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FL Studio Synthesis Master Class

Lesson 11 of 23

Producing and Layering A Track with Harmor


FL Studio Synthesis Master Class


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Lesson Info

11. Producing and Layering A Track with Harmor


  Class Trailer
Now Playing
1 Waveform Basics Duration:23:18
3 Compressorless Compression Duration:18:17
4 Compression Controls Duration:19:02
6 Compression Q and A Duration:12:39
7 Granualizers Duration:20:34
10 Additive Synthesis Q and A Duration:31:45
12 Producing Drums in FL Studio Duration:09:51
14 Leads Q and A Duration:27:25
15 FM Synthesis Basics Duration:26:00
16 FM Synthesis Sound Design Duration:24:23
17 FM Synthesis In Detail Duration:24:09
18 Vocoding Basics Duration:38:18
19 Vocoding Q and A Duration:20:36
20 Sound Design Requests Part 1 Duration:35:10
21 Sound Design Requests Part 2 Duration:40:11
22 Synthesis is Not that Hard! Duration:32:47
23 Final Q and A Duration:15:57

Lesson Info

Producing and Layering A Track with Harmor

My original plan for the same one was that I was going to kind of utilize what we don't hard, but today it is kind of do some popular decisions as it applies to sort of, you know, musically we like and that way we know but not like it out like, you know, crazy, complicated, super popular, like scrubbing stuff, that kind of thing, but mostly the staple stuff, it just kind of underneath all that this is in everything and everywhere that we doesn't do it and I decided the best way to do that would be just to actually make a track, so I have created empty, empty f l and it could be kind of weird because the miners over here, I think the things women here and there are many examples I'm usually using beth, okay? Because obviously, um we can work with the sample that I fell it's kind of what was pretty cool about some of these things, so so this is a big houses because it's it's among these your things to make, um, that was one of the students have actually here, one of the bey wanted me to ...

show you how to make kind of like an ambien pad sound unfortunately, here he had to go to work, so he wasn't gonna be around here to see this happen now. The cat sort of here is that he was kind of a thing about using patter the way that I tend to do stuff these days is that I'll have a sound that I've designed in pasture, that I'll put in a mixer answer, and then I'll use the mixer inserts of facts still, even though having a patron, but really, when I'm using if the mixer effects for its for actually mixing so any of the mixing decisions I need to make any kind of you changes, whatever I'm going to do in a separate ulich wiser inside the mixer, so I have completely separated the effects change for sound design and the effects chain for mixing so that they're they're very much different, different things that we need to worry about them clashing. Sometimes they do so with the kind of letter that I like kind of maddy and the sort of, uh, almost funky what kind of this very melodic, almost complex kind of stuff. A lot of that revolves around and like there being some kind of progression and all kinds of like chords and arms and pads and things that kind of together, along with the other cool stuff like basis whenever but over the harbor here, and I was going to make a super cell. All right, so it is much the notes signed if I'm going I'm going try and choose that is actually the sound itself, especially when it comes to clearing, which I'm not totally sure if I'm going too much of but we'll find out as time progresses I'm changing the ramping here because I'm going to turn into kind of like a a staggered kind of do do do do do anything I want to be kind of sheriff but um by the fall what the ramping does is that it prevents it from being so sharp it snaps because you could make it do that and with the unis in on, I think they'll be much much of an issue, but we'll see and really what I'm doing here is I'm assuring that everything is going to kind of go to kind of be what whatever I'm seeing and doing is going to what it is that those of the changes I made in the advance section here um I turned off the noise which I think might actually be just images of this thing but you're not just because you're a smooth mod because if I usually do automation and if I make a sharp division I wanted to actually be sure on dh I turned the grand new lies the greatest grain business what is this what it's called this is called envelope granularity what this is is like um when you have an envelope for when you have the tv, the harmonics moving around inside inside harmer or calculus, that kind of that kind of movement isn't like probably smooth there's a little bit of jag in this to it and how jag and it is determined by the senate parents milliseconds turned all were down two point five milliseconds socially pretty snappy pretty pretty on point chris uses more cpu that my entirely be necessary but we're running a pretty beastly computer here so I'm going with that shy away from that now newt's lesbian eat because we're not he is pretty regular I'm not going try over the hard to be super original right now they're kind of showing sort of staples of step in the way that may be easily presentable so let's see uh got r e minor he might have business you have to be it's hard to hard to hear because we probably have a little around here my mind I'm I think I actually used the empty template I don't ever really have a thing in the here until I need to do any kind of mastering go full that mouse and do this business is actually a name for this specific uh it's called trust sale I only know that because beatty said at one time and he's a berkeley graduate so I trust him in terms of that business is going get down to the six. All right, four cards, let's, do this really great. Awesome. I'm going, I'm doing it. This is happening is happening. Um, the joke is there's these four courts that aaron, like all popular music and and one on one hand, it's cheesy and stupid. And americans, the body, the hand, it works really well. It's just very get into it, you know, what's happening, you know, what's happening. It's fine, it's also kind of a reason why you can't copyright a chord progression, because in reality, there were really only somebody network and story specific ways. We see you going to run the gamut of doing. We're doing these enough, but if you're trying to make some of the sounds good in the conventional sense, there are only so many ways you could do that in terms of a progression so mellow, there's, any other hand, are kind of forget free rent free rein. Sure, I'm I might tell us about the structure of the structure, of anything to say, I'm just kind of making sounds to kind of put their they're so note that we kind of utilised mostly subtracted, that this isn't here, we haven't done anything added to make this a kind of interesting that alter the alter that straight up the scent of any anyway I didn't alter anything I live it all to kind of get that there am I also wonder why even use patrick all but it's because of what I described earlier about the kind of separate the sound design is a little bubble because if I did everyone in l a and there was some external stuff I would say that's where I would do it um now I can't want uh to layer that with an aarp and are being short for arpeggio and to do that I know has this kind of heavy heavy business where do you go into the channel size window whatever you're triggering a function tab and then engage aarp educating we're now it's when you hold a corridor stop playing the core it'll play that's individually but I still have this sort of thing around here so I would do is uh old l which automatically god does everything and then control ji which blues it altogether oh man, I really want to go up to the bottom seven major seven in the end there but every time I do that it just doesn't it doesn't it doesn't do it so tamping down I'm doing it I was like her anymore how is that every time I do it just doesn't work that way okay it's probably not a good plan to screw around where I'm not don't know what I'm doing so right now this is just a song I haven't really do anything with that, but I can make it I can think of something interesting, so what I'm going to hear is I'm going to use the puck with booth as we discussed in these attractive section of the whole thing is they have even what the fuck is usually then academies it's a kind of filter where it's just a little pants, whether they're just kind of shut off really fast it's a sort of doing that like, if you look at sort of the spectral view of what's happened, it looks a lot like what I just described, but what actually is happening is in this park graph when we see the shape of the what what was the line represents is how much time it takes for what particular harmonic stick to go away and its control over all by this now, but this is sort of the the offset of time based on the set, so if I didn't like this boom, this is say that the higher if you could just go away with the fast and lower frequencies taking almost always alone let's go away moderately quickly, but if I did this, they are more time to kind of this way but could also change it to be something totally ridiculous theo e way that philip silly river three way all right, now this this time ideal leverage a whole bunch of additive process is kind of kind of potential wait what would have been subtracted process region the pluck to kind of create you know the snap and the clock is actually how nice is that actually the word pluck is that attributed to an actual process but you know, remember delaying impression to kind of bring it all together have been discussed before about what you want you can do and then also up there on the phaser which is keyboard trying so that means that the kind of the changes making the spectrum is going to follow with notes as opposed to being in a spot the whole time um turnout you december that I also turned off the low end I mean under the turn on in the mission about because I have wanted there to be sort of river bin in the spectrum of the kind of thing with that the war billy nature that you get when you have it isn't pretty high high notes theo way people drink and so what we've done here keep we're talking in the filter it means that the fed is going toe get gonna do its thing but again it's profile is going only begin at more than no follows no following is not something that's unique to add is that this is regularly because getting as well but what this does is it means that for the lower values it's pretty close to being just a sign wave along with the kind of the total change of afforded by the platform when I was a kind of control, a separate total change with figures it up, so this is just a lot of a lot of more fake a lot of sort of overtime changes that make it something that is a relatively simple progression, something that's a bit more interesting over time instead of being the same sound for just sixteen bars that could actually more from changeover be a big thing, which is the same thing or decide only kind of opposite words coming out they could do but that's, what happens when you ramble so it's filter, filter back up, back down all the backup and then like, start up, then come down to be plucky and together. So theo, so why does that? That is a cute it again, the sound, the way a lot of this island wasn't really watching it was like any kind of specific mechanical reason to that is doing it. So I think I'm ready to say something to this discord, the actual cords here thiss time, though, just to show different they're going, I'm going to do this is there was attracting I wouldn't do that with the actual filter instead of the park and that could put echo on this let's put some that white house and I'm that's what time is it now it's on three so if it were even it was something we make this pattern so I'm going to make it even so that when it is doing this parrot will have the same kind of actually now one thing I want to have happen is that I want this to be like super open so what I'm doing now is they want change but this is the way that the articulated works inside harmer is that the center wide represents the position of the knob that it's on so if I do what I was doing to say that it's it's going to be the value of the knob that it's gonna go down so even if the field is all way up it's never going to actually open and if I make all the way up we make it all the way up I had to begin above where the father is and then go down wait wait a chris I can't alight outside of what it was really really sharp was going down there and so if I wanted to be really open all the way up here what I would do is I would turn the envelope all over that way and what that does this is still so attractive thing this is actual president regular father's anyway what that does is it controlled the application of envelopes article there. But how? How much is it apply? What? How much of the changing weather is doing? And so I can make kind of this guy up and down, maybe once through the progression, and then all the way up by bringing this guy dollar way down, which is a bit of a convoluted idea. You probably do a little bit more elegant. Um, I will get a solution to this, but sometimes I just can't do things the hard way. Remember, fifty percent was actually off and on that night, so I gotta care for it where it goes. There's also, this is kind of simple stuff for the moment. But does anyone have any questions about what I'm doing to fire? Um, we have one question. Can you show us how to design a really clean sub clean, deep but powerful sub? Not just a forty, uh, hurts sign, of course, but a really instrument like you often hear an atmosphere drum and bass, not a reese. I mean, a sign types sub some with a lot of what use that you mr person who asked a question seven in that question. Maybe I think you may have actually meant, um a reese but they might not have known it wasn't reached but I'll show you what I don't do for subs for what I would do is um most subs even you think you said that just the end of forty yards side way of kind of thing but I'm using armored units because again you can you know with early need toe make a fuss of abusing its attractive but they're not sideways aside waves so right now they have justice I wave which is not terribly musical replying itself because barely hear it and really a way to solve this is to saturate it and there's a reason for that if you remember way back when we were discussing the idea of distortion is that want me to start something in ads for mom makes the stuff and I'm using her right now so what I'm going to do is I'm not actually going to start I'm just gonna ask her about makes this stuff now every so even lower than the lowest notes our actions labeled a kind of perceived hold and one of the benefits do me like this and actually by essentially aside way was because of the saturated sideways we're getting weekend we get square wait harmonics and with this hallway harmonics we're able to actually still have that first active harmonic because in the square way we don't have that that harmony we have we have the next time on the list which gets us a different kind of today early in this one like the kind of difference between a square we haven't saw waited out especially bases is that saul wave has it's kind of this thickness to it this this shorter oscillation I was I was actually not shorter because what happens in this square way was that it's actually double the street physically impossible lives first just the one but physically impossible so that she makes them visas thinner but actually makes you feel like it has more meat to it then square way because even though there was a note so thank you for you that's always her my next means that we're able to kind of still have that that bite because the interaction of those closer together harmonics and that's how are doing to us up can think so what I do eventually uses up that's about it and it bothered me that it doesn't matter because I will put effects myself just ther e way and I mean if this were it could be he was reasonably intra where the cannon bills are into that and then this is where this kind of already sounds like a track some time which is the devil filed for chapter eleven that's a doo doo doo doo doo way l'opera kid be fall and that's where that shows up mr show you have totally imagine if I'm any right now but let's make a pad oh, by the way, you could totally have patter and catcher if that was something that could be possible it totally is and is not an end how far you could go down to that but it's not something that's super necessary all times but actually I mean there's a whole there's a whole community on the image line for people who make incredibly complicated patrick are basically plug it all on their own like saturated plug ins de answers crazy like ultra multi bank oppressors. Well, you just a lot of stuff and you can load the borrowers like didn't moz and they will know that something that you know, if you have something, use a while he even used figures is putting a lot of us have sports saved and then you could put one end and then it's butts and you put one out and then you got directed and something that saves work you know, that kind of idea. So that's where kind of figured out how to keep what works that's it for this, we are kind of using reason saying for it again, well, I might I might, um puts a different harmonies in there just to spice it up spies because, you know, so a real a real quick easy wrote broods you kind of thing I do is to put some for four horses using on low pitch needs and and keep tracking and the bat down and then you got pretty thank you spice yes that's what? This is the spice oh my god, I feel like I'm I'm going to buy backs that like right but that has to be a song has the piece up like and I guarantee you it is to do that wait could they were hearing is the eleven because I have you have that pre attack all the way off what you remember is the thing that leave them too we uh the delayed lizzie idea what did you see why I have it off or possible? Because I don't want the delay of the audio but if you do that it means it's reacting immediately with no attack whatsoever and they could be sure and that's the start theo legend ofthe way theo theo oh, actually fun fact about the active in unison hearts relationship that I mentioned before because actually the special hurts mode and the youth isn't list and what that does is actually an applies that same idea about the pitch waiting two unison because if you think about our voice a solid voice right that has the hallmarks of the fundamental the hard lines about if you move the thing more active higher if it's a forty hertz saul wave that means that the fundamental turning forty year becomes eighty yards it was double right, but they're way up top where it's got the four thousand hertz, you know, higher harmonic that becomes eight thousand hertz very large increase because it's like um so it means that well, in order for them, the thing the sound in tunis gotta move this this report, you know, it is exponentially more about as the higher the higher harmonics hurts mo doesn't do that hurts my blues and even hurts value across the entire spectrum that splits the using, and this creates a much different weird weird isn't there, which is it's different it's also different every time playing out for some reason, I thought that was your wife that's, where we don't have right now because I have the feeling to further down point and that's cool, mostly going keep that down for the three insurance we like. Everything else will just open up and be this big thing, it will be huge and large and loud and whatever. Oh, that's, the stuff I've done so far that's pretty basically level whatever for actual building stuff like you can make you don't even need to go much farther than I think this is enough to make, like any song muslim, like any real, like that sort of stupid, the harbor there, but like regular ish kind of music do that it could be this and that pretty much all you need even though you know basis of castaic bringing assault where stuff is making big mess like this is play lower no filter and you get this's my this is my sign for dub stuff theo courses this is where we need to make a basic we'd mentioned because basically we're kind of kind of greatness and once again I'm going to use harmless that's because, uh it's actually a particular kind of sound actually there is a secrecy thing this is actually kind of funny is the way to do this in citrus but by using avastin this is the synthesis um because citrus actually does have um I will many out of engine built into it what kind of carefully avoided using today but because I well I could do is you go sol wave and then there's this option of henson's converts shape to sign harmonics and build it and individual side waves just like you wouldn't harmer it's actually exactly does that weigh the same number of our minds and everything because they could tell they've had this additive idea in their brain for a very long time and once you've done this we can go in here and we could randomized faces base world it is no longer like truly coherent saul wave right if you look at that the way for months literally will give us always. But harmonically it still assault way, because still, to save her, modest, that none of them were the right face anymore. And if we could distort this.

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.


Heather Freinkel

Lots of helpful information here but it would be even better if the instructor spoke more clearly. He speeds up and mumbles dramatically toward the end of each sentence making it pretty difficult to hear what he's saying. If you do more classes, please work with a video or speech producer to improve the delivery. Thanks!

Thomas Brogan

great stuff!!

rohan Dehade

this is the greet