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How do I prepare Manjaro KDE for audio production?

How do I do that? I have a fresh Manjaro installation and we’re going to go for the process of configuring, the system and installing all necessary packages making sure it works good and then installing all the software that you might need for a music production, all the doors or the plugins.

And that sort of thing, and I’m going to show you where to get this and how to install it, how to later update it, etc. So you’ve just logged in for the first time into your new system and there’s a few things I want to do. The first thing might be a little bit strange to you, but the first thing I ever do is configure backups. So let’s open a program called time shift. Now it’s not installed, so we have to install time shift now.

Something I really like about Manjaro is that it has a drop-down terminal installed by default. So if you just press f12, you get this terminal, you can press shift, +, alt, +, arrow keys, right, arrow, key and down arrow key to make it bigger, and I usually like to have it much bigger. We can also make the font bigger if we just use ctrl + my mouse wheel, and this is going to be much easier to to follow.

I hope alrighty. So we need to install time shift, but first we need to update our package list so pac-man, which is the package manager s and Y. This will go into in update all the package information but of course we need to use sudo so sudo and I can now type exclamation points and that’s going to execute the previous command with prefix. So that’s going to execute pseudo pac-man s. Why? Now? I’m going to type in my temporary password, which is one two three four and let’s let it run and everything is up to date great now we can install time shift so I’m going to go sudo pac-man s, time shift.

This is going to install a package called time shift and all its dependencies proceed with installation. I just press ENTER and it’s default. Yes, it’s going to download some packages and time shift is installed. Now I can press f12 to hide the terminal. We can also close this hello dialogue. Now I can open my main menu and type time, and you see there is time shift a system restore utility. Now we need to give it our administration password that you’ve set during installation and during first run time shift, is going to ask you to configure how it’s going to do its job.

Now, if you have installed your system using ext4, filesystem you’re going to have to use our sink, which is the default option, this is simpler and but it takes longer to do. I have installed Manjaro using Manjaro architect and I’ve installed it on a btrfs filesystem. So I can use the very fast snapshot functionality of btrfs to create and restore these snapshots nearly instantly. So I’m going to select btrfs, you can also open help and read up about them.

Now we have to choose the file system, we’re going to store the backups on. We have one file system present in this in this laptop, it’s the main file system. So we don’t have to do anything now. We can configure a snapshot schedule by default. Time shift is going to do five daily backups, I’m going to disable that, because I want to be using time shift only to do manual snapshots when before upgrading my system, let’s go next this, let’s leave this enabled, and now we can include the user home directory.

What this means is everything in our home user directory will also be included in the snapshot. That means our documents. I want to use time shift only to store the system state, so I’m going to leave this off, but if you want to also include your documents, projects and everything, you can click this and it will back up everything, let’s press next and the setup is complete. I can now click finish: let’s create our first snapshot.

What you got to do is just click create now on btrfs. This takes no time at all. If you want to delete a snapshot, just use this delete button. If you were to roll back to that snapshot, we just press restore it’s as simple as that. We can also browse the selected snapshot files to retreat, something that was previously on our disk. But it’s not isn’t there anymore. Ok, this article is not about time shift.

Let’s get going now, I want to make sure octopi is installed and you can see it is, but in some previous versions of Manjaro it was not installed by default. So if you would like to install octopi, you would go to your terminal window and we can clear it and you can type sudo pac-man s. Octo P, give it your administration password, and indeed there is an update to be installed for that program. Let’s go ahead and do that all right.

What actually we want to do is update the system in its entirety, so I’m going to clear it the terminal and I’m going to run sudo pac-man, big s, small Y and small. U this command will update our system. Basically check if there is anything to update and it will update everything. This is an important thing on Manjaro, which is based on arch linux, as arch. Linux is a rolling release distribution.

That means there are no frozen states like with Ubuntu’s. You know different trees like 1404 or 1909 or who knows what 1909 oh, and then you update packages for the versions supported by this version of the system. No on arch based Linux distributions, like Manjaro, you are always on the bleeding edge, so you often will be required to update all your system packages now there is not much to update, because I have actually updated it during installation.

Another tool we’re going to need to install extra software is called yay yay, and it’s going to give us access to so called arch user repository, which is a collection of user created. Pk builds. These are scripts that get sources or binary packages from the internet and either build these sources or build packages from the binary files and install them to your system. There is pretty much everything you could ever imagine or want in the arch user repository, so we’re going to need that for some really bleeding-edge versions of our software or plugins that are not in the usual repositories.

So let’s go sudo pac-man s yay! Now you can see that I already had ya installed and that’s because I have chosen to have it installed during installation when I used Manjaro architect. But if you do a regular installation for the graphical installation program, you’re not going to have that option. So you will need to install yourself. The next thing we need to take care of is the jack on your server.

It’s pretty much the workhorse that’s going to hold all our audio work together. So, let’s just see if we have Jack installed, let’s go which Jack D and you can see we have Jack installed, but we want to make sure it’s the correct version. So I’m going to just make sure that Jack two is installed. I don’t use Jack one because Jack one is not multi-threaded and modern computers have at least two cores.

So it’s a shame not to use them for your DSP. From what I see here, Jack one doesn’t have any cool features at all: let’s go sudo pac-man s Jack and now you can see we have jacked installed so by default. Manjaro has supplied it with Jack 1, but we want Jack to do you want to remove Jack. I do so. We want to replace Jack 1 with Jack. Yes now. This is a very important step because if I have gone and installed other software depending on the jack replacing that package later would be quite problematic, because I would have to uninstall all the software that needs Jack audio server.

Then I could remove the jack 1 a package and then install Jack, and I would have to reinstall again all the software installed. On top of that now we are sure we are running Jack, so we can go ahead and install other things and the other thing I’m going to install is cadence sudu pac-man s. Cadence cadence is basically a control panel for production, audio work. Okay, we have cadence installed, let’s hide our terminal and let’s find it cadets.

Yes, it’s a jack toolbox, let’s open cadence and we can see. We have a yellow sign here, which says we have a non real-time kernel and with the user is an audio group. We’re going to check that soon, let’s see what we can do in the configuration the driver, we want to use alsa and yes, this is the analog interface, okay, fine, and we need to use real-time priority. Indeed, to up our performance, we can move the real-time priority up and now, if we try to do that, the jack server is started, but I’m going to stop it for now and first make sure we have other things configured properly.

So a one important thing for using Jack and Jack dependent applications like our door is to make sure that your user is allowed to use real-time scheduling in the system, and this is done with the use of so called audio group. So we can type in a command called groups and that’s going to show us what user groups our user is in and we can see it is actually in the audio group. But we need to make sure that the only group is properly configured so that it has the privilege to use the real-time scheduling that the jack server needs to do that, I’m going to go to a directory called etc’ security.

I’m going to list the files in there you can see there is limits, conf and limits dot D. This is a monolithic configuration file and this is a directory containing smaller files, which can be which are concatenated to produce the complete configuration I’m going to go into the limits, dot, d directory and list. What’s there you can see, there is something, let’s, let’s type less and ten and see what it is: their users mem, lock, 2024.

Ok, there is nothing here. Let’s go up, let’s now type nano limits, conf and I need to prefix that command with sudo. So this is run as administrator’. Nano is a text editor and limits. Conf is the file we want to edit and that’s the contents of the file. Now, let’s see if the audio group is mentioned here, let’s press ctrl W, which stands for where and now I can type audio audio is not found. That means our audio group is created in this system and our user has been added to it, but it doesn’t really have the privileges that we need.

So let’s go down to the end of the file and specify the privileges for the audio group. Let’s type a hash which starts a commented line and this is going to be ignored and now I’m going to type at audio, which means the name of the group user group tab. I’m going to use two tabs just to aligned with what is above. The type is nothing. The item is RT prior, which means real-time priority. Now I’m going to allow it 95 and, let’s also add another line, let’s call it audio again type tab, and this is mem lock unlimited.

This is another privilege for the jack server to use more memory in your system. I’ve taken this text from a website, Jack audio org, and there is a frequently asked questions section where you can find exactly how to configure this so yeah. You need to look it up and you probably will need to look it up now. We need to save the configuration file, I’m going to press ctrl o for out or right out limits.

Our conf enter. It wrote 54 lines great call. Now I’m going to press control X to exit, we can verify that the file was changed by typing less limits conf, and this is a file viewer. We can press page down, and indeed there is our audio group privileges specified, let’s press Q to quit this less problem now for this to take effect, we need to log out and log back in. So let’s do that. Okay, I’m logging! Back in now, we have cadence opened and can start all right now.

If there was no audio group in our system, we can create it by typing. Sudo group add audio. Now we need to type in our administration password. It’s going to tell us that the audio group already exists, but if it wouldn’t exist, we would have created it just now. Now we would have to also add our user to the audio group, and we can do this with the command usermod’. A big gene which means add to a group audio and now we can type our username alpha, but you can also type dollar sign and with big letters, user and this text will be substituted with whatever is the username.

Of course, I need to prefixed s with sudo or afterwards I’m studio and exclamation points, and this will execute the command. Now I have now. I should have done this before configuring, the audio group, because otherwise, that configuration would have not made any sense and then log out log back in and it would take effect to verify, let’s type in groups and indeed we are in the audio group. We can make it a bit easier by typing groups, pipe grep, which is a program to search for text audio, and it highlights the audio group in red for us to make it easier to spot.

Our user is in the audio group. Our audio group is configured so we should be able to run our tour just fine, let’s install it now. Maybe I’m going to use octopi to do so. So far I’ve been installing everything using the terminal, but you might prefer to use the graphical user interface. I’m going to type in our tour right, click install and it asks us to install optional packages. Xj do is an X, Jack article viewer, it’s a very useful viewer for working with film, soundtracks or editing, or making sound effects for pilot footage or whatever I’m going to install both of these.

Now, let’s commit these changes or apply these changes. Now I need to, of course, give my administration password and it’s going to install our door for us and Artur is installed, so let’s run it our door. Welcome to our door, I’m going to put everything in default places and I’m going to change this later. Let’s scan for plugins there’s not going to be much plugins because we haven’t installed any: let’s create an empty session hard or test my favourite name.

Let’s change the audio system to Jack, which is already running because we have started it with cadence and we can connect to it now. If we wouldn’t have the audio group and the audio group privileges properly configured, our door would not be able to create this session. It would give us an error and say that it cannot open the the session file or whatever it’s a misleading error message and what it really means is that it couldn’t obtain the real-time scheduling privileges.

Now we can pin the ardor icon to the task manager. It will let us open it up more quickly. You can also right click to start a new instance. If you want to open two other instances for some reason, we can create a new track control-shift-n, let’s make a stereo audio track, and this is already capturing audio from the built-in microphone huh. Let’s see if it works, it does hmm alrighty. It works. Now.

Let’s install more software, I’m going to save this. Let’s go back to octopi and now do you remember. I have told you we installed this program called yay. Now. If we go to tools, options and aur, you can see. We have yay selected as a as a program to interface with the arch user repository. You may have this dis elected so make sure you select yeah here. You can also enable a you are voting if you created an account on our aur Arch Linux at org.

I know I have so now I can vote on packages. You can select, no confirm and no edit to make it easier for you to go through the installation process. This will disable the option to change anything in the pay, Pete a build script, but it will also not ask you as many questions and it just going to be smoother. Let’s apply these settings and now I’m going to install this infusion first thing: I have to click on this alien face to enable the eye tool so we’re going to search the arch user repository instead of the regular arch linux or Manjaro linux packages.

So i’m going to type in Zen and press enter and we have Zen fusion here, let’s right-click and you can see. I have already voted on this package. Let’s install it and now octa-pie opens up an interminable ater and runs the high command with parameters of our package. It’s going to ask us a password, I’m going to give it the password, and you see it shows question proceed with installation and automatically answered yes, because we have selected the know confirm option.

This is right now downloading all the source code for s infusion and it’s going to compile it on the spot and install the package for us, so we can use it. This is going to take a short while, because the infusion is quite a big program now, as this installation is going on, I’m going to tell you something about pulseaudio, pulseaudio and jack are a cause of many headaches for many people using linux for audio production, because Both pulseaudio and jack are sound servers and they tend to not cooperate very well, but there is a very easy way to deal with that, and that is just to install a jack module for pools audio.

Then Posada will be able to use Jack as its audio backend. Instead of trying to use your sound card directly, two nights are fighting for the attention of Princess Elsa, the nimble Jack and the well-known police audio. But for the kingdom to blossom, we need Jack to pass the letters between Elsa and pull so do as any other way around will cause a disruption. What did I just make up unless all of that can be handled by pipe wire, but that’s a topic for another article? That means you will be able to play articles from your web browser and run order at the same time without having to stop or the other, and you can also then record articles from the web browser into your other session, because pulseaudio will expose its audio ports To the jack server and Kadence makes this easier you can see.

We have this post audio tab right here and we have information of the post of your server. You can see that post audio is started and bridged to Jack. That’s good news, because that means we already have pulls out you configured to talk to Jack. You can go to tools open katia, which is a Jack patch Bay, and we can see what is happening in our system right now. This is a graph of Jack clients and connections.

The system nodes show the built-in sound card that we are using for our Jack server, and you see we have Poots audio jack sync, which is the post audio output. So whatever you play in your web browser, for example, is going to feed it there. It’s audio here and right into our speakers, and here is post audio jack source, whatever you’re going to, if you’re going to talk to someone using a web application in your browser.

This is going to get the sound from your microphone, and here is the stereo microphone built into the laptop, but with the power of Jack, you can reroute that wherever you want, for example, you can feed output of your other session to pull Solio, so we can, For example, process your voice with our door and make people hear you with your voice changed or with reverb added or whatever I’m going to reset that to the previous st.

. Do not leave it in a mess. So Katia is a tool shipped with cadence. There is another tool called Claudia, which is a front end for laddish session mannered manager. There are also level meters. This one shows the microphone input and this is an out meter and I think it’s working, because we have this thing here. Yes, let’s see how the installation is going and we’re still cloning. Now we are copying the downloading the source files for EM Robby’s ESTs framework, which is the GUI framework that Mark Mercury have created for this infusion.

Normally this is much faster, but I’m recording the article and that slows everything down. Another thing we can talk about is using real time. Kernels now with Manjaro. Installing a new kernel is very, very easy. You just open your main menu and type kernel, and there is this tool for installing different kernels, and here are all the available kernels you can see. We are currently running kernel version for 5.

4 point 18 1, which is a long time supported kernel, it’s installed and it’s running, but there is a newer kernel, but there is a different kernel and it’s a real-time kernel. So a real-time kernel might give us better performance for Jack audio server. However, I have not found a significant change difference in my workload, but if we were to install it, we will just click here. Click yes give our password and we can show details and it’s going to download all the packages and install the real-time kernel for us, of course, to use this new kernel, we need to reboot our machine and you can verify what kernel are you running either by Opening this Manjaro kernel manager, or by opening a terminal hit f12 for example, and type a command called, you name a, and this tells us we’re running Linux.

This is the name of the computer, and this is the version of the kernel. This is a pre-emptive kernel, so it allows real-time scheduling, but it’s not like super full support and our new kernel is installed. You can see it’s now installed. If we reboot our computer, you will have a menu where we can choose which kernel we want to boot. Once we’re done with installing all the packages, I will reboot and we will choose this real-time kernel and once we confirm that it works, then we will remove the other one.

So we don’t have this option and the boot process will be simpler. Let’s check back and we’ll tale cloning by the way, a very important command on Linux is sudo, make coffee just joking. Okay. Now we have to give our password. One thing I don’t like about yeh is that it can timeout with the password. I need to install it again. Thankfully, it caches the results. So it’s not a big problem and we have the infusion installed.

Let’s try it in our door, I’m going to press Shift key to open up the side terminal by the way. I think we should change the font size of our door now there it is yeah that looks much better. Not all phones will be updated immediately, though you should rest at our order for this to take full effect and I’m going to press ctrl shift and and add a new track. Let’s make it a me track and you can see we don’t have as in fusion on this list.

What we have to do is go to edit preferences plugins and go scan for plugins, and you can see we have it’s detecting, it’s helped. It has detected zeenat’s of effects so now, if I go to control-shift-n and add a new MIDI track, I have the amounts of the facts on the list. I’m going to pick lv2 version. Let’s call this Zen fusion for some reason it didn’t have to plug in here: okay, let’s do it CIN and some effects.

Now it’s failed. What the okay all right! So now we can control shift and create a new MIDI track. Okay, let’s press control shift n to create a new MIDI track and I’m going to choose Xin fusion VST. Let’s call this Xin fusion, it’s called dance of effects, but with the new interface it is as in fusion and there we have it and it works. I’m going to install more software that I use and I need let’s go, install surge and there is search synthesizer.

We can install the binary version, it’s going to be faster because it’s not going to have to compile everything. So if you read the output, you can see that it’s downloaded a debian package right here. It’s extracted it and it’s created an arch package from that. Now it’s compressing this package, so it can be installed. So arch user repository is using various means to pull in different software, so it can be installed on Arch Linux based operating systems like Manjaro.

Now it’s installing the package and it’s installed. If we now go into edit preferences and scan for plugins, you can see it has found a search plug-in. You can create a new MIDI track, call it Serge and we can select search from the drop-down menu and, of course it doesn’t work. Hey it’s alpha and it’s eight days later I have actually used this laptop with our door 6 and that we installed during this article that you’ll see and I recorded a gig and everything went perfectly and right now.

I’ve just went back to check this order. 5 problem with all be two plugins and I removed order six and installed our door five again and it works it works. So I think that must have been some error in the arch unofficial order build and that it’s already fixed. Okay, let’s install a bunch of plugins that I use all the time I use called plugins. They are very important. I also use LSP plugins tap. Plugins may be an easier way to do.

This would be to go to the raw audio group of packages, and here we have a lot of stuff that you might want to install, for example, audacity yep golf caps, also Carla the plug-in host. This show plug-in framework, dragonfly reverb. Of course AB you meet er. Yes, drum gizmo, oh yes, EQ tank. You certainly G on kik. Oh yes, guitarist for sure helm, yeah, IRL v2. It also might want to install Jack capture or something else.

I don’t like Linux sampler at all liquid sfz I’ve heard it’s a nice plugin LSP plugins yeah MDA lv2 yeah. These are some good plugins, though I had problems with them. Ninjas too, is a nice drum loop, slicer noise repellant is an excellent realtime de noising plugin. Actually two plugins one is using neural networks can looking through anything else I might need or want sample v1 is a very useful sampler set b3 is an excellent hammond organ emulator Sherlock lv2 is a great plugin for reading.

What’s going on in your MIDI stream, sonic visualizer is a very useful program for well visualizing audio file contents, as WH plugins are used to Tampa plugins sure wall shaper. Oh yes, love spectrum 2 X, 42 plugins are very useful. These are excellent. Audio metering, plugins zam plugins, are great. Zita audio jack bridge is very nice. It’s a tool for bridging, also applications to Jack. A Zeta ng bridge is a network jack application to send Jack audio over network.

I’ve made a article about that and there’s 8 RF 1, which is the very well sounding reverb and now to install them. I right-click somewhere and then go install. It asks me to install Jack. I don’t want to because that’s optional and I also have Jack already project. Em is a music visualizer. I don’t need a visualizer plugin and it should now list all the packages I want to install. Do we have everything I think we have everything we need.

Let’s do it, of course you need to give it your password, and now we just wait in the meantime, I’m going to close this our door session, so the user interface can reload with the changed font size. Now, we’ve mostly installed software that is present in the regular Manjaro or arch linux repositories, but we can also fund search plugins that are in the arch user repository. Sometimes these are newer versions of the plugins.

I’m always amazed how fast Arch Linux packaging manager works on Debian it’s like 10 times slower. I got used to how slow it was. It’s already installed. Alright. Now we can just go edit preferences plugins scan for plugins. Now that’s going to take a while, okay yeah now this is unlocked. I can enable the aur search. What is there that is not in the usual repositories, I’m going to search for LV, Oh bitch, rot bit.

Rot are very useful plugins that are unfortunately, not very popular. We can install bit rot plugins. Let’s do that. It’s going to download the sources of of github and build them for us, these are very small, so it shouldn’t take long. I very like the bitch rot, repeat plug-in, which is very good for on creating glitchy effects, and you can very well automate it in order. I like to use it on drum lines, especially so you can have like, oh in Nevada, studio plugins in verse.

Three planes will be yay in Nevada are also some great plugins. Now I need to give my password. Okay bit. Rod is installed. We can install the invader plugins, it has 44 votes. People like these. Let’s see how order is going. Okay, it scanned everything. It has all the new plugins detected. Now we have a lot of plugins. Let’s go EQ 10-q. I use these a lot. So I’m going to add these two to my favorites.

I think there’s something wrong with our disorder installation. It can’t load any lv2 plugins. That’s no good, usually it just works so kind of sucks and I really wished something like that: wouldn’t go wrong when I’m making a article, but we have our in Venice to do plugins installed. You know what I’m going to do. I’m going to install our door! 6.0 and hope it’s going to work a bit better, so note that I’m searching in a you are, and we have our door get let’s right-click and install.

It would like to ask us to remove our door first, because these two are conflicting. If I were to edit the PK build file script, we could install both alongside, but let’s not do that, so I’m going to just remove our door, it’s already removed. Now, let’s go back to the aur search and I’m going to install our door, get you can see that our our door desktop or our icon here is no longer pointing to anything I’m going to unpin it because our door 6 is probably going to add a Different icon, we can also run Carla the nonlinear plugin host.

We can add a plugin, let’s see if the lv2 plugins work in Carla, let’s go with in Nevada. I can go with special filters and, let’s just enable lv2 plugins, nothing else in Fatah. Early reflections, reverb loaded and here is the user interface. I really like this early reflection, reverb plug-in, because you know it has this three-dimensional visualization of a room and you can place your source and your listener, and you can see the impulse response being generated on the fly and visualized.

I’ve used this a lot in the Lance perversion and lmms: okay, so lv2 plugins work in Carla, so that some problem with order. So we are not installing official order builds. So we can’t complain to order developers because the official builds probably work. Let’s open Serge lv2 here and it works, let’s make it bigger yep, just like it should alright, so Artur 6 is installed, let’s see if it works out or 6 of ascared configuration from our tour 5.

Would you like to these fans to be copied and used for our door, 6, yeah, sure and congratulations file will cover you now. You now can restart our door and okay. I don’t know why this get version. Has this weird icon welcome to this pre-release build of order? Six point: zero: three: zero! Three. 504! Yes, I know don’t use it for production, let’s create a new session, our door, six test. The main thing I want to know, if is if this version of our door, is going to work with LV two plugins, because that’s quite important, and I have no idea why the order 5 version didn’t work and, let’s see if our r6 works with all v2 Plugins because our door 5 didn’t want to control-shift-n, let’s create a new MIDI track and insert maybe sentence of effects.

Let’s call this Xena, and here it is, I’m not sure if this is the LV to plug in or the VST one. Let’s add a new track. Let’s go to me track: let’s make a no plugin at all and let’s insert the plug in manually, so plug-in manager, and here we should be able to filter by type so LV. Okay, let’s show instruments only show all formats. I want just LV okay, so we have LV two instruments: let’s try G on kick okay, so LV two plugins work in this order.

Six build that’s good. It took a while to install because this laptop is not the most powerful one. It just has 4 cores, and but it did it alright, so we have a working workstation to do things now. If we wouldn’t have the pulse out your jack module pulsar, they wouldn’t cooperate with jacks, so let’s try and find it in the package manager. In case you need to install it, we can also install vcv rack.

So in aur we have vcv. Rack can install the binary package, so you don’t have to build it from source. Ok, that works, and you can see we have VCB rack here. We can change the audio backends to Jack and we can make it feed into the system output, but now we can intercept that you can clean these and use these outputs here and now can record. Don’t pay attention to the X runs. This laptop is under heavy load.

No, we have recorded audio from vcv rack into order now. The very last thing we can do to try and improve our jack performance is to install a real-time kernel so away like I said before, you can go here, type kernel and we’re going to have this thing opened now we have installed the real-time kernel, but we Are still running the non real-time kernel, so I will now reboot this machine. I like to just press f12 and type reboot, oh by the way before we do, that we can create a time shift snapshot and we can do it in two ways.

I’m going to show you the graphical user interface way, so you’re open up time shift. We give it already you administrator password or root password, and we can click here to create a new snapshot, but I also want to show you how to do the same from the comment line. So I’ve got sudo time shift and if you run this command, it’s going to show you all the help text to tell you what you can do with time shift.

Basically we’re going to use the create option with comments. So let me clear the terminal and I’m going to go su time image if create, and then comments and now I’m going to type after installing all this software and I got press ENTER and it’s read a bit ers snapshot now. If I run time shift note time shift list, oh sorry, I need to use sudo, you can see. We have two snapshots. This was our first one, and this is the second one I’m going to close this terminal and I’m going to open the graphical user interface and you can see we have the same thing here and we can double click here to type comment, and this is going To be our initial snap shot snapshot, so it’s nice and we know what is what and why these are here.

You can see that our size has changed to four point: six gigabytes, so there’s quite a lot of things changed in our in our system partition or file system alrighty. I am going to now reboot the computer, so I’m going to go and you can do it from the main menu here leave and press restart or be cool like I am and just type reboot. What I’m going to do now is press shift to open the grub menu, but it doesn’t okay.

I think we need to change the configuration of grub. So let’s go sudo nano et Cie default grub, that’s a grub! Let’s give it the password, and here it is grab a timeout style uncomment. This line, if you want unable to save default function, come in the following line and set group default to saved okay Group default is set to saved, but this was disabled and I’m going to allow the generation of recovering boot modes because that’s useful, sometimes, okay, I’m Going to save this file and go update grub now, I need to, of course give it sudo, and it should use this to remake the configuration files.

Now if we reboot, I think we should be good if I’m going to smash their shifts key anyway. Get me that group menu group Group group group, oh yeah, we have the menu now we’ve got the group menu and the absolutely amazing thing about time shift and btrfs is that now we have arch linux snaps and you can see, we have the snapshots that we’ve Created so we can basically boot right into an older version of our operating system.

If we messed something up, we can just select a different snapshot right here. For example, if we removed a working kernel – and we don’t have anything to boot – we can just go here and boot an old version, and this is something really amazing – about btrfs and timeshift snapshots. Now we can go for Advanced Options for men, general Linux, and here we can choose the kernel. So man Gerald Linux, kernel 5.

4 is the default one and we’re going to go for 5.4 13 real time and I’m going to press ENTER and boot this one. Now, every time I boot into btrfs, I get this error and really doesn’t mean anything. You don’t have to press any keys. It’s going to disappear really soon. Okay, so we have logged in let’s open the kernel, dialogue see what we’ve got and yes, we are running the real-time kernel. Well, I hope you found this article to be useful thanks for reading and all the good luck with installing your own Manjaro system and configuring.

It for audio work. It’s not that hard. Many things that I’ve shown you are kinda, like double checking that it’s correctly installed. Now your the mileage mayor of may vary. You know. Every version of the mange road is so that you can download is going to be slightly different and also, if you install using the Manjaro architect or the graphical program, it’s going to give you different results. But overall, it’s really not that bad yeah.

So thanks for reading, I hope you’ve learned something and also big thanks to all fun people who are supporting my work on beat John and litter. If you would like to join them and help keep this show going, please go to patreon.Com/scishow and fur now go install Manjaro and make some music hey I’d like to apologize, because this article has taken away too long to finish alright. So I’d like to apologize, because this article has taken way too long to finish, however, midway through the editing, all the article editing in open source hell broke loose and I had to abandon olive altogether because it became so unstable.

I was unable to proceed and I had to go back to kdenlive, which also isn’t working great and it’s just crashing and hanging, and so it was real hell to finish this article, but I thought it yeah, so I hope you’ll enjoy it. I really hope it’s going to be worth it. Ok, bye,


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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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