FL Studio Synthesis Master Class

Lesson 9 of 23

Creating a Super Saw in Harmor

 

FL Studio Synthesis Master Class

Lesson 9 of 23

Creating a Super Saw in Harmor

 

Lesson Info

Creating a Super Saw in Harmor

But the way that homer works is that it displays it plays the harmonics is according to what I mentioned earlier being that the four year serious which is the uh you know, the double the first active than half a double issue active has twice as many harmonics and it was the one before it up here we have this this kind of this sort of these two these two way form they have this all waving square with and I brought to your attention back ins attractive. And this is a time that the difference between this always to square away was at the square. We have has half of many harmonics as solid as it turns out, what what actually has is that it has has every odd number and harmonic is president, and that creates a square wave and this could be very important. That said, because well, I saw wave has very particular for your siri's harmonics even things that are not really saw always things don't share the sol shape can still share the soft harmonic properties and same ways with square even if it...

is an idea squarely and it could still share square properties. So if you were trying to create a sound that is based on either of those two two harmonic profiles that's kind of where to start sort of tilly even if you you could probably hear the differences, but if you're looking at it and and I get analyzer where you could see the harmonics, comptel, that the spacing means that one of them is it's, always one of the square wave for like a place to start trying to create this out that's a good is a kind of like narrow down where you're trying to go and I believe that's pretty easy because the harmonic, the idea of a harmonic, changes straightforward, but there's more than one way to arrive at this kind of distribution, because one of the things our market does khun do is it can move the harmonics around, that you can move them away from the fundamental through this detail option actually recently figured out that this is actually kind of like massive frequency shift there. I think that it does is actually is exactly the same, but what the results are just moved in a different direction. The figures isn't there takes the bottom harmonics, the kind squeezes them upwards, but you might have might notice if you ever do it with the sol wave what's happening is that the kind of the oscillation appears to remain the same, but the frequencies to get higher and kind of crammed together that's more or less what happen if I were to do this, but then play higher now that's that's the kind of result that has when you're kind of question our backs to get it. The difference between harmer and massive is that harmer, let's let's, you know, only crushed the harmonize together in different configuration, but also expand them, as it turns out, the very first one the in terms of the ratio of the ratio to be tuned here is actually saying configuration as a square with which is very interesting. And this again comes down to the idea of the fact they were messing with a whole bunch of voices together, and not just one single voice, because that there's a difference between how we get there, but it's still at the end of the square. Um, because if I if I am moving in there, this means that any information that apply to those harmonics before a while still in seoul, where it's always vote, are still part of those harmonic sisters without their moved higher versus if I got there by moving the tambor, if I had information applies to those harmonic so far marks or not on anymore, they're not playing anymore, which means that the information does that lost so much is it just is now quite differently, so I think that that sort of my incentive to be present when we think about like, you know, just how you're going to you're saul waves and square wave inside harmer in that kind of idea would you ever thinking, well, that center thing I'll be doing all the time very sarcastic manner because you asked thank you, willie what you will it's something that happens a lot I am doing all this one hundred percent of the water that's ok? Because this is fun stuff so right uh, one of the big, really powerful things about doing this idea is sort of what happens. We have unison now that little thing I was doing before the break where it kind of made it really ridiculous re sound is one hundred percent result the fact that this control we have over individual harmonics is transported over to controlling using now normal unison in sort of attractive world is where you have a sound and then you kind of clone it more than one time usually in a lot this remaking superstar massive can do sixty four voices it's kind of a lot I usually distinct the nine that, uh, citrus in harbor give you, but I usually used to finally do it because it's sort of enough when when you have ah attractive unison you didn't like this one happening is that you're moving the entire voice and the other patch direction right put that for this remember that we're not moving antiabortion referring to entire sets of fiber and I keep saying that when you keep rubbing your face in that because it's so important that we keep in our mind and um this graph I moved you moved here to the harmonic here's a pitch window what this is representing is the change in the unison value per harmonic so right now all the unison this together, which means that all the voices of moving told us that really and I got nothing but if I were to do this with snap on because I like being even it's not bonds that boss about snapper what this is hank now is that the lower four octaves don't have units it applied to the top five active do because I can tell it to do that and this is this is actually something that this is like the holy grail for reese creation because one of the things about reese design the idea of face cancellation and then sort of you know what you do is you do to face cancellation and you just start it and then with a saw way of reese that doesn't really do anything but if you frequency split it and then you apply different effects to each part of the spectrum, you split and then start that together the difference is usually that created and phase and pitch are very interesting. And then the question together with distortion that creates a very interesting sound. That's that's how leases have been done for a very long time now this is kind of what's happening. This is kind of like we're gonna figure split where the lower half of the sound isn't have using out of the higher half does and usually the kind of change that you make her stuff like, you know, okay, the low meds will have a little bit in unison. The lows will have almost no units and to keep the base even and then, like the highs will have to do some different value, like it doesn't need to be a specific value. We just need to be different, and this will be your common split. But because you saw me, why was demonstrating that you can do things like this and they do anything else on the line at her? And I felt that yet let you do it like there's, no way to do it if you could just feel like this because this is saying the top three oculus worth of her mind, which are hundreds of harmonics, have some value of different units and applied to teach every single one of them that we were quite would require calculus, that's awful or and that results in a very interesting results and it's almost e was demonstrating with distortion because again the results or not, almost almost not really noticeable until you to start this stuff he and think this stuff basically solves for figures put because we're saying instead of having individual like maybe three or four we have five hundred twelve sixteen foreign sixteen for voice and that's what this describes representatives per eyes proactive the each these polls represents what I did and remember they were saying before about the idea of the each active has twice as many her monitored what previous thiss whole poll here is one knocked it that's the point of the whole town just down there and then two actors I think in here or to harm on accident appears for whatever the number here top has a two hundred something because actually the last active has as many harmonics all the ones before it because of the way exponents work, which is a lot of fun. And this kind of control over over unison is not only important very important for re space designed like it is and like very tiny changes will cause kind of massive lots of incredible you can do that like a huge parts of songs that I made when I first discovered this we're just all that like two or three tracks have nothing but time little tiny minuscule changes to just this but remember the idea of how the supersonics created that's created through having unison face canceling in the higher frequencies activating really fast? And if we have this kind of cool control over that way could have a much more unique you can make you can make it the super solid you need for whatever it is that you're doing and have very unique sort of tones and hammers to it because whether one of the hallmark of a good super size one that has the kind of effects apartment has kind of been applied to it that creates the most even huge stereo spread wash of tone that when you layer it all together to play everything is just the big wall sound that is it doesn't sound like it's just white noise but also sounds like it's whatever melody you're playing that thing and that stuff is really difficult to do with a regular practice of this because it's about, you know unison in control and more than one you know instance of how many horses you've got going on there later together to interact with each other different kinds of like application of course of facts and phasers and that different stuff whatever or you could use harbor just have individual control of every her mind I can use a ride that because you not only can use do we could stop but you can solve problems that you can hear like what kind of ring you talk like you're kind of way entirely and like that's and again this is a kind of a uniqueness to a sound that not really any other party could do you know I mean uh there are some bargains on a similar and sort of scope princes there at of additives synthesizers like others razor committed mr bentz there's this there is harmless which is kind of like a predecessor harmer um not as much control but it's the same sort of idea morphine alchemy from camera audio I think reason came out with something recently sort of the tease some kind of additives of this iser um so that's always he's becoming a thing because it's kind of important but for the most part has added is that this is very much a new a new kind of thing to control for people it hasn't really been around long enough to be is normalized it's something like subtracted synthesis which has been around since the dawn of the possessions all right questions so on this frequency splitter when you're moving the harmonics further and further apart they become they're no longer in trouble in future multiples of philharmonic great so like that just makes the entire sounding harmonic then we're like is that like does it move? I'm guess what I'm saying is like how fluidly doesn't move between internal polls like is it like how is there like a step size it seems it doesn't snap of that's true it does drafting it doesn't adhere to an aerial values and the whole the whole point of doing that with a control into the units and spread is the idea that is it the second any harmonic gets even a little bit out of out of that perfect harmonic pitch is it begins to phase cancel and that face cancellation especially like the super size what we're looking for it's creating that sort of in harmonic interplay, which is, well, what's very interesting, though, is that like whatever? Well, earlier we were discussing the sort of the face cancellation is using from using a sign wave um when I played the interval even a high frequency one like this, it sounds like I'm playing a cord, but you're never really hearing both tones you're hearing one tone and then the other talent really, really fast because their face canceling is the same idea with the salt lands harmonics. If we move one of her mind get out a little bit, you can kind of hear its face canceling on bringing kind of weirdness, but then you're only ever really hearing that one and then the one years to it face canceled lunch and then it's also face kansas gets all the rest of them but it's a bit it's what you fast too, really like here it apply unless we change a whole bunch of much of what we went through we are with the unison by thinking that that makes sense cool we got some questions from online to do that um is it possible to automate each point in unison pitcher panel in harmer new unfortunately than any this is this is this interface that we're looking at here I referred to as the line is the same line and its president and like every kind of line that there there is nfl like any any graph whatever all the controls are all the same and all the wine types are all the same but we have access to and unfortunately we can't move the points around you what you saw that you might have wanted to when you talk about moving around kind of make the tone they're making their there are kind there are kind of workarounds for that they're a little bit cumbersome like one one of them is that you can automate the pitch death which could be cool um that you cannot you know there's a maybe kind of thing where a and b are really this entire different instances of the sound and you could make a and b like a different harmonic innocent profile and then you can kind of automate between them and they get a kind of a different result he could also you know, just make more than one harmer burdened sift through of all almost like making kind of like a live wave table which would be covers them but they would kind of get the same result provided they all have the same effects there are running into the same distortion kind of thing. Another question. Okay, can you apply unison to anything being synthesizing sound good? Do you play? You listened to anything beings of the size and sound good that's the question yes? Can you play eunice into anything being synthesized and sound okay, so okay, I think I kind of know I kind of know what the commit sort of the question is. It's not really. This is something that I remember asking myself as a new report issued but the idea that like what? Where is the unison effect? Like? Where is the effect that I could put, you know, in fact chain that becomes the unison effect? Yes, the question is that there is not because unison is not a new audio effect it's a voice effect. What that means is that into the fact born of the fact that when we have more than one, units and voice were playing the sound at the same time with different very parameters like in in silent or whatever when you have twenty four voices or something that you're playing twenty four avoid versions of the sound with slightly different phases of pitches and panic, that kind of thing and the nature of the fact that it's playing at the exact same time is something that's unique the fact that they're all being triggered the same time which is not something you can do in post processing audio processing because it's all reactionary as it goes through it and then it's like a course event and flandreau effects and that kind of thing are kind of like course affects a particular kind of like uh shortcut kind of hacky way of creating unison in post it sort of us for and it does it by the the audio echoes like a delay and then the and then those new echoes have different pitching voice changes, that kind of thing to try and mimic the concept of the innocent but in actual order presidents that thing which is actually one of the big reasons why a recent assistant harmon was actually just so super cool because uh without using an effect very pretty much the way that you could have units and that's something we would say that sound I made earlier if I want to use it on the sound would it have to do is it had to render it out, copy it and like, change the phase change the pitch and then now there's unison on that sound like that's maybe here's to voice using which could get kind of weird like that's um that's how you made utusan I'm in post but with harbors we sip is this we can reset the size of sound and then probably talking about harman percent isn't present this is before we get to use it for basically that the park is that now because it's recently size as and it's been turned into effectively a sense we can use really unison on it and this is where a lot of fun happened so it's like well let's talk about harbors you did this is because that support um remember we talked about earlier that if we knew the harmonic content and placement of of a sound that we knew ahead of time that if we playing sine waves at all the values of all the harm eyes there there that we could theoretically reconstruct that sound from the ground up and harmer kind of hers this because what it does is it takes little samples of moments in time where it kind of looks at what the harmonic position is everything at a moment and it that's bees and that s o s so that wasn't at the moment oh and it kind of like samples in turning to determine what the harmonic value is there and then it does it again and next second mexican mexican cross fades between all of that but it doesn't in a slightly different way because it actually moves around based on what I just described, what it should sound like is kind of like a five hundred twelve bad vocoder I keep wants a fiver and twelve because of by binary but it's five hundred sixteen um way that we see right here, you can see they're like the harmonic values and like the basis, for example are not spread out in a way that looks like would look at the four years areas it's smoothly moving around and that's what they want to do is able to calculate the movement of the remarks as well as sort of where the harmonics are and that's why? When we set aside stuff that sounds almost a difficult, you know of fact, I'm distorting it. It sounds almost identical to the original content at the point where you think that we're playing an audio file or not playing audio file were playing in the harmonic movement analyzed from the audio file there's no already being played whatsoever, it requires the audio to sample it like when when if you would say this project and you didn't have the audio file, it wouldn't be a didn't say it won't say if the reason this is, we'll just have to do it again every time and like I said, because this is essentially a sense that we have so much so much control of it it it's insane and like this is actually kind of like a a way harder core time stretching um might as well if I'm going to use a voice to demonstrate this before I get in tow I remember that I remember that I remember that I remember that I remember that sounds pretty good to get the nickel done it I remember that I remember that ah, a lot of fun uh, well supported about this. So like I said, if it knows how to follow the carbon content in terms of moving around but you could also tell him not to do that you could tell it to with the pitch scale what's with this guy is turns galloway off. Uh uh I remember that I remember that and now it's being treated and basically like of a goat where the harmonics air staying precisely in the correct no position of whatever you're playing as only illuminating whatever our money, you have the pastor at that particular time way and this is a pretty quick when it makes a pretty bad ass vocals locally growly based things pretty direct about all of our quiet. Um, well, like I said, one of the principal values of having written a business is the idea that we can apply voice based two units into something that isn't the voice that's burning a little bit and this is that simple it is not now harbors was that this is pretty good, but it's not perfect it's not a hundred percent I mean it's only using five hundred sixteen harmonize out of like how many forgetting the cricket cesaire their total, you know, forty four well, twenty point ok put a five k twenty three thousand twenty yes, twenty thousand point five twenty three point five thousand a number it's a number so the idea is that you can increase that you can increase the quality, you know, turn up to the precision and the granularity come down, they always things and they'll smooth model that was really good nor whatever, but the fact that it's not completely, completely perfect means there would be a possible like he wasn't doing the face cancellation is going to be way different that if it were if we were doing the really unison where we expect the audio file and put it next itself, and so not only are we doing something that would be impossible normally we're doing it in a way that's completely unique, and it goes to the fun stuff like turn the whole thing into a square where we remove every other harmonic and we turn from what was once a sol based it sounded too now with square bass sound full of kind of funky but that's the way that you could do

Class Description

FL Studio is the world’s most popular DAW – learn how to get the most out of it. In FL Studio Synthesis Master Class, power user and educator, SeamlessR will help you take your electronic music to the next level.

SeamlessR will introduce the high-level synthesis concepts, principles, and applications and show you how to tackle common electronic sound design challenges. You’ll learn about the four major types of synthesis: subtractive, fm, additive and wave table.

SeamlessR will guide you through the familiar sounds in electronic music and show how to recreate them in FL Studio. You’ll also learn how to use the stock instruments that come with FL Studio (Harmor, Sytrus, Harmless, Sawer, etc) and explore popular third-party plug-ins.

If you’re looking to master synthesis using FL Studio, SeamlessR will help you make the leap.

Reviews

Thomas Brogan
 

great stuff!!

rohan Dehade
 

this is the greet