If you don’t know how to get started, we’ll show you how to get started in this article rod here and welcome to Bern to learn. First, go to MailChimp, calm click, signup free fill in your email choose a username and password click on get started now. Check your email inbox for the link to activate account. Click on activate account, you’ll, be redirected back to MailChimp, confirm that you’re, not a robot and add your personal information.
Now, let’s describe your business and add an address: do you have a list of subscribers? Do you want to connect to social media carefully, fill out this information, since it will be very useful to your campaign later on, you can take a survey or skip it, but since the survey takes less than 60 seconds, I’m going to go ahead and fill it Out and there you are all ready to start with the next challenge.
Creating your template, which we’ll look at in the very next article part of the series. Is there a subject you’re interested in? Please tell us what you think in the comment section below thanks for reading also join the inner circle, our technical skills, learning accelerator, you
Does that for you here we have a large document with different font, colors and even images locate the select button on the editing sections down on the upper right-hand side of your screen.
We have four different options: we’re going to go through all of them. First, we’ll click on select all as you can see what this option, that is, that select your whole document from beginning to end. So let’s change the phone color of our whole document to black. Now all the tanks had the same black font color. Let’s now check out a select objects featured. If I try to select my text with this feature on it.
Won’t, let me see, will only select objects such as these two images to make everything selectable again, we go back to select and click on, select objects to disable. This function, let’s now place ourselves somewhere in the title of this document to show the third select function. We go to select and click select text with similar formatting and you can see the title has been highlighted, but as we scroll down, we see that all the text with the same formatting has been selected for us as well.
If you say very practical features, if, for example, you wanted to put a special theme, font size or color to all of the stuff heading in order for all of them to be the same with just that one step. And lastly, the selection pane feature shows you a list with the image files. There are in your document when you click in a different page. The list shows you the objects in it. Now that we have the list of our image is handy.
We can even rename them by double-clicking one of them and even a new name. If I subscribe to our Channel and even light to this article, so now you know the for practical select pictures of words, the select all option select all the documents, including text and images, select objects, will always select. The images sound in your document select text with similar formatting will select all the similar format sound for you select pain will show all the objects being the document, such as images pictures and shape.
This is rod Davis in this article, we’re going to show you how to create and send an amazing and professional email if you get confused, just write a question at the comment box below so, let’s begin. First, let’s look at a typical email. It’s a plain straight up: ordinary email that people send to one another all the time now I want to show you the same email see how colorful it is, how the statistics appear at a graph form.
Now, let’s go back and look at both emails, side-by-side. Here’s! The straight-up ordinary-looking email, here’s the newly-created email. Now I ask you which of these emails? Would you like to send the plain average ordinary looking one or the amazing one, with all the color and the graphics which one would you say we agree, we would send the second one with the color and the graphics when you click on the new email setting.
This is the page that you you will go to. This email will be from burn to learn training at gmail.Com now it’s time to complete the two line, and we can do this by typing in the first few letters of the email address, the name will appear automatically and we’ll go through the two line. When you click on it to add additional addresses to the two line, click on the address book. Look at all the names there, let’s type in the first initials of the name we want and that’s Dustin Garza.
We click on Dustin’s name, and it automatically picked appears on the two line: click, OK and there it is now, let’s pair a CC address, I can’t just put in the first few letters. The name appears automatically and when you click on it, it’s the name burn to learn. Training at gmail.Com appears on the CC line automatically. Now it’s time to prepare a subject and we’re going to say: hey friends, check this out now we’re going to show you how to add the body to this email by inserting a table with six rows.
First, click on insert and then click on table move your cursor down. Six rows; click on the sixth one. Now you want to Center this now we’re going to begin with the very first row, we’re going to click on pictures in insert and we’ll go down to many options and pick images. Now we’re going to double click on the image we want and then click insert and there you have it. The image is nice beautiful right on the first cell now we’re going to work on the message.
Part of your new email first go to the original text. Now, let’s select it and copy it alright, now, let’s go over to our new email, where we will paste it there. We have it now. Let’s work on the style of this message, a little bit. First, let’s, let’s consider at the font, there are several options. We can choose, there’s several. As you can see, we really really like brass kabil old face. That’s looking pretty good! Now, let’s choose the font size notice, how the font change size changes as we scroll down the font sizes we like fourteen, so there we have it now.
Let’s work on the date, let’s really make that pop after we put some color on it like this golden look, look and change the size of the font. Let’s make it really big: let’s try three six now I’ll send of it. Oh that’s really outstanding. It just kind of pops, doesn’t it now, let’s get some some spaced and the top and the bottom of it, so it doesn’t look just squeezed in this spot and there you have it so now, we’re going to add a color border, select a color for it.
Wow, that’s a good nice tone. Color we’re going to insert show you how to insert a chart in this email so go over to chart and we have several options. There’s a line. There’s pie this bar their stock, their service surface. Let’s use a pie, chart just click. Ok there, it is okay. First, we Center it centered a message on the message tab and now we want to change this background color. Now we want to give this chart a title, so we click on the title section and type in the title we want going to give it a color as well choosing yellow we’re also going to change this font size to 20.
So now we have a very bright, yellow title check this out you now we want to teach you how to put a signature right in your your chart, so click on insert and then click signature, we’re going to choose the burn to learn signature and there we Have it we want to cut and paste it in the chart so that it’s properly aligned you next, we want to show you how to give your amazing email, a very professional look, we’re going to add header and footer margin with color.
So, first we go to get a color for it and that’s a nice color that complements our top header. Now we’re going to put a footer in there with another color, and this will be a matching color now. This will really give our amazing looking email. Even a greater look of professionalism, this is fun and easy to do so far. Right, we’ve just got a few more things to do. We want to remove the borders around this email, so we select the whole thing and click on no border and the border lines disappear, and we have an amazing looking professional email ready to be sent all right there.
We have our new email. The next thing we need to do is to send it so, let’s scroll over and hit the send button, it has come through in all of its color, without border lines, with interesting color with the body of it at the right font, size and a good signature. This is an amazing and professional-looking email, one that we should be really proud to send want to. Thank you for listening and in our next tutorial, we’re going to teach you how to fix an email.
That’s stuck in your outbox until then have fun you
The scriptwriter is while in charge of writing the scripts. This includes things like writing down the town’s lines, the directions and the camera angles. You want to use the director is a person in charge for directing their crew. Their job is to visualize how the article plays out and then guide the actors and crews to fulfill that vision.
The producer is usually the person who oversees the production of the article. The producer is usually on a higher level than the director lighting. Their job is to set up the lights correctly and make sure the talent is well lit, as well as the background. The articlegraphers are in charge of setting up the camera in the right angle. Focusing the shot and making sure it looks good talent is what you called a person who is starring in the article like me, right now we’re in charge of presenting our lines to you, the viewers, the person in charge of audio, is responsible for monitoring the sound Levels of the talent by making sure there’s a go too low or too high.
Let’s go copies in right now. The editor is a person who’s in charge of compiling all the footage and putting it together into one article. So those are just some of the roles in filmmaking, as well as what they do, but remember each role isn’t limited to just one person you can assign the same role at the same time to multiple people or just one person. If you prefer, we hope you enjoyed this article and we’ll see you next time.
Videos are truly an awesome way to get the point across. Any type of content from your business is important!
Like the same, I know a lot of you guys have the same problem. It’s how to create a letter concept. That is a lot harder quotations than other letters and the alphabet. So when I think the hardest letter for me – or at least I get the majority, the majority of people always say to yourselves, how do you make a letter concept for something like the simplest letters in the alphabet? The simplest, you know shaped letters in the alphabet.
Like, for example, ELLs the Y’s, the S is in the HS, so basically the lighter is that crit. You can’t really do much with, because you’re going to change the shape. So much that I won’t actually look at the letter or maybe you you kind of read, cheetah shape, but it’s so hard and make it original. Because you know you really focus a lot on making sure that the actual letter is the most original part of the logo.
So basically my answer to that is kind of using shapes line. Uh, you know lining to actually kind of you know, manipulate the letter concepts, but not really manipulate the actual letter that makes seasons as you can see here. Okay, let me just hit my examples really quick. So in my example, this is oh. This is a why right so, as you can see, this is this is a Y for sure you can see that a hundred percent.
So if I look at this, you can set yourself. This is a pretty basic y on the inside of this. You know crazy fun, little Y concept, logo. So what I did it was, I kind of just figured myself out and kind of, like you know, kind of use, of course, outlines and circles, and you know rectangles to give myself a more original logo concept. Look so at when I look at this. I think you know it’s. It’s a really dope logo for letter y, but the craziest thing is: I don’t really use or really manipulate the actual Y in the actual logo.
So maybe that is your answer guys if you’re struggling with actually using a or making or creating a letter concept for yourself or for clients that are like more harder letters for you to do. Maybe you should try to focus on what you do on the outside. Rather than always focusing on the letter itself now, okay, that kind of gives me my segue into the after tutorial, because I can’t explain that man.
So if you guys want to guess, I do have logos or excuse me sketches for my logos that I have here really quick. This entire page 50/50 mentions really quick little sketches. So, of course, this is my y con. So that’s right here actually is a lot better than my actual sketch. So you know applause for me, um, the actual L concept. The same exact idea lies right here. This is an s console that I had over here, and this is the H concept right here.
So what I want to do, for you guys actually show you guys the actual way I created my Y concept and my H concept. That way, you guys get the same exactly at least use or you know, manipulate your shapes and your logos and your letters. The same way, the same techniques that I use that way can help you guys how long your you know, your role, your hard journey into logo design, so uh yeah. So let’s get this thing in this could start it.
Let’s just get started: okay, huh, okay! So basically, if you guys not know the way I like to start is using a shape right, so I like to use a rectangle and I like to use a rectangle tool to make my little rectangle on the outside of the actual canvas. That way, I can just kind of manipulate or scuse me duplicate my little shape here and then bring it into my main canvas. And then you know, keep you know, making sure that I can use the same exact shape because I don’t want to.
You know make this shape right and I want to keep like how do you say I want to keep trying to make a new rectangle to try to keep the same exact or, like you know, be like this. Like you know, I want to make sure it’s. The same exact width and whatnot: that’s what this is over here for so you don’t actually worry about creating a or you know taking your time to like kind of making sure it’s the same.
Exact width just use the same exact shape over and over again, it’s the easiest thing to do, for you guys so also really quickly. If you guys not know, of course, is the fill. This is the actual stroke path. So I’m just going to change this to like pink or something like that. You can see that the actual fill fills the shape in and you can always turn them off by just clicking on this none here. It turns it off for you guys the same thing for the stroke turns it off if you want to, of course, to actually make the stroke bigger.
You have your stroke table right here, which I believe it’s in windows stroke. If you don’t have this up already and of course you just put it up here and you can see now the stroke is going up and if you don’t want a stroke anymore, you take it off simple kind of stuff here and you’ll I’ll show. You guys also more with the shape with the two and stuff like that, so yeah, let’s go ahead and get this thing started.
So, okay, alright! So, just going to shrink this down a little bit more and I’m just I’m going to try to make that same exact Y that I have so I’m going to go ahead and start off with this. I’m going to do this one over here again, I’m going to go ahead and kind of make sure I rotate this thing is that good, I see a little bit more just a little bit more, and this way I’m going to actually just hold alt select the Actual shaper here that way, it selects all the different points, and I can just select one point and move it over to our want over here, because I want it to be locked, you can feel a little snap right here that way.
It says these two points on the exact same point here, and that way you know it’s exactly perfect. The way you want it so I’m going to do is I’m going to click and drag alt over here duplicate this shape again transform and reflect, and okay and right now, of course, I’m making the letter Y. So I’m going to try to make the standard letter Y and really quickly, if you guys want to you know what I’m going to do, is I’m trying what I want to make sure I line this shape up with this point over here.
So I’m going to just click on the shape. Go to my opacity turn down the opacity for now, then I can go back to the shape and be like you know. Where is the point that I want it on boom? It’s right there now. I know that these two things are symmetrical and it’s also both on the same exact. You know orientation or the same exact point on opposite side, so I can click by here, make it back to 100, and now I have this now to get the same exact.
Let me get the actual sketch out, so I know what the heck I was doing all right. So let’s say we want to get this little this little extent. So I have basically the Y here, like a little extension, going outwards a little bit. So that’s how to do really quickly I’ll make a nice little horizontal line and we’re going to go ahead and line this just right here. So is that pretty good? I think that’s okay! I mean I might even just do like this.
I can do that right. So I’m just going to put a line through everything I must select. I can select multiple shapes on and initially in Illustrator, if I just hold shift just like so and if I hold shift tab. This is the shape of the tool that I use before my other previous logo design, tutorials and basically, if you guys can see already you see this little mouse, it has a little butter on it. If I hold alt and actually chooses the plus button to a minus or excuse me, it was a plus button and if I hold alt H is one minus button.
So what you guys can see is different kind of selections of the actual letters or the actual shapes that you selected. So basically, you see like this is actual shape. If you know these lines cross paths, so basically I can hold alt while this is meaning. This is the section and is basically deleted, just like so now. What, if you, if you click on actual shape, and while I was a plus, if you just click on it, you can see it if I just tap out really quickly or just gives me press a and click on the outside.
So that way you know, I’m all my senses are gone. I can click here now. It’s basically one shape that I actually had when I was in my shape for the two and I when I can see all these different shapes right. So that way, if I’m do it that way, and then presently in a keyboard, you could also do it like that. So, basically now I can just go ahead and select these and just move them in. However, further or far I want – and I believe for my exact example here – I kind of have one longer on this side and one shorter on this side, so this would pretty much I’m going to do exactly the same um.
So what I can do is, I can take this here just like bring them in a little bit another not exactly the same, but it’s going to change it a little bit anyway. So I’m not going to really worry about it too much and I’m just going to go ahead and take these two points, move them in a little bit and move this add a little bit now. Maybe this is what you’re saying okay, this is my Y concept. It doesn’t look as cool and it realistically obviously does not not so much not at all um, so you can set yourself okay at this point.
What I want to do like how do I actually make it look more original, and this is talking about not always focusing on making your actual letter concept. Look like you know the only thing about the Y. The only thing about the wild letter concert so I’m going to do or local concepts. Q’s me don’t go ahead, make a duplicate of this again, I’m going to shrink this down a little bit, something a little more skinnier than the actual main kind of stroke that you got going on.
So I’m go ahead and hold alt shift it over here and I’m going to go ahead and design like an outside almost like an outside little accents to the actual letter design. So I’m going to go ahead and just kind of like you know, freehand a little bit have a little fun with it. Now, of course, I already have a general direction. I want to go to it’s the basically the same exact letter concert that I had before that I showed you guys an example, but this is pretty much what I course started doing this I was just like.
I was just making the outline of the actual Y. So that’s I’m going to do right now. It’s kind of the same exact thought process. Still, I’m also trying to keep the same exact spacing here. I can check spacing in the later on I’ll show. You guys had a check of spacing just in case. It’s not perfect, you can fix it really pretty me pretty easily and I’m going to go ahead and here – and I must say all right at this moment in time when I had my actual example here I said to myself: I want to do something a little More cool than just making another line here now.
What I ended up doing was, of course, doing a little rounded shape here, which looks actually pretty cool and I’m sure cuz how to do that really quickly by using the actual ellipse tool. So, basically, it’s of course the circle of the actual rectangle thing here so yeah, but just get rid of this really quickly. I’m just going to show you guys how to do this part right here, okay, so what I’m going to do is I’m going to first off start off with the actual little ellipse here.
So I want to get the same exact kind of a angle I had so I’m going to turn on my fill put on my stroke. Put my stroke up if you hold shift that goes up by 10 points, I’m going to make sure my line. Stroke is at the inside here and I figure out kind of how I want it I’ll bring this in for now, and I say to myself that looks pretty good now to check your width. I’m going to do. Is I’m a take. My little rectangle excuse me.
My circle here I’m going to kind of go near this outside edge of this other rectangle. That was my original stroke size and this need to move over one pixel, just like so, and I’m basically test or actually kind of measure out the stroke. This should be easier way. What I like to do is kind of put them together and then just simply move my stroke up until you can’t see – or until you see that this is no longer intercepted with this.
So that way, you know that this ellipse is the same exact width or thickness of the actual stroke. That’s going around the actual Y concept. That way you don’t really fall victim into getting really really oddly displaced, you know actual shapes. So that’s what I want to have here looks pretty cool, and now I’m going to go ahead and do is to actually create your shape cuz if you try to do the shape tool right now.
Right, if you have to say I want to delete this from this, you guys could do that. However, if you ever wanted to actually make a shape going down, like, though you can’t see it anymore like this, though, make it going down, you have to make sure that your ellipse tool that you’re using is um actually kind of like in a way Rash right. That makes any sense if you’re like really a fan of photoshop, if not you’re, just want to make that you make sure your shape is no longer a stroke.
You want to make sure your shape is a fill, so you actually change a stroke Pappy into actual fill, which I mean by changing this right here and to a fill path that will actually make it. Selecting actually, probably you know, see it like this right. So it’s a solid shape and not just a stroke so because, if you try to do this and you kind of want to delete the circle here, you’re not going to do that because it’s no longer it’s not an actual shape.
It’s a complete actual, just stroke. Actual shape, I don’t know why it’s an actual twice, but others did so I’m going to continue to well, not with it so actually change this stroke into a shape. All you have to go to object, expand, appearance right here, and that way I must shift click and make sure I select too little. Excuse me two shapes here alt to actually delete just like so I’m going to delete all this, and I’m also going to do.
Is I’m going to take this kinda? Do this right here and I’m a shift on this and I might delete and delete, and I bring this up a little bit and I have something like this now: the pretty cool part is, if you want to say to yourself, I want to make sure that This is completely perfect or kind of aligned. The way you would kind of want it right now you can see this is a curve. This is a straight line just really quickly if you find that shape, which is right here for me, it’s right here, so you can see it always in your group.
So if you go to your groups, whatever shape is selected, is what’s the one that’s going to actually be targeted. So if I click here, this is the shape that’s targeted. So this is the shape that I want to actually lock or not right. Now I’m going to duplicate it really quickly by either just going to here, dragging it into this little shape or excuse me into this little new page drag it there drop it.
As you see, it turns it to a new layer. That’s just an alternative between just doing alt and dragging just so. You know, I’m a lot the original layer and on this new copied layer, I’m going to turn off by fill turn on my stroke, go to my stroke. Width here change my line stroke to the outside, just like so, and I’m going to select and pull this up that way all the way until it gets to my shape that I’m trying to cut out right here.
So I must say, that’s pretty good. So I’m going to do the same exact technique that I did to actually turn change. The actual original ellipse to an actual film. So I’m going to the same thing, object, expand appearance and, as you can see, this is actually one shape now and not just the actual path, a path or excuse me a stroke that way I can select this actual shape here. Control or shift em bring up the ship mark.
Excuse me shape builder tool, hold faults select on the outside right there. That way. Now, if I go to this – and you can see this, this is actually perfectly aligned with the outside curve. That’s over here and that’s how you can kind of keep the keep the the real nice just look to it right. So there we go that looks pretty dang good, pretty much a similar same exact thing. I have gone on in the actual example here right.
You can say that it’s kind of the same exact thing, but actually I put mine together, I don’t mind putting it together again. Let’s do that. Just pretty much take my two points here. Shift click shift, click shift, click, three points drag them on over and there we go it’s together now. So yes, that’s what I did for that and now pretty much I’m going to do really quickly. To kind of give you that little cut that I have before.
As well, I use the pen tool here, kind of cut it just like so just make a simple little triangle: just want to cut it just right down this middle right here, just like so so shift em shape low tool, delete there we go, and now we Got a nice little, you know cut down going here now. Last but not least, I use the other circle. I using the circle. That’s L for my keyboard for the shortcut for the ellipse tool.
I’m just going to throw this circle. I believe I had at something like this right: let’s see uh yeah pretty much on the outside, okay cool. So what I’m going to do for this? Of course, it’s one off my fill put on my stroke, go to the inner and bring it up, and I would say this is pretty out. I want to have this. What if I put on the outside? Okay, the outside is ten times better. Okay, that’ll work.
Alright, so I’m going to do right now, right now is on, of course, change. My actual stroke into actual fill so expand appearance. Now it’s an actual fill now I’m going to do is I’m a shift-click on all these shapes here that might have some of the shape below I got. Ta unlock this layer boom and pretty much I’m going to do is on, as you remember before I said, if you hold alt, it turns to a, but that’s how you delete it, but I also said if you press plot, what’s Y was the actual mouse.
Cursor has a plus on it. It’ll actually make your your one solid shape into two different types of shapes or two different shapes. So if I click this will actually create another shape, you actually use a manipulate. So that’s what I do for that, but for the outsides here I want to make sure I cut the shape out on the insides of here, because I don’t want it to. You know bleed through, like that. I don’t want that here and then for the rest of the outside.
I want to make one shape just like so now I have two different shapes just like that, and we’re going to do is on make this shape a little bit bigger right. I’m going to make this shape a little smaller that way you get something like this right, so it’s pretty much the same exact cos that I have before now. As you can see. I believe this is not rounded with this right here. So all you have to do is do the same exact techniques before so find that shape, which is right here, click it make a duplicate of it all by the way.
Another alternative, besides dragging to the plus button its holding alt, and bring it right above the actual layer. So this is actually duplicate of this layer right here, so I’m a lock this layer change this layers filled to a stroke, make sure I’m I align my chalk on the outside. Bring this stroke out just like so that’s, okay, we’ll say like 70 is good and then change stroke into a path or fill and then shift click shift.
Click shift, em click here and then get rid of this. I can delete it and then I’m like this layer now this actual curve here matches with this curve. You do the same thing on the outside here I would realistically um just you know, because you want to make sure it’s all perfectly fine. So I’m going to take that shape very quickly, drag it up, lock this layer change this into a fill or show a stroke.
I believe I had it at 70 on the outside and I’m going to change this object to expand appearance. Click here delete that there and that way I can drag this down here, delete it and there we go now, they’re the same width from each other and all that cool stuff and there, as you can see. This is the Y console I have for my example, but just you know I just did it a little bit. You know differently a little fast, but it still works.
It looks really good and realistically, if you want to actually combine shapes together. So if you want to say this shaper here, this shape right here and this shape all want to be one solid shapes you don’t have to actually select multiple things. All you have to do in this shape right here or not this one. This is actually the surf on the outside. Don’t need that so this shape this shape, this shape this shape, and this shape I want all together that would have a claim, selecting them one by one.
So if you want to all you have to do is go to the Pathfinder tool and you can find that with the windows, Pathfinder and basically the first one that says right here, it says unite. So, of course, you can think if you click on it, while all those shapes are selected with your shift tool, as you can see now, it’s all one shape that I have to select one by one kind of thing going on here and there’s that right.
So it’s like 10 times better, I’m going to delete that, and this looks a lot better. So there you go so then you can send yourself actually want to make sure that this is all connected as well with a Y right unite just like so now. This is one entire shape, and these are two other different entire shapes. So I can do now is click on this. I can say to myself what color do I want the inside? Maybe I want like a nice blue, you know whatever the blue.
I have before cuz. It was really pretty this one right there, something like that and after the outsides I want to make it. I don’t know purple pink whatever you know kind of have fun with it and, of course, the cool thing about. Of course, you know using your logos or making your logos and inside illustrator is that your logos are full vectored that way, it’s actually not pixels, so you can kind of shrink it as small as you want and then make it as big as these as big As you want, it’ll still be the exact same quality, the same exact resolution that you’ve been created it if you were to do it inside Photoshop, if you do that in Photoshop rip your quality, but this is a vector.
So it’s all good. So there you go. There’s the Y constant actually did now, I kind of said I was going to be H, but you know it’s it’s a really long tour like if you want me to do you actually want me to do it, I’m just going to quickly fix this kind of Stuff here and there you go the same exact shape or the same exact letter khaa. So that’s basically right here right, just a little more tighter, a little more, you know cleaner, but same exact, literally the same exact concept.
I’m just going to shrink that down to size, so you can see it there right. I just face it a little differently right. This has way more spacing. This is really really skinny, but take your time honor, of course, stuff like that. You still want to take your time on it and I yeah there’s that Y concept now I’d set up, go to the H bro. It’s not that hard. Why not really quickly? Okay, so of course, I’m going to start off again with the whole shape thing right.
So make a shape on the outsides and I’m going to set off with that H. So, basically, I’m going to start off we’re just doing this. Okay boom boom right shape builder tool, there’s our age right! That’s a little bit exited off with for this right here now I’m going to do next is: let’s just say: we take this right here, rotate this, like this. Have that on the outside here take this tool duplicate with holding alt reflect it I’m going a little faster.
You do exactly what I did already, because the actual uh, the other counts that I did. I want to make this a little more tighter. There we go now. I want to have these go down like this. I know this is not the exact same. You know you want to make sure you line that up perfectly, but I want to you know, keep it really quickly and just how fast you can actually manipulate this so um the example here.
Okay, so we need a AO all right. We need a a circle, so I’m going to take a circle, L for our actual quick little shortcut for the circle and there we go something like that. Now, let’s make this a path. Now, I’m going to put the inside we’re going to put it to like. I don’t know holding shift again. These are totally not the same, and it’s blowing my mind. Okay, I’m just going to I’m going to take both of these and just drag it down just a little bit just so it’s even with the actual outside there.
Okay, that’s fine! Also this messed up, and this needs to be there cool – is that that the same anymore? No, but definitely is not. I think I move this entire thing there we go perfect, alright, cool now as exactly same thing, I have four there. So what I can do now is, I can just say to myself: you know. Click on me outside the circle here also quickly make this to an actual film click here here, and here take the outsides and get rid of them.
There we go now. It’s just one little thing right there, so I’m going to do is I’m of course, like I said before, duplicate this mix in a smaller rectangle or a smaller shape or smaller width. There we go that’s pretty much. My stats kind of like my way of making sure that you don’t really get confused with um. You know the main letter concept and then just like so to go around it so right now, I’m going to go to here right, I’m kind of fixing what my actual circles going to be manipulated to some like that right.
Also this one I’m just going to duplicate this and reflect it horizontal. So, as you can see, I’m just basically making sure that’s on point, basically making kind of a shape right here right. The reason for this is I’m going to move this out of just a little bit I’ll say pretty: it’s really good here. I think I may unite these, so this is one entire shape, so I just want to make my shape, and this is going to be bit like my cutout shape.
You, like think, like stencils in a way, so what I can do here set the shape, select the circle on the outside shift em and then pretty much delete and I’m just going to go ahead and quickly make sure I delete the app sides as well. This outside this outside, and then they get some like this, and I can do the same exact thing by either. Just taking this, I just I’m going to do good of it just in case, because I knew I was going to use it again, reflect it vertically and of course I don’t actually know the exact width on the outside over here.
But let’s just say you can cut it out kind of guess. The width or you know, make sure you have the same exact width or what you can do is shift-click on everything unite this and, as is one entire one entire. Like circle, you already know, this is still the middle of the actual circle and we have one side a different side than together. So I want to make sure this side is matched with this side. So I’m going to do.
Is I’m going to go ahead and just kind of make sure that this is all made just make sure this is all one shape as well, so this entire one shape I’m going to lock this down. That way, I can’t actually select it right. I can always select the actual circle here, so I’m going to do. Is I’m going to use a rectangle tool again, I’m going to figure out where half is I’m going to make a new layer because you have to make a new layer when you want to use rulers which are located right over guidelines? Are the guidelines control our works right, pretty much control our am I figure out where the middle is so I believe it’s like right there, so click and there we go so yes, it depends on what layer is selected, so I put it on, I believe, which Later I put it on oh no right here, guy right here, so this is a one layer.
It actually has that ruler on it. So I’m going to do. Is I’m going to go ahead and use my my up? Where does that boom? My rectangle tool make sure this follows the exact path line, and so basically, what I do now is, I can get rid of this rule. I don’t need anymore. I must click on this little ruler. Excuse me this rectangle, that’s half of this circle right here shift M shape, builder tool. Right click here, delete this delete.
This leave this and then pretty much all drag it over right. Click transform reflect vertical and then put this thing together. Right here make sure it’s on the point. Select these two different shapes here: unite them, and now it’s one entire shape perfectly horizontal are perfectly symmetrical with everything and then pretty much all wrecks. Really next is kind of, like you know, figuring out the top part.
How I did that was pretty simple. All I did was do something like here. I find that middle again, we’re using the guideline here. Put it on that middle right click transform vertical, bring that over here, put it on the same point, control or shift click on these unite them and then select the outside here and then delete that delete. This leave that and there we go now. I got the little cool little top part there, and what I did for here is what I did is I’m unlock this really quickly.
I don’t need this anymore, but I’ll just keep it hidden shift-click on both of these two different objects, then I can click here, of course, with my plus bound for the shape builder tool. Right click right here made it one single shape. I was going to make this smaller with alt and then holding shift and then draw holding alt as well or excuse me: ctrl bring up the actual free transform box, holding shift, make sure it’s, I don’t change the actual proportion and then holding alt keeping the same Orientation – and that way I can do that – and I can do then, is take this shape here drag this down.
I made a duplicate of it by holding alt while dragging it, and then you know sugar. This downs a little bit more. Something went wrong here. It’s not completely symmetrical, but I would fix it if I knew word, I fix it, but that’s perfectly fine for now um yep pretty much. That’s the exact same way. I made the actual age concept. So there we go my lock or I won’t lock this I’ll get rid of this actual guidelines.
Oh give it to that guideline I’ll bring up the actual example I have here as well, and this example here and I’m pretty much as you can see. This is pretty much the same, exact concept that I had for this right and I just change this shift-click on these. Combine them change this color that right there right so there you guys go as you can see. I know it was like a long story. I know there’s a lot in it, but I know it would have helped you so much.
I wanted to at least show you guys the way I actually created these really cool shapes with the outsides of the actual concept now um, when it like, like literally, you, still have to sort of think in a way, but I really started off with something really Simple like this is my really simple H: what if you had something that was a little cooler than this, or maybe you had more parts to kind of edit for your surroundings? That’s you still got a thing.
Of course, you don’t have to really try as hard an app that makes any sense or challenges over really get frustrated, because you can also work around the app side with your logo design, to create something very, very simple, very awesome, very original, and you won’t get A headache in like we probably still get a headache, but it won’t be as bad as your other. You know really trying to focus on your actual only the letter, but that’s how I want to show you guys Purdue today, um yeah, that’s pretty much it.
I’m just going to make sure you guys leave a like on the article, of course, if you like the logo, design tutorials, I know you guys already do I already know you guys are going to kill it, and I know you guys going to do your day Right you guys enjoy your day. It’s a set. It’s Friday, you’re reading some dates, upload it’s a Friday. So hopefully guys, like I said – please leave a like. Please follow me on Twitter access week.
You please subscribe if you guys have yet or please check out all the other tutorial that I have, of course, on my blog and of course, check out myself. I self I calm, / sets of HQ for any premium packs as those 3 bucks, which is a freaking awesome, brush pack, everything packed being one of my two most purchased ones over 600 for one of them, one of them more over 700 people have purchased it Already so it’s something really awesome, and so for you guys, maybe like think about.
If you guys want to go ahead and purchase them, you guys could and yeah all the links are the scripts down below. Please let me know in the comments in when you guys on what other tutorial to see me do, and I know this is long. I knew I really need to stop talking, but, like you know, just making sure you guys understand that it’s always not about the logo letter itself. It can also be about what is surrounding it.
Okay, that’s my little end quote there and I’m going to see you guys later so so HQ out. Peace, keep smiling stay positive and stay productive later.
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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,
Is the letter p. But once you see how this can be done, it should be pretty easy to apply the same techniques to the rest of the alphabet, so i’ll go ahead and get started here in illustrator.
The first thing we want to do is set up a new document. That’s size to 1280 by 1280 pixels and we’re going to set up our documents that we’re all working with a similar view and with similar settings. So what I’m going to do is come up here to where it says view, and I want to turn off snap. The pixel, in fact, from the view, the view menu. The only thing we want selected is snap to point and then we’ll go to window and what we want selected up here is control a line color and gradient, and then we can close out of that and what I’m going to do.
First, is I’m going to come over here to the align panel and I’m going to make sure the align two I’m going to make sure that’s set to align to artboard and once that’s set, I’m going to come over to the rectangle tool up here? If you click and hold up over that button, you’ll get this little flyout menu, I’m going to grab the ellipse tool and I’m going to hold shift and alt on the keyboard and click and drag on the canvas to create a perfectly round circle like that and Up here from this drop down, I’m going to choose this red slash to get rid of the black outline and then for the fill.
Color I’ll just choose black over here and I’m going to take the opacity of that and bring that about in half and then I’ll click out of that to deselect it and right here where it says with ellipse with we want to make sure we have. This turned on this chain link. We want that constrained, width and high proportions. We want that turned on and I’m going to change the width to 300 pixels, so I’ll hit 300 hit enter and then I’m going to Center.
This up on the vertical and horizontal axis, like that, now I’m going to grab this select tool and I’m going to hold alt and click and drag this circle to create another copy and I’ll make the width of this one 50 oops, 150 and then Center. That up on the horizontal and vertical axis as well and I’m going to hold alt and click and drag to create another copy and I’ll Center that up on the vertical and horizontal axis.
And then I’m going to a hole. I’m going to click and drag this top node right here. This top anchor point, I’m going to click and drag that up and then hold shift until it snaps to the top of the circle like that, and then we can let go and once we’ve done that I’m going to click and drag over everything right here. All three of those circles and I’m going to hold alt. Actually, no I’m going to click on the the shape builder tool, which is over here and then I’ll hold alt and click on the center circle to delete that and then we’ll go back to the Select tool.
And then we are left with something like this. So this is going to be the round part of the letter P. What I’m going to do now is I’m going to create the the talent over here. So what I’m going to do is I’m going to click and hold on the ellipse tool until we get the flyout menu and then we can choose the rectangle tool, I’m going to click and drag to create a rectangle like that. I’m going to bring the opacity of that down in half and I’m going to make the width of this one 50 and over here on the inside of this rectangle you’ll, see these little round anchor points, I’m just going to click and drag that in until it Turns until those edges turn red like that, and then it’s going to become rounded, then I’ll grab the Select tool, I’m going to hold ctrl on the keyboard, grab this node right here and then just snap it to the left side of this inner circle right there.
Just like that, and now I’ll click off of the graphic to deselect everything I want to grab the pen tool now, which is over here and snap to the top of this shape. Click then hold shift and bring that line straight through all the way to the outside of the bottom of that shape and then go ahead and click again and now we can. Let go a shift and just finish this shape up going around the outside and back to the starting point.
I’m going to grab the Select tool, hold shift click on the original rectangle, so we have them both selected and I’m going to come over here to the Pathfinder tab. If you don’t have the Pathfinder tab, just go to window Pathfinder and then I should pop up and I’m going to choose minus front. So, what’s going to get rid of that right there and what I do now is I’m going to grab the direct selection tool and I’m just going to click and drag over these two bottom nodes or irin.
Just click and drag them up and I’m going to hold shift to lock it onto the the vertical axis. I’m going to bring this up to about here so that that tail isn’t too long and what I’m going to do now is I’m going to grab the select tool, click and drag over everything, and I’m going to want to zoom in on this. So I can get a better view of what I’m doing so to zoom in I’m, going to hold alt and roll up the mouse field a couple of times and I’m going to come back over to the shape builder tool and I’m going to hold alt and Click on this little piece right here, that’s sticking out from the circle, so that’s gone, and then I’m just going to click and drag over this area.
These areas right here so it combines them all to one shape and I’m going to do the same thing with this area and this area combined that all into one shape and then I’ll just turn that green actually don’t have to go back to the select tool And I’ll turn that green or you know what let me undo that you could hit ctrl Z to undo it I’ll click off that to deselect everything and then click on just this shape and turn that green.
So you can see the difference between the two. We have two different shapes here, so the next thing I want to do is just zoom out a little bit, I’m going to click and drag over both of these and bring the opacity of them all the way up, and I’m going to color them in now. With the gradient, so let me click off with the deselect everything I’ll click on just the black shape right here and under the gradient tab.
I’m going to from the drop the type drop-down I’m going to choose linear and if you notice it gives it a white to black rating we over over. Here we have the white stop and then we have the black stop over here. So I’m going to double click on the black one and then from this drop down, I’m going to choose HSB and I’m just going to choose a shade of pink something like that. Like a deep shade of pink, almost like a red, and we can click out of that, I’m going to double click.
This stop right here. This slider again choose HSB from this drop down and I’m going to make this one like a yellowish orange sort of shade. Maybe something like go with that right there and again click out of that to uh to release it and now I’m going to click on the green shape and I’m going to give that the same gradient so I’ll come over here. The gradient, the drop-down and choose linear, and it’s going to give it the same gradient only we want to flip this around so that the pink is on this side and the yellow is on this side.
So to do that, I’m going to come over here to the gradient tool and I’m going to bring the cursor just to the outside of the right of this strip right. Here it’s going to turn into a rotate icon and once it does that you could just rotate it around 180 degrees and then hold shift on the keyboard. So it locks up exactly on to 180 degrees, and then you could let go and there you have that right there.
So we’re just about done with this design. The only last thing to do would be. Let me grab the Select tool. The last thing to do would be to put a little bit of a shadow right here, so it looks like it’s casting a little bit of a drop shadow over this. To do that, let me click and hold on the rectangle, so I can grab the ellipse tool again and I’m going to create another ellipse, I’m going to hold shift and alt and click and drag to create a perfectly round ellipse.
Let me just make this blue. So we could see we could differentiate it up against the rest of this graphic and I’ll make the width of this one 50 and I’m going to bring the opacity of this down in half and I’m going to go back to the align tab and Center. It up on the horizontal and vertical axis like that. Let me grab the Select tool, I’m going to take this top node again hold shift and then just snap it to the top right there and I’m going to create another copy of this.
So I’m going to hold alt and click to create another copy, I’ll make this one green and then I’ll hold ctrl grab this node right here and snap it over to this node right there. So it’s lined up like that and then I’ll just click and drag this bottom-right node down I’ll hold shift and just click and drag it down a little bit, maybe about that much and then hold shift and click on the blue shape. So we have them both selected and now I will go to the Pathfinder tool and choose front just like that.
Then hold shift click on this shape right here and go back to the shape builder tool, hold alt and click on this interior air right here and now we go back to the select tool, click off with the deselect everything and take just this blue piece. That’s left over and press Delete on the keyboard and get rid of that, and then I’ll just take this blue shape right here, I’ll make that black and I’ll adjust the opacity of it until it looks about light, and that should pretty much do it.
For this tutorial, that’s how you can go about creating these simple letter logos using adobe illustrator. So if you have any questions, let me know and as always thanks for reading, yes,
The input voltage capability, the different protocols that are available with that ESC and the size and dimensions of it. Whether or not it’s an individual ESC like these or if it’s a foreign one like these and then the different processors that can come in a ESC. So, first up for current rating, you need to make sure that the ESC that you pick is going to be able to handle the current that you’re going to pull through it.
It’S not an exact science that, like down to an a specific number, there’s, usually a range that will work, but typically the the higher you go, the kind of more Headroom you have and the more you can feel safe that you’re not going to blow that es Es e up because you’re pulling too much power through it. A common misconception that some beginners think about the current rating on es es is that if, if it’s rated for higher it’s going to make more power, but that’s not how it works, it’s not higher.
The number more power it makes it’s the more that it can handle to flow through it, so just realize that you’re not going to get more power out of going with a higher rated ESC. You it just is possible to push more power through it and without it burning up on you. Next we have input voltage. This is going to be really important because you want to make sure that whatever battery you’re going to use is going to work with the speed controller.
This is going to be listed on every product listing for every speed. Controller they’ll usually be a range it’ll say like 2 to 3 s 4 to 6 s, so just make sure that the ESC that you’re picking is going to work with the battery that you’re going to use or make sure that you’re picking a battery. That’S going to work with the sees that you have, then you have the dimensions or the size and the weight.
This is not as critical, because I mean they’re. Typically, es es are not too far from each other, but in certain situations, maybe you’re trying to be as lightweight as possible. So you want to make sure you have the smallest ESC as possible. These are all ones. I’Ve used on very similar setup so obviously that one’s quite a bit bigger than this one. So by using these, I’m saving some weight and different frames are going to have different widths of the arm.
So it may just bug you if the ESC is wider than the arm. It’S not a huge deal either way, but just something to look at is the dimensions and the weight. The next one is where it starts to get a little technical, a little tricky and I’m not going to go too deep into it and overwhelm the beginners, but this is the different protocols that the ESC is capable of handling. So how do I explain this? Simply? The protocol is essentially the way that the ESC and the flight controller are communicating with each other.
So it’s basically the signal flow, that’s happening between the two and there’s different methods and different speeds at which these can run. So when I say speed, what I mean is the way that the ESC and the flight controller are working. Is it works in a cycle, so it’s kind of looking at? Where is the drone or what’s the status that’s going on? What Corrections need to be made? Do I need to speed up these motors or slow these motors down and then it gives that correction and then it repeats over again.
So when you have a faster protocol when paired up with a fast enough processor on the flight controller, this is what’s going to make a huge difference in the way that the drone flies when it can very quickly make these little micro adjustments and do it without Adding too much signal noise or being harsh on the system, this is what’s going to give you a really smooth flying drone. The two main protocols you’re going to find our one shot and D shot, there’s a little bit more to it.
There it’s actually one shot. 125 and then in the D shot realm, you’ve got D, shot, 150 D, shot 300, 600 and 1,200. Essentially, the different numbers mean it’s a shorter pulse-width and essentially a faster refresh rate. At one point, one shot was like the bee’s knees. This was a big advance in the way that the protocols are communicating with the flight controller. But at this point it’s a bit outdated, pretty much any current ASC you’re going to want to use D shot.
So what de Chatillon call a big advantage to having a digital protocol is there’s more commands that you can send from the flight controller to the speed controller. So the two huge things that I use and a lot of pilots are going to take advantage of. Is one is, you can use your actual ESC to send a signal to the motor to be a beeper? So when you plug in your drone – and you hear those beeps – that’s actually the ESC, sending signals to the motor and the motors what’s actually making those tones and with D shot away you can take advantage of that is the motor can become your loss model beeper.
So when you crash and you’re not sure where you went down, you don’t know where the drone is having D shot, enables you to flick a switch on the radio and the ESC will make that motor make a beeping sound. So it makes it easier to find another big one that comes in really handy is turtle mode. So what turtle mode is? If you crash upside down using D shots communication abilities, you can tell the ESC.
I want you to take two of those motors and reverse the direction, so when you give it an input, they’re going to spin backwards and you can actually flip the drone over aside from it flies better. Those two features alone would be enough that I would definitely recommend you may as well just go for disha the difference in price between older one shot and the cheap, Disha ESC is very negligible. So at this point I would at least get something that has disha aside from that.
The next sort of advancement that came along with ESC s is having a 32-bit processor on them. So the pretty much best of the best you’re going to find right now is a D shot 1200 with a 32-bit processor. Having that 32 processor is just going to open up more features that a ESC is going to be capable of doing so now with the 32-bit, you can pull in telemetry information from your ESC, so you can know exactly how much current that each one’s pulling you Can know the RPM of the motor, you can also add and modify the tones that it’s going to play when it starts up, which is you know, some people have a lot of fun with that.
It’S not a huge deal, and it’s also just going to be more future-proof. More features that come down the pipeline are probably going to be created for the latest tech that we have and then the last main spec that you’ll see is whether or not the ESC you’re looking at is an individual or a four and one, and then in The four and ones you’re going to have different sizes, so this is a 30 by 30. They also make them in twenty by twenty, and I think also sixteen by sixteen so depending on which size of drone you’re intending to build that’s going to play into which size ESC you need.
You would probably want to go with the smallest one available, but you also need to make sure that it can handle the current and the input voltage of what you’re trying to build around now for some considerations when you’re picking an ESC, the first one would be Whether or not you’re going to go for a 401 or individual ESC, they both have their pros and cons. I kind of already went over this when I did the gear overview article, but we’ll do it again here, four and one.
Obviously it’s less parts to bahi. Only need one you don’t need to buy four of them. It’S going to be a little bit more compact, a little bit less weight because there’s a lot less wires. Speaking of the wires there’s a lot less wires to solder to because on an individual ESC, you’ve got four wires coming off the top and you’re going to solder three to the bottom and you’re going to do that four times, whereas with a foreign one there’s just Going to be the three motor wires need to attach for each motor and then the rest of the wiring is just going to be in a wiring harness that usually will just plug right into your flight controller.
So a little bit easier to build over here, but the upside of a individual ESC is, if you have a problem with an ESC, you only need to replace the one. That’S gone bad, whereas with a foreign one. If you have any issues, you’re replacing the whole thing, so in some cases it can be a little bit cheaper to go with a foreign one a lot of times. The price of these is less than if you were to add four of these together, but not always, and not always in the long run, when you’re replacing them.
Another thing to think about is the different sort of ecosystems of es es, so you’ve got BL heli or BL Holley 32. That’S the 32-bit version of BL heli. This is like the widest arrange and probably the most common one you’re going to find out there there’s tons of different es es available in BL heli. Next, you have kiss when you’re looking at kiss es es. It’S not like ble ble, at least the original vo heli was an open-source project, so any company can make an ESC hardware that ran with the BL heli software, whereas kiss is closed source.
So the only kiss hardware you find is kind of all within that same company and family of KISS. So, there’s not a hundred different es es out there that are kiss software compatible, it’s just whatever kiss is making, but the upside of kisses they’ve always been known to be very high quality and perform really well downside, being they’re, also a lot more expensive than a Year, normal BL, heli or BL highway 32 ESC.
Another thing to think about as far as kiss goes is: they also have their own flight controller and their own flight control software. So that’s kind of why I say it’s like an eco system. Typically, if you’re going to go for kiss you’re going to go kiss flight controller and ESC s and you’re going to like stay within that, it’s kind of like going Apple versus Android and then the other one that you’ll find is flight one.
I pretty sure flight. One ASCS are the same as what BL heli runs, but still just thinking about the ecosystem, it’s more of their flight controller that has its own hardware and software and similar to kiss it’s closed source. So you don’t find just random companies making flight one products. It’S the flight, one company, they make their own things and, like I said I do believe there is CSR kind of run, the same hardware as any Bill.
Helia see, and you can also use Bo heli es es with their flight controller. But it’s just something to think about of staying in the ecosystem. I think a lot of people who are going to use their flight controller will probably pair it with their ESC because they know it’s going to work well together, it’s been developed that way from the company. Another thing to think about is wiring and pin outs.
So, especially if you go for a four and one like I said, there’s usually a wire harness that comes off of this. So it’s going to be, like you know, six or seven wires that all go into one harness and some in some cases you can just plug that directly into a flight controller. But the problem is: there’s not a standard, so not every foreign one and every flight controller are going to be pinned out the exact same way.
So it’s usually a smart idea to buy it as a bundle by one companies, four and one ASC. That goes with their flight controller. That way, you know you can just plug it right in if you mix and match you need to look at the diagram of the ESC and the flight controller, and then you just look across and you make sure that they match. If they don’t match, what you need to do is pull the pins out of the harness and rearrange them so that they’re correct for the opposite end and then, with individually SCS.
The only thing to think about really with wiring. Sometimes the ESC is going to come with the wires already on it. Sometimes it’s not. They call it like naked. It won’t come with any wire, which is not a huge deal wires, pretty easy to come across. It’S just good to know whether or not your ESC is or is not going to come with wire. That way, you don’t get all your parts you’re excited to build, and you realize oh there’s no wire on the ESC s and now I have to order wire and wait before I can even build the thing so wiring harnesses and whether or not a does or Doesn’T come with wire, it’s another thing to think about, and, lastly, there’s price there’s definitely a range of different prices and speed controllers and there’s a ton of them out there.
Like a lot of things that I recommend, I would say, shoot for middle of the road. If you’re a beginner you’re not going to need the most expensive and the most advanced and feature-rich ESC to get flying, but you also don’t want to get the cheapest one you can find either you don’t want it to burn up or fail on you. You don’t want to have poor flight performance. The main thing is: get an ESC that has the current capability that you need for your drone, make sure it can handle the voltage that you’re going to put into it and, at the very least, get one that can do.
Disha 600. That’S going to enable you to have a beeper do turtle mode and it should perform very well, so that’s going to do it for es es. I hope this was somewhat informative. I know I didn’t go into too much detail on this, but, to be honest, I’m not an expert on how es C’s worked and for a beginner. I really don’t think it’s important to go into all the details of all the different protocols work and the hardware.
That’S on the ELC there’s a wide variety of es es that will work for you, so once again go for a middle-of-the-road price point, make sure it has D shot and it can handle the current that you need. That’S all this really going to matter for a beginner drone pilot. So with that thanks for reading – and this has been learn to fpv
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