Decibel Conference

Lesson 2/18 - Workshop 2 - Patchable Modular Software Synthesis with James Patrick


Decibel Conference


Lesson Info

Workshop 2 - Patchable Modular Software Synthesis with James Patrick

I would like to introduce an esteemed colleague, mr james patrick, who is the founder of slam academy and really amazing sound designer and composer and today he's going to be talking to you about virtual modular synthesis using some tools like from seattle's madonna labs and some really cool plug ins from you so warm welcome from james patrick thanks, nathan no one ever calls him nathan day tomorrow's esteemed colleague check him out, you guys, I'm really honored to be here james patrick and aside from just being a big fan of decibel on electronic music, I also have a kind of cool background doing sound design experimental techniques especially involving synthesis and effects processing, and a lot of the work that I've done in the past has been in the interest of techno dance music, late night stuff but through teaching on working with students for ten plus years, I've actually opened my eyes to the world of sound artistry on a much deeper level than just dance music, so definitely st...

ill making lots of dance music and loving making people dance, but today's workshop is really going to be about advanced synthesis techniques, and we're going to be focusing primarily on a couple of boutique software plug in developers in particular seattle's madrona labs anyone here familiar with madonna labs on amazing boutique uh, operation pioneered by randy jones off synthesis and sound designer and he makes a variety of really cool interactive musical instruments including the qe ivo pai chewable granular physical modeling instrument will be covering today as well as the other tools will be primarily focusing on our by you he's unique part of me is from berlin and they their primary tools will be focusing on our zebra two in brazil zebra two is the sound of the instrument that like hans zimmer used to make all the sounds for the dark knight but also almost more importantly zebra and all these tools provide a great platform for us to develop them or distinct relationship with our medium which to me as an artist less of a producer a taste for this particular workshop I really want to help people I want to guide people down a path that's going to help them have a more intimate connection with the content that they're creating on less about just creating that skrillex dub step sound or whatever it's a lot more about going bottom up and having a strong connection with your content so so that pursuit of a more intimate connection with this little manifesto here I'm going to read really quick before we dive into these tools in fact as we get started I'll even open up a couple of these the's patches so we can have a little ambience in the background this is the madrona labs kaido granular physical modeling instrument just providing a little sexiness here while I disagree, ting attachable modular synthesis is a popular method for solving one of the most important challenges of our time as artists. How to empower the creator with a greater sense of intimacy with their content. While this learning curve might seem more daunting at first, the bottom up approach is consistently yielded meaningful results in this pursuit of a greater connection between the artist and their sonic output. As you embark upon this path, taking steps, or even each module one of the time, once you're comfortable with the primary function of that particular step or tool, break rules and explore new territory by grabbing patch cables, breaking free from the need to create a specific sound for a specific product instead focused on your relationship with sound that's, my introduction as the general concept of what's going to fuel my personal interest in patch, a ble modular software synthesis. So teo rewind really quick back into the traditional synthesis formats, which are my partner here seamless are is going to be doing some workshops on over the week as well as a couple other instructors. These are classic synthesis techniques, so if you want to use voltage to make tone and stuff and played on a keyboard generally before, like two thousand ten, you were either using additive subtracted fm or some sort of sampling technique that was generally how you made sounds as an electronic music producer, but kind of getting into the twenty first century. I want to focus a little bit more, especially today on wave table, physical modeling and granular synthesis. So these techniques I'll just tell you really quick are really at the heart of taking full advantage of the high powered cp use that we all have inside of our computers and break us free from the traditional sounds of house techno or even anything from a film score like you know anyone using subject of synthesis to score a film. The first people think people are going to hear it all sounds like blade runner because I mean subtracted synthesis gets on lee so far into the realm of experimental sound design. So without further ado, I think I want to show you a couple of the instruments were going to be covering today, and in a few minutes I'll be embarking just kind of on a sound design journey. I'm also going to play a little sketch that I made for you guys admittedly this morning in the hotel room, and we'll tear apart some of these patches and see what kind of cool things can happen with our ears and minds as we explore. This is the dark knight darkhorse version of you, he zebra to the hans zimmer instrument it's fantastic, and it allows for a really great connection with our wave forms that were going to be designing. This is one of my favorite plug ins ever. And then for the madrona labs are seattle friends here, right in the neighborhood of cairo is the granular physical modeling instrument. You'll notice that both of these instruments pivot around having a patch hable modular environment in the middle s o this is the catchable interface area where your patch cables exist inside the cairo and your patch cables up in here are our zebra are right up here in the central panel. Anything is weaken, interconnect different modules and really get to know the function of one individual module and then start experimenting with patch cables and seeing what kind of cool stuff we come with hopes pregnant so let's let's dig in without any more talking. Because miguel forefingers swoop we'll take a look at the able to live work station for those were not using able to live to make electronica music. I highly encourage you to explore this two alarm it's gonna be highly liberating in this realm of nonlinear garrity. What I mean by non linearity I mean is getting away from looking at a timeline and a sequencer on getting more adjusting to sound and painting with sound and ideas I don't like having to rewind and fast forward when I'm just exploring things was going tio music way wait organic domination drums, let's focus a little bit here on the table wait a chance to hear a couple sounds and there's a couple more clips that I'm really excited about playing for you guys and let's focus on this kylo drone instrument waste tour of kind of when we have what's happening here with this sound we're hearing it's really kind of mysterious and crazy and full of life and texture on that's where the granular and physical modeling synthesis languages really thrive the way these languages work is granular synthesis takes advantage of a recording of audio, breaks it up into many tiny slices and then sprays the slices and size and time to create kind of a cloud of sound. This is a recording of some noisy piece of equipment we can loan other types of sounds into this here's some recordings of fire here's recordings from the earth these are all built into the cairo instrument we could grab a bike pump and now we have the sound of a bike pump and we're breaking it up in the tongues of tiny little granules and we're springs grains through the second half of the instrument, which is the resonator and the body, this is the physical modeling component of the instrument, so any time you're playing a musical instrument, there are going to be vibrations that are stimulated either from an impact like from a drumstick hitting a member in our maybe a bow being drug across strings, there's always vibrations being stimulated, usually by two things that are kind of hitting each other or being drug across each other. This's the core idea and what is quantified within the languages and math of physical modeling. So generally in physical modeling, you have two things that are hitting each other and they resonate. Hence the word resonator in this case within cairo were exciting or hitting the small chime resonator with our bike pump grands, so I'm destroying this bike pump sound in the billions of tiny specks on, I'm vibrating a china metallic chime body with it. So now that china is ringing and I can mix in and out those different components let's, listen to those really quick, closely to mixer components wet mix on dry mix. So this is this is asking me if I want to hear the body or the resonator, or even if I turn up dry here, I'm just going to hear the bythe it's, just a bike pump hissing being drugged, the play has made moving very slowly across the bike pump. Maybe it's getting scattered aiken overlap the different slices. Now I have many three other all spring and overlapping or I can pull them way back. Just have tiny little specks. These are just my excite aiders. And in the case of cairo, usually I'm not even going to listen to that sound, it's. Just essentially my drummer, I'm gonna listen to the drums. I'm not listening to the sticks that much. So I'm gonna do is I'm gonna mix out the sticks, pardon me, pull this down, and now I can choose a resonator, which is what are my sticks hitting? We'll do a metal string this time, and I'm gonna turn it up. It's. Now I'm kind of like boeing a metal string with a bike pump. Thayer aren't very many instruments out there in the world that allow for this level of creativity and exploration. So this is why this is my third year in a row presenting on behalf of madrona labs not because him getting any money for this but because this is really one of the coolest instruments on earth and it happens to be made like a couple blocks from here, so god bless randi so there's the metal string I can flip through these different models and I can't even pitch them and even better yet modulate them from the top half of the instrument which we'll get to in a moment but check it out when you play a violin you drag your bow across the strings you're hearing the strings right? But what else are you hearing the body right? The violin body affects the overall tambor and tone of the sound as well, obviously so now we get to say, ok, this medal string is now stretched across a frame drum or a wooden box or maybe just nothing and then we can of course move around the pickup or contact points like where the picket microphone is on the body. So this x y matrix right here is allows me to move the microphone around on the body and of course I can send modulation signals in where I am now moving the microphone around on the frame drum as I have it attached to the metal string that I'm vibrating with the bike pump so I feel like a cz farrah sound exploration. This is a really, really powerful tool. No, if you're someone who's like, I just really like jeff mills, and I want to make that deep, late night techno. Or maybe I really like skrillex to keep using him as an example of someone who's ever everyone sort of this is gonna be a tough instrument to use because this is really a bottom up style instrument that's going to lead you to a more intimate relationship with the content you're creating and after flexing your, you know, synapses over this exploratory process on repeat in the name of the experience and developing that into the sea, your content is going to get more and more unique and more and more strong and stand on its own a really beautiful way. So it's going to be hard to make music that sounds generic with an instrument like this, and to me that's another just massive argument for at least playing around with it on a side note also mention that this is one of the least expensive virtual instruments on the market to its red around a little over one hundred bucks, and it works in any d a w andan addition to that, you can also, of course, load your own sounds right into the granulated so what we'll do at the end of the workshop today's, we'll take some sounds that we made with zebra, and we'll drop them into the granulated justo, twist them and distort them further with our resident bodies to see it get that cyclical workflow going, maybe, but so this is the audio signal flow path pretty cool that I can even just turn the volume up the and I don't even have to have a sequence plane. I'm just playing sea or a in this case and I could go ahead and mangle these parts, try different bodies, try different mixed settings. Let's, turn up the frame, the rahm element with our mixer over here on the right on then what I like to do inside of able to live just being somebody who really likes having my hands on a push or something like that are just looking at the software screen software screen. Pardon me, I'd go ahead and hit configure and aiken map particular parameters out to my skin. What I did was I just hit wet and dry mix. Now, as you can see, I signed those mixed levels to this x y matrix, so now we're only hearing the resident middle medal string, and now we're only hearing the body. So they put this somewhere in the middle now again exploration this is an exploration device and so I'm really always looking for opportunities to just close my eyes and sculpt sound to finish my little demonstration about the interface in the overview of how this thing works I want to cover the top half of the instrument really quick this is part of me for jumping around so much this is the modulation section essentially each of these modules. Like I said in the beginning there all generally modules have like one or two primary functions. You get to know them and then you start exploring what they're capable of with patch cables. Each of these modules is subdivided by this nice divider lines entitled on top this is our keyboarding input section. Anytime you play a key or launch a sequence, all that information is going to coming out here. As you can see, I have this little dots indicating outputs I can take my pitch or my gate maybe my pitch for key tracking my filter like subtracted synthesis or maybe something more interesting like box output which will allow me to polyphonic lee split up anything so maybe I want a couple of dots on my two d lfo I can take my voice output, put it into rates and turn this up and now you can even see I have four different race another beautiful thing about the kkk ivo and the other instrument by madrona labs is that you get visual feedback on all of your modulations, so anytime something is moving, you can actually see it moving it's not only can you see it moving, but it's powered by incredibly brilliant modulation generators such as this multi band noise generator that can be re triggered for randomness a two d l f o with a variety of shapes including, like nights that's too up in one over chess players in the house this is this is a really, really fun tool for exploration. So in addition to that, some envelopes on some classic synthesis kind of tools in there is to help blue things together. This is the cairo it's beautiful I'm keeping things kind of simple and straight forward without getting too exploratory, but I do finally like to mention whenever using an instrument like this where you feel like you have your space helmet on and you just kind of plugging things in and seeing what happens always have a re sampling workflow as kind of an escape route. I'll demonstrate to you what I mean by that what's it really like this patch, which I do actually really like this patch resembling workflow I'm referring to just simply involves employing your digital audio work station as like a tape deck because eventually we want to stop just exploring and we want to start making tracks so what I do and live as I go ahead and taken audio track said it's, a re sampling mute the track are meant to record a hit record now I'm patching that recording that stream and then to top it off I'll come over here and grab some mac rose now we can start to sculpt while I'm recording in real time maybe it's because I'm ah I started making music with a tape deck but I really like recording in real time I think it's a really important part of making music so much elektronik music now is calculated that if you lose that really time component of like flowing with your body uh there's a much better chance of you not having fun making electronic music in the near future at least for me I believe so always look for ways to grab on this stuff and do things in real time with your hands especially as you're streaming to a recording track because now I could of course rename this file and call it qe ivo drone um framed drum or whatever those bodies were maybe come up with the name and even better yet dropping back into cairo for further physical modeling or modulation so that's my like kind of quickie overview of how to use cairo and I think that if nothing else it's a really we fund instrument to play around with um so moving on though cairo being the instrument that fits its puzzle piece to me is like the visceral and lively and texture based kind of flowing type elements to my music I really like when I'm learning a new synthesis language to make sure I see how that language fits as a puzzle piece into the greater musical picture I've you know, it's easy to be misled by the idea that maybe you could learn some track of synthesis and make great music with entirely sub tract of synthesizers and it has happened in the past, but I think that now in the current days you want to really fully harness each language and fitted into a puzzle piece in your scott in your creation your overall semblance and to me granular and physical modeling are about that lively organic stuff um now looking outward into our sculpture of other things like for instance, with this group, which maybe I'll play a little more of right now and lead us to our other sounds we have in our mix we're gonna start to explore maybe some of those more synthetic like bass and drum type tones as well as just big walls of sound with maybe some distortion and maybe some different kind of mood um let's go ahead and hit, play through a few of these elements and see what happens right now, our booth classic synthesizer sounds thiss drone cool thing I want to show you about these elements, those that they're very simple. If you look at this throne, this is another patch herbal modular synthesizers, this one by you, he this's their braziel. As you can see by looking at first glance, this might seem a little daunting, but the nice thing about modular catchable synthesis is that you first learned one module on each module is actually pretty simple it's about what you want to do with the patch cables and the parameter settings that allow you to make things that are uniquely yours. So in this case, I don't really feel like this is that unique, but I could track the patch cables along and see where my modules are all generating signal from the oscillators feeding a mixer down hopes mixer down here on the bottom, there would be another cool thing for me to be the x y and map out to my idea w now have the ability easily, tio visualize where that signal is passing, able to incorporate other modules inside of the brazil even do some kind of more advanced tweaking and effects processing in the second panel weii can create our own custom wave forms over here, use this as a sequence or as well and that can generate motion or tone or tambor for any of these other elements and be easily catchable to and from different parts of the instrument. So when I first looked at an instrument that looks like this that's, maybe a little less, even straight ahead then the cairo, the instrument we just looked at where all the signal flow is just left or right straight ahead. This is kind of really, truly flexible and maybe a little harder to be code with our eyes. It leaves me to a really cool little teaching moments after teaching synthesis for many years, I feel like this is a visual that I just want to show anyone who's ever approaching a synthesizer, whether it's a mogensen or tivo, you know, kind of from opposite ends of the spectrum in a way. Generally signal flow travels from left to right on your screen if you're looking at a software device now, of course, once we get into something like brazil that's, not the case that's, why I like to leave you down, make sure you see this path and this is kind of the architecture that all instruments are designed around again. These rules are made to be broken, so please break them. But oscillators generate our signal filters, subtract overtones. This is really the heart of subtracted synthesis which is why I call this sub tract of synthesis architecture on the amplifier turns it up so our audio signal path is very simple oscillator some tone controls maybe some distortion or some way of shaping in a more advanced instrument and then an amplifier turn things up lf those envelopes and even sequencers or keyboards generate our animation I'm just showing you that really briefly because when I look at this now I've got a little mental road map for how I want to make my patch is a really common thing to do is to click on your preset and find that one in there that says initialize let's see in it that it's just installed this version and I haven't made one so there's another teaching moment whenever you get a new instrument I highly recommend saving and initialized preset rip out all the patch cables dial it all back to zero and hit save so that way again you can learn each module one in the time and come from the ground up at least if nothing else that way when you're studying precepts from the top down you'll have an idea of what the designer was actually doing so I mostly just wanted to show you this instrument because it's part of the yuhi collection and I'm focusing this workshop on advanced software synthesis I feel like you he does a great job making amazing instruments and this is kind of their flagship modular device the other big instrument that they that they are very proud of and should be is the zebra this is that zebra the hans zimmer inspired device but this basically breaks down the entire patch able interface into a vertical signal flow path for as you can see oscillators generate my signal this was that simple little doubted or triplet patch this guy I think I can actually deal with listening to this one for more than a few seconds because, uh it's only afternoon that other stuff it's all dark god so within zebra I have this patch able interface and I can click on any of these blocks up in here and I can add a module in this case I have a variety of cool tools and they're all pretty simple I could pop one right in and I can even set aiken route audio right into it from other modules so in the case of meeting an fm modulator I can have an audio oscillated of it's also providing modulation to our have been modules way could even go as far as to um just simply utilizing one of these lanes for maybe distortion and we have shaping this is again a real flexible dynamic environment that takes advantage of very simple modules if you look at for instance, oscillator one right here the entire unit is right here and if I click this this is really oscillator one let's use the wave form now I can actually embark on the really cool part of utilizing this instrument I'm going turn these other paths down so our only listening to this one actually one thing I realized doings because I'm on this patch right here. Pardon me. Sorry about that uh always watching your deal w which track you're selected on, so this is even more simple. Check out this patch around. This was the first one I planned on showing you on ly utilizing two modules I want to take an opportunity to demonstrate what makes the zebra magical in my opinion it's not the catchable interface because the catchable interface is pretty straightforward. You get to know the module, you patch it into other things. I've got a filter here that I can open up so we can really hear the tone and if I wanted, I could control a click and just remove it so let's watch at what zebra khun do that other instruments can't do. This is wave table synthesis we talked about granular synthesis and physical modeling now around we have table so with wave table synthesis the neat thing about this is that wave tables are dynamically morphed collections of winds so unlike a normal synthesizer where you grab a saw way over a square with with wave table synthesis, you grab a way of table which is a huge collection of of wave forms could be maybe, too, that we more between or it could be up to hundreds, potentially depending on your processing power on you're not just mixing between these oscillators, you're actually dynamically re calculating and morphing these shapes. What make zebra need to, though, is that if I go into us a later, whichever us later I'm using I actually have a variety of different wave forms here. Each of these tables has sixteen different waves. Is there some phase modulated kind of partial waves? What I can do that's really meet with this? Is there a variety of different techniques from modes here? I can actually read around my waves. Let's, go ahead and even clear this one out. Fact clear now, just like this and I just add some overtones. I'm going turn this something else we can hear. It s not is drawing my little wave shape. These are the partials. So for those of you have done an additive synthesis. Look, this is a sign wave at the fundamental pitch. Next peak up would be inactive the next one. A perfect, if this's the natural harmonic siri's. I can have these overtones this's designing a win for him, and I can also even take them out of phase if I want so taking them out of phase actually, is where we start to get into some really kind of metallic e kind of tambor's. But where this gets really need is that, remember, I have sixteen different of these wave forms. I'm gonna go to the very end of the list, and I'm gonna make a new one. Thiss one's going to be just kind of scribbling now, what I'm gonna do is I'm gonna hold command. I mean, a click on the very first wave of the table on what this is going to do. Is it's going down it's going to re calculate all sixteen of my wave forms for me? So now, if I move the way of nob, I'm actually morphing between the two waves that I just designed with my trackpad. So this's the spectrum blend mode. If I want to look at my wave form like it's, just geometry. I know the geometry quality, so check this out let's make a square with this's a geometry mode, right? So if I just grab this and build a square wave this will be now like a classic some attractive we inform now I've got a very end again then let's make a different shape that's maybe still pretty simple I can add a few more points it's going to make something that's kind of crazy not too bad but I can curb these tio curves on here it's got a nice interface to weaken, grab a note and move it anywhere pretty easy using pretty handy now I've been told to command and do that more now watches I moved my way of table now I'm morphing between the geometries of the waves that I just drew this to me is something that other instruments don't do very well I know of the most popular way of table synthesis out there is beloved in massive instrument on dh it's very very powerful but you are stuck with those waves tables you have to grab vocal seven or whatever that's not really one of them but then you just hope it's cool and for me I kind of don't like that feeling as much I want to feel intimately connected with my content again there's a grady in between producer and artists and I think the best person is in the middle who can really embrace artistry and just explore our production and just make the sounds that the audience wants to hear? A lot of these techniques uncovering today are really more nurturing that inner artist, you know, the person that wants to have that intimate connection with their medium, like I mentioned beginning of class today. So this way of table design is a really powerful tool, and let me just quick cover these four different modes and what they do you have essentially kind of a two by two rubric here, if you will, geometry modes allow you to design the geometry of the wave form like square saw triangle spectrum modes allow you to see the overtones, so if you want to do like an additive style synthesis situation, where you're adding harmonics, this is going to be the way you want to work. If you're thinking about it more and subtracted kind of context where you're like square wave it's, nice to see the geometry right there and run with it. The other the y axis of our two by two rubric pardon me in there and talk there is, the more for bland variable more factually, dynamically re calculates the way of shape as you move the wave now again, this wave now appear in our oscillator module is what allows us to blend or more depending on which mode we're in, some more is a little more high rez stealing the way it dynamically recalculates the wave, whereas bland essentially kind of works more like a deejay mixer, where would you turn this up and down? You're essentially mixing in and out different wave forms there's pros and cons of those different modes, which I won't bother getting into right now but intimacy with your content wait tables synthesis is one of the most powerful language is out there for making out of control huge and alive and visceral sounds, especially in the realm of leads and bass sounds for your leads in your bases we have table is this one of the best language is to use, but again I was looking to empower my students to feel intimate with their content and feel like they're capable of consistently generating interest in content every day versus just having a recipe book full of recipe cards these types of tools to me unlock that kind of power so while the learning curve might be a little longer upfront once you get to your result, even if it's simple it's highly lucrative and creatively rewarding to get to that point so this is way of table senses so now as you can imagine inside of you he's instruments, not only can we design our own waves, but we can stack them up with other oscillators and we also have another function that's really cool, which is the last thing about the u e instrument I want to show you and again, remember, we just have one oscillator in our patch on keeping things really simple. This last element I want to discuss and show you guys is another discreet function of you he's instruments on lee. This is algorithmic wave shaping that is built in not as a distortion effect because algorithmic way of shaping is all over the place it's like digital distortion essentially, but this is built into the actual wave form, so as this sense, the instrument has the ability to recalculate its table position and shape dynamically. We might as well throw some extra curve balls into that mathematical formula as it's generating it's a way for him. Each oscillator has two different slots for oscillator effects. Let's, go ahead and play with scrambler. I don't know what any of these let's go ahead and go down inactive just to keep that just to get a little more space between those overtones. One thing you'll find when you're working with way of table censuses working down, unlike active one sometimes is a little more lucrative this forest fire is really hearing those overtones kind of calming and folding in the high frequency stuff and a lot of it it's just really smeared way out there so these are all algorithms we can add to our way of table let's try his transfer so as you can imagine, these are all very fun to screw around with and once you find the one that you like you click on the next lot over wherever cities dots and saying assigned me groups now you have the entire list of modulation generators you can use to assign to that modulation or to that we have shaping effect so I could go ahead and grab a sequence sir a multi segment and low generator a variety of complex telephones or looping envelopes and all of those would essentially animate this particular parameter that I've chosen let's go ahead and assigning lf photo this thing just for fun I mean with lfo too yeah let's go to is created here I'm going to go ahead and make it go real slow this first so we get some motion let me turn up and you can hear that slow lfo slowly more thing hayes transfer parameter inside of our way if I wanted to take this even further I could also control click and assign this to one of my ex wife controllers on the front panel of the instrument I'm going to go with next four maybe wave table toe y for s and I'm coming my perform section I have this thing so this is really fun again for exploration so they go back into the synthesis patch let's, add another algorithm let's go with ripples through about former scylla. Anything with words still I loathe. I think this one's going to school lets out of sequence to this or something. Just click here. How about a multi segment envelope generator? Turn it up and now look at this. So now I can customize this. Essentially, the sequence is when the new notice will kick off from the top. I could set the depth of that multi segment and we'll envelope generators modulation with this parameter right here this's one athlete e think it's pretty gnarly and what this thing's capable of when you get to know the first wave function on how those different four modes work when you start applying some algorithm processes especially there now to sink it's just a side note you end up with some pretty need functions awa sinovel out to an x y axis here or maybe even better yet configurable to your d a w for automation now I could go ahead, move that x y axis out to my lives interface have total tambor control from the front panel so this is to me really exciting as a sound designer great for leads and bases where the granular stuff is really great for textures and ambulances physical modeling is great for things that need to feel organic or alive maybe never never aesthetic I think granular and physical modeling are great partners in that pursuit of keeping things living feeling so I'm james patrick I use these tools all the time to make experimental electronic music also lots of late night kind of warehouse he's sounding stuff on when you tie this stuff all together with a drum machine things yet really fun again, huh? Staying really focused on the matter at hand the advanced synthesis techniques um I want you guys to know that with each of these elements they all again pivot around this kind of simple content idea where there's a signal generation aspect that's usually where you start by making a tone, making it move a little in the way that feels desirable then you maybe attenuate some of its harmonics with your filter or maybe add harmonics with distortion turn it up in modulated that's the structure I want everyone to keep in mind when they're learning how to use any new tool is for sound designed especially in the synthesis realm and I definitely spend a little time with these devices if you're curious madrona labs is madrona labs dot com and you he is u dash h dot com all these instruments are pretty affordable on work within any d a. W on dh. I'm really happy to be able to be the person appear to be presenting them to you.

Class Description

The Decibel Conference is three days of panels, workshops and other events that runs in parallel to the Decibel Festival. Now on its 12th year, Decibel is one of the nation's longest-running and most respected electronic music festivals, and CreativeLive is proud to partner with Decibel to produce the 2015 Conference. For details on the schedule and content, please visit the official Conference page.