:35:00midi
2:35:01all the pink stuff is all the keyboard
2:35:03stuff all the midi stuff
2:35:06okay then we get into envelopes and i
2:35:08think everybody should probably know
2:35:10what an envelope is like i said if if
2:35:13you've gotten this far without knowing
2:35:14what an envelope is you probably should
2:35:16have already learned a bit more about
2:35:19basic
2:35:20synthesis
2:35:22but these are just your envelopes and
2:35:25there's nothing really unique about
2:35:26these envelopes i don't think i need to
2:35:28go over all the different parameters but
2:35:31just know that they have
2:35:33this function here called adr
2:35:36and what that does is
2:35:38turns this on envelope from a four-stage
2:35:40envelope
2:35:41um from having attack decay sustain and
2:35:43release to just attack decay and release
2:35:46so it'll just skip that sustain phase
2:35:49and go straight to the release phase
2:35:54um and this is the
2:35:57vca envelope the first one so that
2:35:59controls the
2:36:00amp the volume
2:36:02and then these two you can just use as
2:36:05modulation sources but you can also use
2:36:07this one as a modulation source
2:36:13and then they also have gate sources so
2:36:14you can have them being
2:36:16at the moment they being re-triggered by
2:36:20key
2:36:20presses uh but you can have them being
2:36:23triggered by randoms or
2:36:25lfos or whatever you wanted
2:36:29okay then the lfos
2:36:31these are pretty straightforward lfos
2:36:33you you can change the waveform um
2:36:37one thing you might wonder is how do you
2:36:39get a saw wave out of this
2:36:41um and the way you do that is using the
2:36:43symmetry function so if i turn this up
2:36:45to a triangle and then adjust the
2:36:47symmetry i can turn it into a saw wave
2:36:53so yeah we can change the waveform uh we
2:36:55can adjust the rate in hertz or sync it
2:36:58or
2:36:58sync it dotted or triplets
2:37:00we can adjust the phase of it
2:37:03and we can also use fade and fade is is
2:37:06quite useful
2:37:08basically it'll
2:37:09tell the lfo to
2:37:11take for example 3.19 seconds to reach
2:37:14its maximum amplitude
2:37:16so if you wanted to have like a
2:37:21make
2:37:22i don't know um
2:37:24vibrato kind of effect so let's just map
2:37:27this to the fine tuning
2:37:30uh lfo2
2:37:32[Music]
2:37:39now you can hear it pitching up and down
2:37:42following that
2:37:43let's speed it up
2:37:46[Music]
2:37:50so now if i play this with the fade at
2:37:52zero
2:37:52[Music]
2:37:55you immediately hear the effect of the
2:37:56lfo if i wanted to fade in let's say
2:37:58over
2:37:59five seconds the initial
2:38:02key press
2:38:03there'll be no
2:38:04pitching but then it'll slowly fade in
2:38:06and that's kind of more
2:38:08natural way to create vibrato because if
2:38:10you think about a
2:38:11player like a guitar player they'll
2:38:13pluck the string and then they'll start
2:38:14to move their finger
2:38:16[Music]
2:38:19um
2:38:21okay so yeah that's pretty much
2:38:23it you can also choose the way it gets
2:38:25re-triggered
2:38:27the moment it gets retriggered
2:38:30by a by my key presses
2:38:33but we can also have it free running so
2:38:34it never gets re-triggered
2:38:36[Music]
2:38:37and then you can also make it bipolar or
2:38:40unipolar meaning that at the moment it's
2:38:43going positive and negative so you can
2:38:45see it's going from
2:38:47left to right
2:38:49above and below this point
2:38:52but if i make it
2:38:53unipolar it's only going above
2:38:57okay so that covers lfos then we have
2:39:00functions
2:39:02so
2:39:04a good way to understand functions is if
2:39:07you've used serum
2:39:09you'll know that the lfos in serum you
2:39:10can
2:39:12click and draw any shape you want
2:39:13whereas with these ones you can't click
2:39:15and add points and draw shapes you can
2:39:17only adjust the waveform over here and
2:39:19the symmetry
2:39:20so a function is essentially like the
2:39:22the serum lfo where you can click and
2:39:25add points
2:39:26and draw shapes you also draw mode so
2:39:28you can draw
2:39:30um
2:39:32like points like this or the reverse of
2:39:34those
2:39:36you can also draw flat
2:39:39points
2:39:41uh or just manually draw things
2:39:45and you also have a bipolar
2:39:48or
2:39:50uh
2:39:50unipolar function here
2:39:53um here's how you set the rate the speed
2:39:56of it
2:39:58um you can also set it to play once so
2:40:01if i
2:40:03let's just assign this to something else
2:40:05i'm going to
2:40:07come here and just delete that
2:40:10let's assign this to the filter because
2:40:12that'll be a good way to there's me
2:40:14trying to drag it
2:40:17we can actually click on this function
2:40:19here to do that
2:40:21we're using function one so function one
2:40:24um so let's assign this to
2:40:27filter cut off here
2:40:31so there we go now you can see it runs
2:40:34through this and we're hearing the
2:40:35effect of the filter but it's only
2:40:37playing through once and then it reaches
2:40:39the end
2:40:41and you can control that using a gauge
2:40:43source so if you were using like a
2:40:45sequencer or something maybe you wanted
2:40:47to
2:40:48have this
2:40:49reset every time you start the sequence
2:40:52then you could do that
2:40:55now it's got a loop function
2:40:57and essentially this is now an lfo with
2:41:01many fancy points
2:41:05uh you can save presets so if you have a
2:41:07shape that you like to use and it's
2:41:09super complex you don't want to draw it
2:41:11every time you can save it as a preset
2:41:15and then magnetize is basically just a
2:41:16snap function so
2:41:18if i turn it off
2:41:20and let's just delete a point here
2:41:22you can right click to delete points by
2:41:24the way you can see this doesn't snap to
2:41:26these uh vertices
2:41:28if i
2:41:29turn it on it starts to snap to them
2:41:32and the scale would just basically
2:41:35uh
2:41:36turn up the amount of this elevator
2:41:39you can see exactly what it's doing you
2:41:40can also reverse it or mirror it
2:41:44and then you can also
2:41:46select the points manually by i don't
2:41:49know why you'd ever want to do this
2:41:50instead of just clicking but you can
2:41:53and you can also adjust them using these
2:41:56parameters
2:41:58um but also again i don't really get why
2:42:00you'd want to
2:42:01manually
2:42:03use those
2:42:04um
2:42:05and then you can randomize everything so
2:42:07if i click and drag this around it'll do
2:42:09a random
2:42:11it'll drag them in a random fashion and
2:42:13then you can watch that dice gets full
2:42:15and then as i let go it empties so it
2:42:17basically resets every time and i'm
2:42:19going to get a different random value
2:42:20every time i drag this up
2:42:23[Music]
2:42:26okay so that's how functions work um
2:42:29next one is random and random is pretty
2:42:31cool let me just go in and remove this
2:42:34cutoff here
2:42:36um and let's go to random1 and we're
2:42:39going to assign that to the cutoff again
2:42:43so there's different types of random
2:42:46generators the first one is called
2:42:47turing and this is just like a
2:42:49continuous
2:42:51cycle of random values that play based
2:42:54on the rate and the length that you set
2:42:58and you can also use this flip function
2:43:00to
2:43:03it basically will reverse
2:43:06the way i understand it it's not this
2:43:08description isn't
2:43:10very good it says at naught it never
2:43:12changes at 50 it's fully random
2:43:15well i've said it to zero and it looks
2:43:17like it's still changing
2:43:18um
2:43:20but the way i understand it is
2:43:22at a hundred percent it'll start to
2:43:24mirror these values
2:43:27uh where at zero it won't
2:43:32although it's hard to see
2:43:34exactly what it's doing
2:43:36the manual described it somewhat the way
2:43:39i just described it but you might want
2:43:40to read it yourself to get a better
2:43:42understanding
2:43:44so you can change the length of each one
2:43:47of these
2:43:50and then you can also change the rate so
2:43:54if we want it first
2:44:00sorry the length controls the
2:44:02the length of the sequence
2:44:05but as it's a random it never really is
2:44:07a sequence so i don't really get that
2:44:10um you can control
2:44:12how this
2:44:13sequence will reset
2:44:15um using the usual controls
2:44:19okay and then the next one is called
2:44:21sample and hold so these we've just got
2:44:23three of
2:44:24the same essential essential
2:44:27essentially the same
2:44:28random
2:44:30generators but
2:44:32they've laid them out in a way that all
2:44:34three
2:44:35random types are spread out over the
2:44:37three of them but i'm just going to be
2:44:38looking at random one for now so sampler
2:44:41and hold is basically
2:44:43when i
2:44:44because it's set to keyboard every time
2:44:47i hit the key on my keyboard
2:44:49it's going to generate a random value
2:44:50and then hold that value until i hit a
2:44:52new one
2:44:54and each time we're going to get a
2:44:55different
2:44:57value different random value
2:45:01and you can also use
2:45:03random sample and hold
2:45:05sources
2:45:08well not random so you can just use
2:45:09different sample and hold sources at the
2:45:11moment it's set to white noise
2:45:14but you can control it using a bunch of
2:45:16different other things like macros
2:45:21[Music]
2:45:26you can see if i had to set this to zero
2:45:29we're not really getting any
2:45:31anything out of the sample and hold
2:45:34as i turn it up we do
2:45:41okay um
2:45:44and then
2:45:46so you have this value here which is
2:45:48going to
2:45:50basically fade it
2:45:54let me just turn this off
2:45:56or set it twice again
2:45:58so there you go now i've got a bit more
2:46:00of a smooth
2:46:02um
2:46:03fade every time the value goes up and
2:46:06then we can also smooth it out every
2:46:07time we go down or we can link them and
2:46:10then just control them together
2:46:11[Music]
2:46:16okay and then we also have binary which
2:46:17is either
2:46:19plus one or
2:46:21or either either positive or
2:46:23well you know binary is one or zero so
2:46:26it's not like it's going to generate
2:46:27random values between one and zero it's
2:46:29either going to be one or zero
2:46:31and the probability controls that so the
2:46:33probability
2:46:35that it's going to be
2:46:37one is now a hundred percent chance and
2:46:40probability that's going to be zero is
2:46:41now zero percent if i set it back to the
2:46:43middle fifty percent of the time it's
2:46:45going to be positive fifty percent of
2:46:47the time it's going to be negative
2:46:51um and then
2:46:55the coral basically controls the
2:46:58probability that it's going to stay on
2:47:00that value
2:47:05so if we set this high it should just
2:47:07stay now at zero permanently
2:47:10said bring it back down it will
2:47:12eventually jump back
2:47:16then we can also reset
2:47:17these using
2:47:19the
2:47:20normal triggers that we have on
2:47:21everything else
2:47:23and you can speed it up or slow down
2:47:27the rate
2:47:30okay and then the
2:47:31final
2:47:34um modulation source is combinate and so
2:47:37combinate is a way to
2:47:40essentially combine
2:47:42different
2:47:43other sources together so we could
2:47:45combine like two lfos and use different
2:47:48types of mathematical equations to
2:47:51combine them so
2:47:52as an example
2:47:54let's just remove the modulation here
2:47:56and the cutoff
2:47:58and let's take lfo1
2:48:02and let's assign that to the filter cut
2:48:04off
2:48:05[Music]
2:48:10just bring that down
2:48:15let's speed it up so we can hear it
2:48:23let's just go into this on
2:48:25envelope
2:48:26section and remove the filter cut off
2:48:31okay so now
2:48:33now we can hear that lfo
2:48:36let's go back into combinate and let's
2:48:38well let's first take lfo2
2:48:40and we're just going to change the shape
2:48:43and speed it up quite a lot
2:48:46let's bring the symmetry down here so
2:48:49and make it more of a sore wave
2:48:52this way it's a lot easier to understand
2:48:53combinate okay so let's go back to
2:48:55combinate
2:48:57and what i'm going to do is
2:48:59select plus
2:49:01for sum
2:49:03and then
2:49:05the source is going to be lfo1
2:49:08so now we can see lfo1 is in here and we
2:49:12are going to
2:49:14add lfo2 to lfo1
2:49:18and we don't see anything yet but as i
2:49:20increase the amount you'll should start
2:49:22seeing
2:49:23the lfo2 kind of blending together with
2:49:26lfo one
2:49:28so now you can see this like cool little
2:49:30spiky shape that's lfo2 kind of being
2:49:33added
2:49:34to lfo one
2:49:35and
2:49:36if i play it and start fading it in
2:49:38you'll hear the effect
2:49:44oh sorry i need to map combinator to the
2:49:47filter not the lfo so let's
2:49:49just go back in here and delete that
2:49:52and go back to combinate
2:49:55and
2:49:56we'll assign this here
2:49:58[Music]
2:50:03and then bring up this amount
2:50:14so now you can hear that effect so it's
2:50:15a way to create like
2:50:17more interesting lfos just using
2:50:19mathematical functions
2:50:21you can also do say
2:50:25difference so what this is going to do
2:50:27is exactly the inverse of what we've
2:50:29just done so now you'll see that shape
2:50:32is now reversed
2:50:36you can multiply it which gives you a
2:50:38super crazy shape
2:50:40divide
2:50:41[Music]
2:50:45um crossfade so
2:50:47i think essentially this
2:50:49is quite similar to add
2:50:52that we can eventually um
2:50:54only
2:50:56crossfade to
2:50:57the first or the second other version
2:51:02now we're just hearing the second lfo
2:51:04[Music]
2:51:10um
2:51:11we have lag and lag basically just
2:51:13smooths out one of the sources
2:51:16so let's look at lfo 2 because that's a
2:51:18very sharp source
2:51:21if i start to do this it's going to
2:51:25kind of smooth it out
2:51:29eventually i think it'll just turn into
2:51:31a flat line
2:51:33pretty much
2:51:33[Music]
2:51:36um threshold so
2:51:39you can define the threshold and it
2:51:41won't move below that threshold
2:51:48until eventually it's just a
2:51:50solid line
2:51:50[Music]
2:51:52offset basically will offset the dc
2:51:55value so
2:51:56the center of this um sorry this is
2:52:00actually hurting my eyes
2:52:02the center of this will
2:52:04essentially move up
2:52:08and it'll also reduce the amplitude
2:52:11while it's doing that until eventually
2:52:13it's just a line
2:52:17and then remap you can like kind of draw
2:52:21a shape
2:52:23and
2:52:24let's say i draw this weird
2:52:27shape over here
2:52:29it's going to kind of add that shape
2:52:31into this
2:52:34you can see them kind of combining
2:52:36together
2:52:42okay
2:52:44um so yeah that's combinate
2:52:47macros
2:52:48um
2:52:49i mean macros are really easy to
2:52:52understand if you've ever used any other
2:52:53since they work exactly the same way
2:52:56you assign the macros by
2:52:59clicking on something so let's do
2:53:01resonance
2:53:02and
2:53:04now we can just type in
2:53:05a name here call it res
2:53:08and then
2:53:10as we turn this up the resonance goes up
2:53:16you can assign
2:53:17our point of a macro is to assign
2:53:19multiple values and it makes things
2:53:21easier to control
2:53:25okay so um
2:53:28that pretty much covers everything in
2:53:30the synth there's a few little controls
2:53:32over here here we've got an undo macro i
2:53:35mean sorry an undo button
2:53:38here we can also show the history so we
2:53:40can see what's been done and i think you
2:53:41can just jump two different steps
2:53:43if you want to
2:53:46and you can also go forward in time if
2:53:49you do decide to jump back
2:53:51and then this is just showing cpu usage
2:53:56it's got a panic switch too
2:53:59so if your synth freaks out and starts
2:54:02making
2:54:03weird sounds and
2:54:05the devil comes out of it hit the panic
2:54:07button
2:54:09and it'll stop all the sounds
2:54:13yeah you can see the combinator stops
2:54:17um
2:54:18okay so that's it um i hope you enjoyed
2:54:20that
2:54:21and you learned a lot i know
2:54:24uh before i did this exercise
2:54:27i owned pigments for quite a few months
2:54:29and just never used it because i didn't
2:54:30really
2:54:31understand it but going through the
2:54:32entire manual and teaching it to you
2:54:34guys i feel like i now know it
2:54:37as well as any other synth i use so i'm
2:54:40going to be using it a ton and
2:54:42especially love the sequencer on it i
2:54:44think it's going to
2:54:46spark some really cool ideas
2:54:48so yeah
2:54:49thanks for watching and i'll see you in
2:54:51the next tutorial

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