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Free and open-source software I use for music production

You decide if this stuff is going to work for you and for that you need to know why it works for me not just that it works I’ll skip a lot of detail because this article could easily last a week, and we don’t want that.

Please keep in mind that I have preference, so my weapon of choice might not be the best for you, but in case this sounds fun. My current toolchain might be a great starting point for you all right. Let’s begin, and I will begin with the operating system. You already know that I’m using Linux for all my work, but the number of Linux distributions is approaching infinity so that info alone isn’t that helpful.

In the past, I’ve been happily using caves to do live DVD as my main system, the one is now badly outdated. So I had to switch for a few years now I’ve been running Linux, Mint 18.3, with KDE 5. Why did I choose this one three main reasons. First, with Linux Mint, I can use both cakes to do repositories and PPAs kicks the repositories. I already made two articles about these, so let me just say it’s a fantastic source of cutting-edge, open source software for audio production, ppas, our personal repositories usually created by developers to distribute newest versions of their software.

I use it for a couple of article tools like OBS and simple screen: recorder, second reason: KDE 5 or plasma desktop as it’s also called it’s a great-looking desktop environment. That has a lot of features that I find missing from its alternatives and ferd Linux Mint has a great tool for managing article card drivers, so I was able to install Nvidia drivers and get CUDA working relatively easy there.

Now it doesn’t have really much to do with music production, but I also do graphic design for the animation and rendering, and I need this stuff. However, it can also be helpful for playing games, so that’s my main reasons for choosing a Linux Mint. 18.3. However, the problem I’m facing right now is that Linux Mint is no longer shipping with plasma desktop, so I’m actually looking for a replacement.

I just don’t think cinnamon can replace plasma in my life. Before I move on to the next section, I would like to discuss a topic known as the modular workflow. Now the Linux audio ecosystem has a lot of standalone programs that can be used together with the jack server to create a virtual modular environment. It’s a bit like having a desk and putting a mixer some FX synthesizers sequencer and connecting all of that with cables to produce music.

Now this can be a lot of fun, but I think there’s one big problem with all modular setups. You can’t easily save and load your work and for me that really kills productivity. I know there are so-called session managers, but I really I did I couldn’t ever make get this stuff to work for me, so I have ultimately decided that whatever I’m going to be using to make music, it has to live inside of a digital audio workstation.

Fine. Now we can move on and talk about the digital audio workstations. For many years I’ve been making music with lmms in tandem with our door. I’ve produced multiple full-length albums this way, including the most recent one titled suppressed. However, in 2017 I finally decided to drop LMS and focus my workflow entirely on order alone, why? I made a detailed article comparing the two in the past, so let me just rephrase that real quick for many years Alma Mass was the only integrated music production environment with MIDI, editing and sound design capabilities that would suit my needs.

Illuma mess, however, lacked advanced signal. Routing lv2 plug-in support, audio recording and editing and other functions that our tour boasted for years already. In order to be able to do everything, I wanted I to use both programs together. I used to do it like this. Make instrumentals in lmms export a mix imported into order, add vocals, guitars or extra editing and effects then export another mix and finally master all the mixes in a separate order session to produce the final album.

However, error was developing its MIDI workflow for quite a few years now, and once I found it has majored enough to be production already, I’ve decided to drop all MMS and simplify my workflow. So that’s that the last part of the tool said I want to talk about. Are the plugins? That’s a big one, we’re going to need a few subcategories here. Let’s talk about synthesizers. First then we’ll move on to FX processors.

You see I’m a bit weird in this regard. Other people use drum samples they found on the internet and I used to do that’s too back in 2005, but now I synthesize all my drums. That’s why I don’t use any sampler moving on the synthesizer clubbing and the synthesizer plug-in that I use 95 % of the time is was in fusion. Why? Well again, it’s the most powerful, versatile and modern open-source sound synthesizer out there.

I dare you to prove me wrong on this. There is something on the horizon that might challenge this, but for now, as infusion has almost everything I need in case you don’t know, this infusion is a new graphical user interface to zenith’s of FX 3.0. It runs in a single window. It’s scalable. It’s awesome. It made me work with lots of effects even faster in case you want to learn the all user interface.

A few years ago, I made a long as article covering everything in great detail, and also lots of the knowledge will translate this infusion as well as it’s the same synth under the hood. However, if you feel intimidated but still affects complexity, I can recommend a few other liver synthesizers that are not as layered, namely tall, noisemaker, OB, XD, helmed, oxy, FM sense and dext, however, know this that z knots of effects can do almost everything that these synthesizers can And much much more so if you’re really serious about sound design and you want to use open source stuff, learn some effects.

Alright, alright, why actually use them and I do more guitar focus stuff? Ok, so let’s talk about the sampler plugins, you can use hydrogen drum kits installed on your system using a plugin called DRM, our sampler. It’s simple: it only allows serial output. We could work around this, but I never had it crap out on me. So it’s safe to use! If you need quick, great sounding acoustic drum sounds, I recommend a VL drum kits.

These are lv2 plugins and caps, elating acoustic, drum kits created by the AV linux project. These come both in stereo and multi-blog variations and are integrated extremely well with order. They are black boxes, however, so you can swap out the samples, but that’s the point here. Another plugin I used is Fablab it’s a simple but nice-looking sampler from open 80 productions, single layered. I have experienced some problems with it, so I wouldn’t call it exactly a rock-solid, but I like it, there’s also Fabri, which has awesome functionality, but it’s still far from being production ready at this point, I’ve briefly tried sample v1 and drum kv-1 from the man behind Cue tractor, I think these are solid options among two samplers, but again I haven’t worked them too hard.

So don’t blame me if they disappoint there’s also some decent looking drum samplers in the LSP bundle, they support velocity layers, stereo or multi-blog output. Again, my experience is very limited, so proceed at your own risk. I mention one last drum sampler because it’s freakin kick-ass drum gizmo. If you know how to mix acoustic drums from scratch, read this talk by bent and you can tap into the amazing drum kits and technology of drum gizmo.

I am the main developer of drum gizmo 10 years ago, when I made it. I had a very specific workflow in mind my tip pick a drum kit and read its readme file before you start there’s a listing of all the output blogs and what they are supposed to be without that he’ll be lost once you sort that out, you can Just stop like this all right enough drum samples for one article. Now, let’s talk about something I’m really excited about, and that is the effect processor applause.

Let’s start with delay, call vintage delay. Syncs 2 ppm sounds great. I use this all the time. A delay, an ardor slew, a plugin that can be used for some awesome flaming effects. If you automate the delay time in millisecond range delay, arama a great plugin for creative effects that can deliver up to 128 delay tabs each with procedurally generated delay. Time and amplitude. Reavers um verb is my favorite right now.

It’s sound is full and smooth without that strange tinny character that many synthetic reverbs have it’s also very flexible, and it looks nice GX Zeta Rev one stereo. This is a guitar X interface to the famous zither river by phones and reason it sounds awesome quite flexible, so it won’t replace in verb for me because you can’t make it small enough. Gx reverb stereo, this one sounds a lot like a spring reverb, which is very rare among synthetic reverbs.

It sounds nice on drums and guitars. So there’s not much things to set up here, eq’s and filters. I use EQ. Thank you for everything I used to use cough equalizer, eight-b –, and this one is also very nice. So one day I just decided to try EQ, thank you and it’s stuck with me. Cult filter. I use this one. All the time to reveal sounds with the Lopez modes or to add motion to my bass patches using no cheese and band best modes pitch shifter.

I love em a pitch shift for messing things up, especially when you automate the ratio and window parameters. It creates cool glitchy effects. I would recommend rubberband pitch shifters for more traditional pitch shifting, as they allow precise musical control of the pitch, and they also sounds pretty good for some quick, sound butchery. I also like using AM pitch shifter. It can sound very glitchy in bed, and I like that distortion wall shaper I’ve made three articles about this one already it’s extremely flexible and can be used just as well for gentle saturation as for head splitting distortion, tap tube warmth is a great sounding.

Yet simple saturation plugin, I love it on bass and drums don’t be discouraged by the lack of a custom, graphical user interface. Also called saturator is based on the algorithms of this plane. Caps and VTS cube amp plus tone stack. This is a great all-in-one plugin for guitar distortion. Again, don’t be misled by a lack of the custom GUI. It sounds great and not just on guitars GX amplifier X. This is a fancy.

Looking great sounding all-in-one. It’s are a torsion suit with tube cabinet and stonest accumulation dynamics. Processing curve, compressor, is what I use all the time. It’s great, looking versatile, easy to use. The compression graft function is very helpful. Call sidechain compressor same story only now the kick drum compresses the baseline cough limiter. I put this on every master bus. I see multiband compressor stereo x8 from LSP.

This is an eighth band compressor by default it runs with four bends. It sounds way cleaner than the cult multiband compressor, so the interface is a bit cluttered cough de-esser. I put this on every vocal track and sometimes on bass and lead tracks as well. If the highs are getting painful at certain notes, there’s a neat trick for you. Super smelly, shampoo, spies, super smelly, shampoo, spies, psyching gates, stereo from LSP.

I use this to gate, pads or vocals with a trigger zone like this super smelly, shampoo, spies, super spy other are but one or two it’s a versatile granular processor. You can do dozens of strange effects with this one noise repellent. This is a real-time denoising plugin. It has some latency, but our door can cope with that bad quality voice, recording testing one two: three bad quality voice, recording testing one two: three tal vocoder: this is a simple, yet powerful vocoder that won’t kill your CPU only Cal vocoder, a fantastic vocoder that I’d Actually kill your CPU auto-tuned.

This one is great for either monitoring your vocal performance quality or fixing it super smelly, shampoo, spies, super smelly, shampoo spies or creating these weird synth lying vocal, lead lines by using the auxillary midi input bit, rot, repeat great for glitchy repeating effects very versatile. Don’t be scared over by a lack of a custom, graphical user interface bit. Red tape stop likewise very useful for this one iconic effect tapes – all right, let’s cut it here.

There are dozens more that I’d love to talk about, but this article is getting a bit too long in the future. Articles I’ll take a closer look at the plugins I mentioned here and some other ones as well to help you get the most out of what the free and open source audio ecosystem offers thanks for reading. I hope this article was worth your time. I also want to thank all the patreon supporters who are enabling me to make articles like this one, if you’d like to join them and help keep this show going.

Please go to patreon.Com/scishow now go and make some music you

Videos are truly an awesome way to get the point across. Any type of content from your business is important!


Online Marketing

UV#06 Sound design for a logo animation

This is not a gaming blog today I’ll be showing you how I made the sound for the intro animation. Just so remember, okay, I do understand replay for you yeah. So now, let’s get back in time, so I can show you how I made this: let’s go alright, so I’m back from the future. Now, here’s an order 5 session and I’ve got imported the article using the session open article, and then I selected the article.

Now it is transcoded, so I don’t have to transcode it. If I selected, you see you get these options, import, transcode article. This is what you do when you first import your article to order and reference from current location previously transcoded. This is very easy, like self explainatory. So now it’s just going to reload the article because it was already there – and it looks like this when you’re doing sound design for animation.

To me, the key thing is to get the timing and to get the atmosphere, so I’m trying to figure out what sounds. Would fit this image? This move motion picture kinda, so there’s a lot of darkness. There’s some smoke, there’s some glittering lights or some noise happening in some bright flash at the end. There’s there’s a quick motion when the camera like zooms out or the or the letters fall in and then there’s lights, so this could be some tinkling tinkling and then it gets noisy, distorted and finally, there kind explodes.

So I can see some some clues to what the sound design might be. So what I’m going to do is actually add a bunch of units of effects instances. So I can just start synthesizing some sounds that will fit this and Xin is a pretty heavy plugin. So it takes a while to load into our door yeah we’re ready, I’m going to also use my external keyboard because it’s going to make the things easier. So, let’s see we have the first one, that’s already routed.

Some reason order was very smart and it already connected the MIDI ports, which is nice okay. So what what we have here, I imagine a swoosh like I could record this with a microphone, but first it would be very, very easy and I wouldn’t show anything interesting in the process and second, it would be difficult to make this really work because mouth sounds Are very organic and what we see here is very technic.

Very synthetic could of course, process the recorded sounds, but I’m going to try to stick to synthesis as much as I can like. I don’t have a strict plan of what I’m going to do, so this is kind of an exploration for me as it is for you. I have some tools. I have some experience of making this for clients, it’s good, that this is not for a client. So I can show you the process, because I wouldn’t do this with it this whip, if it works for a client, I want to make it swish.

So I’m going to going to record this, I’m going to press shift space which will activate there a record mode because the truck is armed and then it’s going to record them in notes. It doesn’t really the pitches, because I’m going to override this anyway, I’m going to press e to enter edit mode. So I can change the length of the notes. Now G go to the grab mode where I can edit the, and this is like yeah it.

The note is there, but it doesn’t draw it, there’s some stuff to report in the order, their tracker, let’s make this and noisy swoosh, I’m not sure how easy it’s going to be to fit everything on one screen, because I usually use two but well never know What do we have here? We have ad synth. Let’s try Adsense I’m going to go for white noise. We can use a keyboard to help us out. This is very, very bright.

It’s a little bit painful! I’m going to make this quieter and I’m going to want to make this yeah. This is the kind of tempo I think will fit this now. This is too short because the note is higher. I’m going to lower the note. I know it’s too long come on now, it’s a little bit short, but I’m going to change that with the with the envelope. Okay, let’s try it again. This could work. We can also later shape the fade out a bit with the automation, so it doesn’t have to be perfect from the start, because sometimes you know trying to get something perfect will block you for half an hour.

Doing just that. I want to make some motion with filters, so I’m trying to experiment with with the band pass and maybe make it a little bit sharper and start higher yeah. This is funny it’s a little bit too short kind of kind of sinking. I want to duplicate this voice, so I’m going to copy the clipboard switch to another one and paste it. So I can use a different filter or different settings for the filter, so I’m going to start off with a lower and make this higher and make this a little bit longer.

So we will have like, let’s, let’s here, second voice alone, I wan na make it a little bit sharper more resonance, yeah and the first one. The first one could be wider, yeah solely together form kind of a it’s it’s. There is brown noise and there is narrow noise, narrow, narrow narrow. So we have like complementary it’s. It has two characters at the same time, it has noisy character and has this more narrow we still like sound to it, which is very subtle? Actually it’s much more noisy than Swiss Li, but okay, let’s mmm, maybe try letting in some of the highs, because the low pass filter is by default kind of close from the top.

It doesn’t do any change an edible change in our mmm and this regular sound. Let’s see what we can do with effects here and I think some reverb could be good, but I’m going to not I’m not going to use as an internal reverb and I’m going to use a plugin for that, because I really like the sound of em a Verb so I’m going to leave this sound right now. Let’s call this. I need to disable the record disarmed for recording and then I can change the name.

Let’s call it swoosh and now, let’s insert some verb yeah, let’s hear it yeah. This actually could really work. I’m going to put it pre fader because actually doesn’t really matter for this kind of effect. It wouldn’t matter for a compressor or a distortion where the input level plays a big role in at what tone you get out of the processing, but for reverb it doesn’t really matter, but I prefer to have all plugins pre fader.

I want to try adding some. Maybe the chorus, maybe the cough multi chorus, let’s see and make a loop, so we can tweak the settings and hear what how they change the sound immediately. Can I disable the LFO completely? I think it the plugin isn’t made for like using this manually, but I could get away with some of the automation, let’s see and it’s modulation that let’s make it play so to play our automation, it kind of gives a little bit, I’m afraid it’s going to Drift a little bit because we still have some modulation, so we’re going to get different effects based on different time.

When we play this, we could bounce this to a track to a stereo audio track. Let’s insert just one right now for the input I’m not going to use this. The system hardware stuff would use this whoosh output. I’m going to record this I’m going to hit shift space. Let’s do one more yay. We have them swooshes. Now it’s mute. This original MIDI track control, app arrow, will shift the track up and this going to be our double click, swoosh kind of a misnomer, but anyway, okay, now we have the same effect just frozen in time.

So nothing changes, I’m going to mute, I mean muted. The second instance that I recorded, because I don’t really want to use it right now, so maybe yeah, maybe I’ll, do something with it later. Okay, let’s go over the next sound. Let’s do something for these bright, blue lights that appear on the edges. I want to do something electric, however, I’m not sure really what to do with it. So I will just experiment right now and we’ll see what happens.

The best sounds. I’ve ever made were just created out of experimenting, so good stuff might happen right now. Maybe I’ll try using a waveform like a square way, because I want something that will sound similar to a Maine’s hum this 50 or 60, depending on a burden you live, but that comes out of your power supply, yeah kind of this sick, oh yeah. However, the filter is affected by the velocity of the key hitting.

So if I hit it very slightly, we get a different tone. I don’t want that. I want this velocity sensing him out. Okay, now the the velocity of the key only affects is a loudness of the sound I want to do. I know what I want to do. I want to do some messed up ring modulation this, but I want to use external modulator, so I’m going to copy this voice over to be voice. Free yeah pace it here, because currently Zen some effects can can modulate different voices with different voices.

I made the first ever article of UV, UV 0-1, modulation, zenus of effects. Modulation. Madness goes a little bit more in depth about this. So if you’re, if you’re new to this concept, go there and check it out, but the thing is I can use the previous voices on the list like if you have the list like free voice, free can be modulated by voice 2 or voice one voice. To can image the way the by can be modulated by voice one voice 8.

Can we merge it about 7 6? Both err all everything above it because they are being calculated in order, so the first is completely voice 1 to free. When the voice 1 is calculated, it knows nothing about the rest of the voices, so it can’t use that for modulation, and this can be worked around, but it’s an overhaul and well it’s not going to happen soon. So now I’m going to make it first voices that are not going to be used.

Yeah, I’m the first two voices, the first two voices are now mute, so we only hear the third voice can see. We have a sign here if we turn it up now. The interesting part is our square wave has a fixed pitch. It doesn’t respond. The number of the key I play, but what we’re going to use for modulation does, if I make this audible, you can see our modulation, our modulator a will respond to pitch. So we’ll get different modulation pitch by playing different notes while having the carrier, so the modulated wave waveform stay on the same pitch, which is going to be interesting.

Probably let’s use ring modulation select external modulator, so this is the voice. We can you hear in the ring modulation going up. I don’t want velocity sensing. This gives you more modulation when you hit the hit, no, it’s harder, but if you turn it all the way up, you have no sensitivity like you have no key sensing, no matter how hard you hit the key. It’s going to always do the same amount of modulation and high-frequency damping.

It’s something that lowers the amount of modulation when you go with higher pitches. Higher frequencies give much more modulation which gets very noisy and bad, but we might want that so I’m turning it up. Turning it yeah turning it up, so I’m disabling the feature, and I hear the low-pass filter really messing up with our sound, so I’m going to turn it up and unless you’re reading 270 P on youtube, you probably can hear a difference right now and how about We make a pitch slide of the modulator longer, not so high starting yeah 64 is the middle, so 64 is no change below it’s going to go higher and start lower and pitching them go up.

How about we just shifted a few octaves up, make it an investment, wah wah how about inverting this? This is very long really like. This is a very short animation and what happens if we add a few voices to our modulator sorry, our carrier get a stereo. I think I want to do something with this sound, so it’s going to be more interesting and I might try modulating it again what the voice one so I’m going to go all the way up.

No velocity sensing, no high frequency damping – and it just happened so that we left a square wave very low pitch square wave, also doesn’t responding to the key number. How about we make this fade in so in the beginning, the voice, one is silent, so it doesn’t modulate the voice too. Actually I can’t hear any difference. Okay, how are we detune this slightly? So it’s going to be a little bit yeah.

I won’t try and enable a band pass filter on this, just experiment, so our voice, one, is a square wave. It’s going to be band fast, its modulating with ring modulation, the voice two, which is a sine wave, slightly falling from the sky. I like going up and then falling down in pitch, which is then ring modulating our square wave that is somewhere in the base. We used register and if I make this narrower and atom filter envelope funny we heard some harmonic and maybe it was the fundamental.

Well. That’s a little bit scary, I’m going to make this a little bit wider, so it’s not so intense when it hits the harmonic content and how about we make this higher or lower. There’s some kickass sounds in here. Okay, let’s make the envelopes little shorter for everyone. I want to add an arch filler here just to see what happens when I play a lower note, it sounds it sounds interesting. I like a notes notes of e.

Make interesting sounds, I guess, that’s probably caused by a certain frequency relation frequency ratio, relationship between the fixed tone and the notes. Okay, I’m going to record the e note hmm, so this is going to be our buzz okay. It doesn’t very closely follow our animation right now. I’ve just noticed our swoosh is very, very silent, very quiet like it. You can see it on the waveform, but it’s just right now.

I realized how quiet it is. I’m going to add presser keep the input not up yeah. I want this note to end ride when this flash goes off, so I’m going to hit II to edit, then I’m going to just drag the notes and notes and left okay, let’s replay home, we get this little slight bleep at the end, which is very nice. It it actually gives me chiptune memories. Now this starts very abruptly, and we need to do this, something about it because it’s very like it doesn’t really fit the gentle glittering.

We have here. So, what’s what we can do about that like she starts a road here, so let’s see what can I all tomatoe not donate the part volume I can automate the filter cut off the FM gain, which is, it is actually the amount of modulation on everything like Not just frequency modulation, every every modulation I’m going to use that, and so what we can do, because we can alter the amount of ring modulation applied in every single moment of our sound.

So I’m going to try to like outline what happens on the screen flee to make this sound kind of a little bit rude itself and in the image I’m going to it’s brighter than it lashes. You I’m going to save this session by the way, because our door sometimes crashes. Now I’m going to make this track a little bit bigger, so I can see it better kind of fades away. Let’s give it a little bit more and cynically, I incidentally, clicked on another track, inserting a midi region, i’m going to shift right-click to delete it.

Let’s hear what it does right now might be: shitty doesn’t okay, because we have said manual. I have to change to play now: it’s going to actually read the automation. Alright, so like we have when we have no ring modulation, we actually have louder sound because our square wave is unaffected because ring modulation actually changes the volume of the waveform, the amplitude. In time, but it does it so quickly that it alters the pitches.

If you do ring modulation very slowly, you get a tremolo effect, okay, but we also need to change the volume. I guess, or maybe I know what, because we can automate the filter cutoff and this is going to affect only the main, the global filter in an ad synth look like if we automate the pic filter cutoff, it’s going to only change this one. So I could like changes in the middle move it here, because the filter cutoff starts in the middle, so we can like shift it up and shoot it down.

I’m going to start with it change it to play, so it does play the automation and begin with the filler domain of the filter, cutoff all the way up and somewhere else, maybe down, and maybe I will just kind of mimic the what we did here very Very slightly, and I’m going to make me make this a little bit go up till the end, so it kinda gain strength to blow up in the end. Let’s see what it does yeah.

This is better. This is more what it more mmm. It fits the animation more. I don’t like this part where it doesn’t do anything and it’s really steady and boring. I think it should better just cut off there, so I’m going to change the note, so it ends here and then instant. Another note – and it doesn’t end right in right, where it should right now and maybe I’ll change the automation, so it starts with the cutoff fully closed, so our low-pass filter will just be opening right after the note started yeah.

I think if we add some distortion on top of that, it’s going to make a cool effect. Maybe I will split this into two separate tracks. It might be easier that way. I also think that it might do some good if I change the hats and global filter type to maybe not the type but make it a little bit sharper with resonance now. That sounds very old-school, and it doesn’t really mean it not necessary cool yeah.

I think we can hear more of the ring modulation and I think we hear a little too little of it, so I want to actually and give this higher values over also get more of the distorted, sound and just a clean one. Maybe this automation clip is a little bit too cluttered. I’m going to press G select a bunch of points and move them up. Yeah, like this kind of dies very quickly, and we don’t really else aria-pressed something F shift, Z, F, maximizes, a track or tries to maximize it in the VG visible space right now.

It fits also the automation tracks. Shift Z is like control Z for view. So if you just zoom somewhere else, when you can’t find yourself, you should press shift Z and it should zoom you out one step at a time, unfortunately, or fortunately depends and press e make this not a little longer. Maybe leave the ring. Modulation on and a press D to enter the draw mode and like just let the cutoff fall, it doesn’t really follow the motion of our sparks here.

So I need to do something go to the automation. I think I’m going to just make it very very simple. Just delete all the points. Thank you now want to deselect this okay, so I don’t delete it and yeah. This actually sounds better and it could be longer again. How about we use a different note here. Maybe go down one octave, you yeah, let’s see kinda it’s a little bit quiet, though Velocity’s all the way up.

1:27. Okay, it starts to sound more synced. I want to try some distortion and I’m going to try see the amp VTS, which is a plugin. I think it’s reworked a bit by mod team and it’s a very nice processor for guitars, keep it above others. So I can see it all the times at all times and I think I’m going to automate the gain. Let’s just loop this so I can experiment. I think it makes it more character for I’d like to add some very subtle reverb to just define some feeling of space, because there it’s well that’s too much.

Let’s try it before the distortion. Actually, I like the amount of reverb before the final blip, because then it’s like it should just wow just crack explode and there’s nothing. Just silence like the darkness. We see so I’m going to automate the mix ratio. It’s maybe use the right mode, so I just can yeah record this now it’s in touch mode, so place back, that’s great Wow! My timing is almost perfect with this look at that.

That is perfect. All right, I think I want some noise in here like there is very little noise, maybe because I have this woosh and play it. No, it is here. Okay, I’m hearing it. Let’s just make this a little quieter. Okay, I’m going to just maybe minimize the automation tracks, so they don’t disturb me and I want to open up a new track and I want just some noise. I just really want some noise, really it can be a simple white noise or maybe I can try making something a little bit more interesting.

Let’s try to frequency modulation with noise noise. Why not and make it bandpass filtered resonate Li wave an envelope going from down to long, I’m just doing random stuff. I don’t know what it’s going to sound like, and you know it’s going to be too much. If I do this yeah and in the end, let’s go with a slight notch filter make it go from up to down, because why not? Let’s hear it? Okay guess I I have too much resonance just too long yeah, let’s give it more voices and more stereo.

More detune for each voice, nah this sounds crappy. Let’s do it in the mono and I’m just going to duplicate this voice, panned them harder, left and right and then change something about it like the waveform or the pitch, and maybe let’s try some big different bass. Wait for him that it’s modulated, maybe sure. Ah, this is painful how about making it start hiring a pitcher or lower. Actually, it doesn’t really matter.

I like this. It sounds somewhere between a jet plane, an old synthesizer or tape, machine and Torm, okay, but it’s a little bit too long. It’s you shorten the shorten the envelopes cut, the envelopes cut them cut them down, yeah, let’s mmm, let’s give some fade in. Oh, that’s a really sick and give some fade-out. However, our global envelope is going to limit us right now, so I need to include a release there now it’ll be too long.

Let’s make the pitch fall once we release the key, maybe shorter. Okay, I wanted to do have two voices, so I’m going to copy this one pan it left, but not zero, because zero means random. I want this in the left. Blog now paste it here we still using the external modulate one. So nothing changes. We just change the padding and it sounds in mono, but now I can change the beach of one of them or the waveform, and it’s going to make a difference.

Let’s add some weird harmonics whoa, that’s very loud. I want to change the magnitude type to like something else, so we have more precision yeah. I want just a hint of that weird noise in the right blog and let’s do something else in the left, one. Let’s change the money to type the tango for higher, it actually kind of sounds the same but different, and it makes it stereo it makes it wider. Okay, I think I want to check the global filter.

How about this is fun. Alright, let’s I want to check what can I do with the pitch modulation pitch wheel? So I’m going to go to controllers in the global window, and here we have the pitch will Bend range in sense. 200 sense is 2 semitones, because 100 cents is a semitone. So if I want to go to an octave, I need 1,200 yeah. This is cool. If I can do this well, this is going to be great sound for the anticipation before the big explosion.

So I actually don’t remember if I tried before recording mud will in order 5. Let’s see what we can do with distortion. Also as it might do something cool might do something bad. Let’s turn out the gate gain so the drive it’s the pre gain and the post gain the level. Let’s keep it low. Well, that’s complete havoc what it will filter this before Distortion. I guess the gain the drive is way too much now we could add this.

Just a little bit to the original one, I think just a tiny bit of a strange reverb ation could help this. I’m not so big. Let’s go to random, make it very short. I want kind of room cellar, sound! Let’s try to give it some more high frequency, so I’m releasing the low pass. Let’s hear it all wet a room size. The initial delay welcome kind of could work. Let’s see if we shouldn’t eventually high pass a little bit of this because there’s a little ton of bass, I think search with a peak filter.

What is nice and what we wanted to remove yeah now it sounds a little bit less Bumi. Let’s try it. The weird thing is, I think, something’s different, I don’t know, okay, I need to hit the notes more gently, because there is a certain amount of modulation that is too much and it just destroys everything. It sounds better when I hit it slightly. Okay: let’s try to record this hmm okay! I guess I missed it.

I wanted to see if there is yeah the pitch wheel, you Gordon – and I guess it displayed back, but the note was too too hard. I like struck it very hard, so I’m going to use my mouse wheel to make it softer. I think we could also go with two octaves of pitch Bend. So let’s go to controllers. Ah, this is not this instance. Okay, send free controllers. We have 1200. Let’s go to 2400, the the big like the double arrows, go 100 cent, big jumps and the small go one which isn’t very useful to me.

I never use the small ones never, and you can see that it’s a bit jagged because we have very limited resolution. We have only 227 steps for the CC controls and the pitch wheel and the mod wheel pitch bender. The mod will apply. Also so you have you see, you see, we have a lot of a lysing, but we can actually draw our own automation, because this is very, very simple. Oh, we need to change the type of this mode, discrete linear.

Yes, this is what I want it. Ok, crap, I don’t know what what is the rest position. Ok, the first first samples. 8. 5. 7. 6. Ok, because I guess yeah, that’s the range of 700 1600. It’s a bit there yeah sounds awesome. I just need to cut it off in the right moment and I think I’m going to press the e key again. I think I’m going to cut it, I’m going to cut it short. Maybe let it sound longer, but I am going to use the fader automation.

Go for maybe touch, let’s you. If I can record it yeah, I’m just going to remove the last point and this one too. So it’s forever silent. Let’s see! Ok, I wasn’t so quick that it it’s as instantaneous because well, that’s not humanly possible. I’m going to add a little bit of a gain right in the end. Well, that’s too late, because this is the flesh, can’t you back this off, so we have zero decibels and can just and a little bit we have 6 decibels left.

So we can make a little bit of a click at the end. Oh it’s pretty difficult to select this okay got it um. There’s one shift right! Click delete stuff, let’s see actually yeah last a little bit longer. I think I’m going to fight you, okay, move them both. Oh, I can’t let’s hear this node again yeah. This is better and I wanted to start a little bit more silently. So I’m going to use the control two more points, so it will a little bit fade in ha.

Okay. Well can we call this I’ll call this screamer, because I can I can ass house borkus has internet burgers are now control-z. They don’t want to move. That point I want just to move this one I’ll remove it shift right, click, yeah, okay, what do we have and what do we miss? I think I want some more noise because I, like initially you know, remember: let’s try to frequency modulation. Let’s make some really.

No is this simply noise, just like that, just nothing extra, just noise! Okay, come on! You can do this. His stereo, I’m going to copy this voice, sit all the way to the right it steady annoys now. I think I want to use a band pass. Filter, Hey because the filter is tracking the keyboard. It responds to the pitch of the keys and P I’m hitting here. It is 60. Oh yeah middle is zero. Oh it shouldn’t be.

Ah I’m mistaken. It actually is the velocity sensing I’m going to disable the velocity sensing. I want frequency tracking. This sounds like tape. Stop, but it’s not. Let’s play C major. Okay, this the envelopes are cool, but a little bit too long. I’m going to make that I want to find the very base tone for the release and then make it a little taller. Okay, now, I would add a crap ton of reverb onto this, but it’s a very short make it big in a room size and make the dampening lower.

So we have more high-frequency Wow. How about we make this narrower, not a good idea. I’m going to make this wider, the plane noisiness might need some modulation, it might be so plain and uninteresting just add, a very, very subtle phaser and on to that a little chorus. Well, it’s very too fast and I think I need to get rid of the bass, because, after the reverb, the bass is very messy. Okay, let’s try to record some notes.

Okay, so we didn’t care we get away with it simple noise, all right, of course the decay is going to be cut off. I can do this right now like this. Ah sorry, this is too early. You, like the anticipation of the cutoff, so there’s a little bit of a gain. Okay, we’re not using this make it play. It sounds like it’s cut short, which might be a good thing or a bad thing. Let’s see what we can do, if I just let it decay, I think I won this DK, maybe not so loud yeah, just give it a few seconds up there yeah there’s no problem like this.

Can this? Can this can work? Okay, I think I’m going to be doing one less sound and this is going to be a hit for the explosion, and I want to try something like a broken glass. And how am I going to do this? Is I’m going to throw in a bunch of notes, are going to imitate different small particles of glass, have been smashed and are falling in all directions and the higher notes represents smaller particles, because smaller particles make higher pitch sounds.

This might be a little bit long. I’m going to see filter a edit mode. Maybe all these notes up, as you can see, it’s not very easy to end late now. Here are notes. They were unvisible. Let’s move this okay, you what happened? Okay looks like I can’t move this because it’s going to explode well well, but the timing seems to be right. So I’m going to open the broken glass, the simple sine wave and what I want to do is hmm actually like use an impulse.

I’m going to use a power wave and make it so that it it’s a snap. You can see that there is a lot of harmonics a lot of harmonic material, I’m going to make this down and use an amplitude envelope to make this. She has to want to click because it’s going to, of course, repeat yeah, but right now we have just one click. If I make this longer you, okay, yes, it’s this one, I’m not mistaken, and I’m going to change this to a bandpass filter, and you see if I made it very resonant, it simulates the fact that we have a piece of something that receives energy.

This is our impulse. The power wave, the simple impulse of the power wave is the energy, the blast the hit and the bandpass filter. Resonating is modeling the tiny shard of glass that is actually resonating this energy on a specific frequency band. Right now it responds to velocity so I’m going to disable velocity sensing and enable the frequency tracking I can play keep this very quiet, so I need to turn it up because you might not hear it actually right now.

Recording this isn’t in trouble yeah, and it’s going to sound better than this. So I’m going to remove this, I’m going to just record my broken glass part, not totally happy with it. Maybe I should make them sound, shorter or funny it’s kind of uh. Well, it would be nice if I could make the move the regions. I can’t yes a bit late – that I can handle this okay and record on time. Alright, this seems to be about right.

Let’s close this interfacing and I’m reopening it edit with generic controls, we’ll open a different interface and then I can reopen it and it will just pop in on the top. I want to make these a little bit, maybe shorter. You see the less resonance we get on the more of the impulse we have and the less of the tone. Let’s also make this pan ha randomly. So every note has different panning, so that kind of makes that cloud of the glass shards wider in stereo, and I think that actually this needs just a little bit of reverb and maybe some EQ more of the tail and less of the earlier reflections.

Maybe a little bit maybe shorter bit smaller yeah. I want to yes, it’s pretty hard and see what happens. I lower the threshold. Okay, it’s pretty loud and right now keep this above others I’m going to lower the makeup, gain and threshold and just think the attack and release very short. So it’s very closely following okay, it’s very loud right now and I wonder saying to quiter. Okay, let’s play the whole thing kind of interesting.

I missed some really something hard. So, let’s make it’s an explosion, I’m just going to dial in a single note right here and I’m going to do a very quick patch. Okay, we’re now like feeding the MIDI data right to the broken glass come show your face. You going to enable substance! Dialing, a little bit of harmonics make them really wide make them lower yeah, now give it a pitch envelope. Maybe you make it less.

Harmonic doesn’t do very, very big changes. Okay, let’s make it started with max, so we have a click on the beginning. However, I can hardly hear the difference right now made this shorter and louder yeah and now, maybe even at the bandwidth envelope. It kind of sounds like a snare, so maybe I should pitch it down yeah and make it shorter, because now it’s so long, okay, I just going to disable the stretch.

The envelope stretch so lower notes make longer envelopes by disable the stretch which here means. I turn it all the way the left we get the same envelope length for every note. Okay, now, the key to making an explosion sound is distortion. Once you get the noise, let’s make it low, give it the full width. Let’s try another passive Distortion and see some reverb of tail and type bandwidth, but on a very shorter huh.

I see that I also want this to be very much shorter. I’m going to convert this envelope to a free mode, because then I can add some points and I want shorter attack and then it’s very very slightly release, but I don’t want this to actually be so classic you see. I don’t want this over long distorted here at the beginning, but that would be too long yeah. This is great and finally, I’m going to insert an EQ and maybe is a high-pass with resonance to boost some hellos.

Maybe that’s not a usual user of Lopez, but I use that very little often because it cuts off what you don’t need and accentuate what you need. Yeah. I think adding these highs make it more punchy. It’s I think it’s a little too loud. Let’s see how it sounds with that: hey it’s a little bit too quiet, though I think I’ll, try you some Accession say. I think I could make it more punchy still, so I will lower the threshold and give it a longer attack.

So the initial hit of the explosion can go through the compression and then a shorter release without with not much difference. Let’s kick up the ratio and lower the threshold. It makes it kind of bit shorter, so I’m going to try to make it really so sure that it’s even working like a distortion and finally, I want to automate the release of the let’s set it to touch or no, let’s say to write. Well, I don’t know if that was good.

Oh it’s going to sound good. Let’s hear it let’s see! Well, I think the fade outs are a little bit too too loud and last is too loud. I’m going to also to mate its lease, so we have yeah. Maybe make the releases shorter, yeah, it’s very short and has some of the tail left behind, which is nice. I really like it. I think I want to do something else with the with the noise, because it’s kind of boring and I would like to maybe automate the bender to change the pitch a little bit throughout the note.

So I’m going to just draw an automation. Oh, I forgot that it doesn’t it wouldn’t have. It won’t have an effect because I’m using AA filter for that pitch, so I’m NEET to make it automate the filter. Cutoff. Let’s write down. No just, let’s see what happens okay, but this is way way too aggressive. I just want just a very, very subtle, I’m just going to yeah it’s it’s more lively, there’s something happening! This sound, it’s kind of a little bit of emotion, maybe a little bit more! Even that’s here now! That’s alright, too much because it’s! I don’t want this to be so lively, okay, I think we’re done with this.

Actually, what what is left is some mixing like balancing the levels which I’m going to try to do now. However, it’s good to let your work rest for a little while before you call it finished, because sometimes when you’re working on it straight for an hour or a few hours, you can really hear the differences and you can’t really hear the balance of the thing. So the next day you might play this and he will instantly hear that the bass like is way too much or there is no treble at all or there is no mid and all right, but for now I’m going to call this a day.

Oh oh wait. Wait wait, wait, wait, wait. We need to set the final levels. Okay, this is not done. You can’t really just use it right now. So I’m going to do is add a call. Flim etre, like their levels right now very low, and this might be good, but probably we’re going to need them higher. So I’m going to use the limit and we’re hitting like the limit just with the finally hit it, which is nice. I like this.

I usually disable the ASC because it does something that I don’t really understand right now and it something a little like the sound of it and it messes like with the release. I don’t know, I’m not sure how it works. Still, I read the documentation on the Caliph website, but I don’t really know what it does. So I disable it it’s on my default also what you might want to do, which is kind of I it’s hard to hear a difference, but I really might want to kick the oversampling up because get some math sounds, and this might round the sphinx a bit.

Also, I’m going to lower the output gain just a notch, maybe too much, maybe with control yeah, I’m just going to track this like negative 3 DB so or negative half. So we don’t hit the zero DB level because that’s Distortion and it come. You can’t really hear this, but it might behave a little bit unexpected. It might be some other surahs, so let’s keep it undistorted. Okay, so this is it okay? This is it for this article.

I hope you’ve learned something useful. If you have any questions about what I did about the tools I use, if you have any suggestions for what I should focus on in the next articles, please leave them in the comments and I will see you in the next article bye,

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