FL Studio Synthesis Master Class


Lesson Info


Actually have the last thing that's still open because I'm going to use this as a thing to kind of brand new allies. Um what? We kind of get that one thing, you idiot kind of recording, recording this the like I mentioned it already uses of the real song when I would do is I would bounce it out like this, what created big mess like that? And then now I've got I've got a sound, which I don't need to be maximized like this way right down and got myself the gold like the cool part of kind of arranging with this is that you can kind of cut it, hold down shift to create straight cats and supposedly angles, we're using f l instead that under that under no, then kind of got grabbed bits and put it in the song and think this is some good about move this over here final individual bits of stuff that works and that ends up being like studying. So the way this is usually ends up like as a filler, like a fill sound from one part of a song, and I brought it was on a more stable thank b the can rema...

in the main big, big, big thing, but when I'm going to with this is that I'm actually going to open up a granule eyes or channel and he got the free reign over now grand granular is that this is our grand allies ing is something that is pretty similar across whatever plug in it's going to be doing it. There are some differences at some point and do some things differently because there are some differences but, um the parameters joe and the finding are pretty similar in terms of their application, so I'm gonna take my drag simple I'm gonna put it in the great another so there's learning the sample on the plane if I played it out that actually existed that kind of thing and then keyboard theirs and the various controls are set up by the phone to mean that if I played middle c it would salvage the original side but it's actually it's actually still cut up right now, but it's not doing much of what he might cut up. What does that mean, where the granular rising works and the reason why it's called gran realizing the granular grains is because what it's doing essentially is that's chopping up the audio it's a really small, tiny bits which called screens and it's playing them back and in different different ways and the ways that they're playing the back or control but he's very stops um, you know, grain sections out apple able for kind of thing and, uh I like play it back so fast a stop that's why I turned on the loop button and that's the green the grain spacing now but I just moved right there and what that does is it changes the space between the grades that I put up enough space you could actually hear in the spaces between it and I messed with the attack over here, which creates a bit of a ramp into the beginning of the grain were not on lee it kind of cuts away the sharpness but also increases the length of the grain total which quiet, slow down that's it's granular kind of repeat there on the whole time is how long the rain is a each time I think yeah, and then this bit is the wave spacing, which is sort of it scans through the way of the pick where the grandes are, so essentially playback speed of the original sound, which creates a lot of extremely interesting sound. Um, some great allies was actually allow you to control because you might have thought that when I was playing at that certain grain spacing values were hold that he's actually kind of sounds like notes, but I didn't have a huge money control over what that was, and sometimes some do they let you do that actually is a couple of hard drug raid advisers that I mean they're just a digital but there are hardware and they let you have a mini improve exact purpose it's kind of awesome um what I like to use the great because before it is I'll put up with a big note and this is kind of taking the big mess automation that create earlier and making an even bigger mess with granular services and the whole concept of doing this is to give you sort of this it's a mu ammunition that was put in the same pattern as the original blank ammunition to write with a lot of times I said I think I like having control over what I'm doing that kind of thing that's really true, but also a lot of times you just have to know when the let stuff do a thing and you're not gonna have any clue was doing um you have some players like I just described, you know wallace president do it, so that means that if I were to randomize them, we now have kind of an idea what ranges we should use them for. So for example, the way of spacing parameter, we say is the speed of playback of the original sound positive fifty percent is forward negative from negative below which pretty pretty percent isn't it backwards, so and if I go too fast, it gets kind of wobbly in a way I don't like so I tried to keep it around kind of center value and fluid around back and forth grain spacing you know higher values means a play at the the chopping it's a slower or faster so kind of controlling for that you know how how fast or slow I want to be a general and then the whole time increases the life of the itself in this casserole with that and how if you have a low whole time in a low grades amazing time is getting turned in a high pitched squeal because not only is it is basically just really, really, really, really fast chops then so that's why I called it causes that kind of thing and then the attack time is something that I mean some things that I don't even automate this on to keep it kind of off because what I like, I like the sharpness that brings what doesn't have any kind of lead into that kind of thing and then we created a cloud of sheer just mess that whole business there again much like the the original big mess is there to kind of give you ammunition at least did you know this kind of base processing there to give you ammunition for, you know, filler sounds and ambience stuff put big beaver bond that he got a really sinister sounding kind of cloudy think it is really hard and really messy to kind of mix that stuff because even if you had a sub in there it's now chopped up to nothing on the start the cohesiveness of it will mean that everyone you no longer have a really well laid base the stuff which is why this stuff again is really good for kind of hillary stuff and you're just make us ever basic benita that you think kind of follows it but chances are it's not really gonna follow whatever know about you've created for any more um there were other parameters in in the green leather there's some particularly fun uh find it put that way it is here's a particularly fun ones in sort of the start time if you're playing more than one no, I played one giant now it's kind of like it, but if you could play more than one note you can change does that play a pitch that we changed? It was a play at the percent change in the start time does that change the stepford like the transient values, that kind of thing or you can hold the grain to repeat whatever they're wanting rain it's on at the moment you can automate that primary is pretty me um on the on the effect side effects, depth of effect, speed and all that that does sergeant change some of the parameters on top when you kind of find a sweet spot of the loot around, that kind of thing and organization is kind of jump around and pick grains and different places and be a bit more chaotic, and it was already panning is neat because we'll do is it will actually pan left and right subsequent grains will be a left brain, right brain left brain, right brain it's really fast it's actually kind of hard to tell that it's not just a perfectly balanced stereos spread sound on benefits individual it's kind of weird, which the sort of carousel of bouncing sound, which I don't know that the word that applies to what I just said, but I said it, so we're gonna go with that, um, on the transients business in a second here with the whole told time does something I remember what it does, but if you ever cared to know, he could probably be the manual and I'll tell you, because that's, how I learned almost everything about what this stuff does is I read manuals, man, it was a super helpful manuals or your friends they all are I mean, unless they're written by certain companies and they don't do a very good job, but most of time, especially in an image line, uh, manuals there, they're usually pretty good about information canada's whatever whatever plug in your when you hit f one it will actually bring up the mint the the manual for that particular thing but because the grain of rice was actually plugging that goes inside the channel settings window here probably the jails and he's with the manual entry so then you have to you know find that guy doesn't get tail if you want to talk to now I guess you could do it over here help great another and tell you stuff and the good time now um this is actually a pretty especially for example of the re sampling like I mentioned before the idea that we're taking a sentiment created and they were doing stuff to it that could only be done an audio format and for whatever reason process limitation or just the fact that whatever that is that we're doing cannot be done live um there may or may not be great hunters that can do this live specific stuff like the wave scanning is not something that could be a life that the better required you know recorded note of what the sound actually is but things like this spacing in the chopping and basically rainbow adulation that you have total control over you need that wife it's lot of fun um with certain plug ins I think enabled and has a great disaster that could kind stuff and at harvard when I mentioned that they can to um obviously and they put a saddle on it, but, um, that's the time when I'm doing grounds are stuff I'm doing it with base, like I tend not to do a lot with higher figure to things, and even if I did, it usually results in lower figure just, um, anyway, if a lot of people who are into nero bass sound is, I probably remember a tutorial set that I remember the name of the guy that did it, but it was about taking, like, plastic wrapping and, like gray elisa and turning into some kind of narrow ambient sound design, it works something else that might do sometimes is actually automate the pitch of everything. I discovered that the chance of his window and turn all of the epa, then image and that can create some seriously interesting things or some seriously awful things. I'm hoping towards spark interesting things in this particular moment. Some of that would've been awesome filler. So, uh, does anyone have any questions about great analyzing? We have a question? Do you ever automate filter bands or volume instead of using compression? I personally don't, uh one time I did. I mean, I know that kind of stuff for what I'm doing more. Like real instrument based music like metal or something like that because it's tough tend to be both born delicate and also tends to not want to sound like it's being compressed. So much so that kind of stuff I that's really like surgical, kind of like stuff you do when you really, really don't want to something and compressing things. So I think if I were doing, you know, more chill john ra's, or if I were doing, like old school, german based kind of stuff, I would do that sort of thing where, like, it doesn't the whole side chaining concept is not really, um, presence sort of tone that you want in that kind of stuff, but for the most part, but I am not doing those arms. No, how would you make sub base cut through on low and systems? Well, I mean, if you're if you're speakers don't reproduced low enough sound, you cannot make them that's I mean, you could turn up really, really loud, and then you can kind of do that is because of the fact that it can move more air that's really, I mean, more talk about sort of speaker physics for second, um, like these people, these these moderates, like what five inch counts is that it's you have this kind of image of your head of a subwoofer that was just used twenty inch you know, eighteen inch cone as being like yeah, I could move more air, whatever and like so can these if it's loud enough if it like is you could see the cone like this tending out because it's pushing so hard it's just that a bigger cone can move more ad with less power which is why you tend to see sub wolfers with bigger counts because its power efficient but then you also see like you know, bass guitar cabinets and are a stack of ten you know, eight inch cones kind of thing and that's kind of what you have when you power is not really in turn he just kind of like I have all of the cones and pushing all the area that you have all the base so it's easier to have more response with larger cones but if you have a crappy tiny cones our your buzz you might even be thinking of yourself yeah here but they're like super duper tiny but you still get based out of it, you know, like a little bit so that this kind of you make your way but they're allowed to kind of like trance deaf in yourself that you might be able to get himself out of that for the most part you're kind of reliant on analysis tools just being like you look at the d b look at cut, and actually, I will show you kind of something that I tend to look for when I'm using maximus to kind of measure, um, low and in the base, uh, kind of her to do so they want to know, I just kind of I was kind of take it. So, um, I would open some of my tracks in the that the project file here, but they don't actually kind of follows paradigm that I do now, because I wasn't doing that make them. So what I tend to do for low it is that I have a consistent kind of shelf where the sub base lives, where it's? Because, again, you know, this idea of dynamic range, where he's, playing a sideways but doesn't have dynamic range, was just a louse, it is, and others do it so that it kind of has a show that's throw where it lives, and then the kick drum peaks the rest of the way up to zero t b, and this is actually pretty much like having dynamic range when I want, where the kick is allowed to kick based bases kick the base of the cake is straight up louder than the subways, and the difference in that is what creates. The sort of perception of loudness because the fact that it doesn't matter what level that that I had six minus sixty b, but I don't care at all where it is. This is long as there is a difference it's fine, and then like how loud it is is again kind of look up to you in terms of sort of outed, as I tend to do minus six and zero t b in terms of, like six months, because we're siblings and zero t these were hectic peaks is because, um when I when I went to museum maximus, I tend to use e ready be as like, the average level that I'm mixing everything too in the three bands, and then the master has the peaks that deal with a zoo result of that, and they might be thinking, well, if you don't push the highest of sincerity because you took the last part, I don't push, I don't push that's sort of the content of the highs I want me by that is, if you if you look at the mids, would you tend to see is that you would see this kind of shelf low end and then the peak of this there, and then I compress it so the peak of the stairs, even with a shelf low end, there the low level shelf and then in the low end of kind of the opposite, leaving the cake peak there, and I'm having this up kind of president so much so that, like I don't even need to make change is usually in the lower, because if you're doing the separate sub concept of your high passing everything else, then the only two things that should be in your low end are the basic kick drum and yourself. The west point compressing it in maximus is almost meaningless, because if you want to change the relationship between to just turn the base up without and then the level goes up and down told and relate perfectly relation to what's going on, because, again, it sounds themselves that really had that I'm a range, and so you have control over everything. I did everything that they're doing, but the mids and the highest every kind of different story, but they do have peaks, and so the highs usually have a lot of pizzazz. Well, especially kicked jobs. Kicks are very full spectrum sound. They start hiring the gold level was big ass peaks sitting up there in the high end? And so that means that those peaks of picking a zero b b but the kind of the high fat content, the thing that actually exists over time over time as opposed to really fast that's the stuff that you don't want to be too out because it's a cab like a washing kind of noisy sound that sounds too tinny and as again kind of up to you to sort of gage yourself for your own sensibilities preferably with a reference that he used the massive kind of brand altogether there what the hell that was a question that was answered how do you make some based cut through lawrence's right? Ok so that was just about just about measuring you know, looking at that kind of looking for that kind of behavior because then you know that's kind of you know is there um and they said, you know, sixty b zero g b thing because the thirty but I think that he doesn't need to be zero to the actual experiment one time with doing up the plus plus whatever twelve with that twelve plus twelve tv because again like a long as I bring it down the master it's fine so like I was using that to have the entire range here too to make you know, weird curves for to kind of nail and what I wanted because as long as all they're all consistent as long as I bring it down what was your dvd before the very end it's all flying that's what that's what it really means didn't have to carry about that kind of stuff because of the fate of the world awesome! I love this chat name steven spielberg has a question how do ugo about tuning such sounds to make them fit in the key of the song? I don't do that. I kind of know why you would like, especially if you're doing deep house, nobody houses, but it's that any kind of genre of song that has a lot of like actual base tone in the kicks out itself like a big, big room, as one does that's, what that's the basis of your kicked around like this is kind of in there a sound like that you're going to want to tune or hard core, is that those that was called the started kick, hard style that's what I'm trying to say is just trying to be really hard for producers, but you're doing hard style than like your bait, your bases, you're kicking, it's got tones, you got doing the stuff that goes to it, we were doing something, you know, the kind of example e dubstep stuff I doesn't matter at all because the stuff doesn't have a real tone that's not long enough to really impact things and that that's when you wanted to really mix the stuff they had to like that, and you might be thinking, well, ok, if even if it isn't for a very long doesn't have a benefit to kind of emerging and that kind of thing. And I honestly, are you. Not really, because if it you did, and it really emerged well with it. Then get conical losing the punch. You're losing your dynamic range about more of than you should, because it's fitting to well together, kind of cutting through it. And, like, just sort of disregarding it with your very hard transients, is kind of why it sounds punchy.

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.


Thomas Brogan

great stuff!!

rohan Dehade

this is the greet