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How to Create & Setup Account in Mailchimp | Effective Email Marketing

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


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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.


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Creating and Sending Amazing & Colorful Emails | MS Outlook 365

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


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The Different Roles of Production

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!


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Learn Copyright in Two Minutes – the basics

Agreements are needed when these rights are used. Copyright arises upon creation of the work. First, ownership rests with the author or co-authors unless an exception concerning employment applies. An author is defined as a natural person. Related rights arise for performers and for producers of sound or film recordings. Performers are also defined as natural persons.

Producers, however, can be legal entities. Copyright consists of economic rights and moral rights. Reproduction right and the right of communication to the public are economic rights. The right of paternity and the right of integrity are moral rights. The author has to be named on all copies of the work and when a work is made available to the public, the right of integrity is the right of an author to prevent others from distorting mutilating or misrepresenting.

His work agreement is needed in order to use an author’s work. The right to further transfer copyright to third parties and the right to alter a work must be agreed explicitly. Otherwise, these rights are not transferred. There are exceptions to economic rights in the copyright legislation which allow illustration for scientific presentation and citation without permission or payment right of paternity and integrity also apply when economic rights do not so credit authors and sources and do not alter works.


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UV#06 Sound design for a logo animation

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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Choosing ESCs for FPV

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