FL Studio Synthesis Master Class

Lesson 20 of 23

Sound Design Requests Part 1

 

FL Studio Synthesis Master Class

Lesson 20 of 23

Sound Design Requests Part 1

 

Lesson Info

Sound Design Requests Part 1

And they want a bunch of sounds ever I've cut them up into, uh, legally consumable bits so that we should be able to we should be able teo, you know, play them and not to get sued. So good for that. This one is savants track mecca I think I think it's about, um way anyway, the sound that's kind of sink a sink feel to it. And what the heck do we might think? I don't necessarily mean sing as in bathroom sink or sink as and sink the bismarck. I'm referring to sink as an oscillator think oscillators thinking an entirely different animal and it is kind of bad ass. Actually, I can show you how it is. I'm not going to use sour attempt to do this, but it just has a, uh, sink function. How does the spoken work sour was designed by a developer that designed it to work outside of that fell primarily as a stand alone. So that's why has its own like universal things but reminded actually figuring out. So having to explain what this is also a to think is where you have two outsiders, you have the fi...

rst outside, which is the master ross later, and then, uh the lower docile and I want to refer to as the slave lost later, and what happens is the other oscillator changes changes pitched a slave boston will change pitch which means that it's no longer and phase with the original outside and actually I can show this with little lfo trick and I've been an automated prior to that matters uh just add a some useless thing area so seamless cannot posy and show the power point of the people we actually picked just to be reviewed real quick just that we have a lot of questions coming in about that we'll let you guys know that this is uh the list tool so I don't think I have all of these up there but I have most of them um I will say however the space places one I've actually done already if you go to the play list on my youtube channel did you dot com slash seamless are uh forty k tutorials which the but there's a bunch of k tutorial playlists and those air sound design requests I did when I reached to that many subscribers why did forty tutorials with forty k and thirty for that kind of thing and that song came up and I made attempt like pretty close so that's I don't really do anything different um if they go do it the pate guys won the mecca one was we were just talking about I'm doing knife party one um the foam a one and the a f f f one and doing the ivan they have the axe well remix of that track don't think I'm doing with sandra track I mean uh three of three style based on fact that's called three or three style base just youtube three or three style base and you'll find six hundred thousand billion tutorials on how did that I did actually into it and it's kind of a unique uh take on it but the concept is still pretty similar so is that so that I would kind of gonna show you what I mean when you think so I just have this region saw waving this example because this is typically done with my wife in that particular sound probably was that was my way so it's I have these two outsiders I change the speed change the pitch of one outside beneath it instead of getting out of phase like we discussed happens with oscillators when when unison together what what happens here is that it actually cuts off the other oscillator and restarts it with the with the master oscillator so that it doesn't matter what pitch the slave oscillator is it'll always you always restart in phase with the oscillation of the master oscillator and this causes a very interesting uh effect and you can actually kind of you could do this in citrus because of a kind of a hilarious byproduct of um uh them so this is what sol waves and uh do do do do do do do and I mean, this kind of thing, this is the next part of next segment after this is going to be about how I can, how I know how to reverse engineer stuff, like how you could learn and also how you could learn hundred percent your stuff, especially going about teaching guys how to be able to listen to a sound, analyze it and then figure how to make it yourself, but for really specific stuff like this, um, there's gonna be a bunch of kinds of sounds that I really only know how to do because I heard it once it was defined to me, I figure out how to do it, and I know it sounds like like another kind of another version of the sound is noisiest track tommy's theme, and if I had never heard what also think wasn't heard that track, I would have thought of some kind of brand new, ridiculous sound design that noisy cooked up because that's what they do, but I think it is so so wave I watch what happens when I just modulate the scythe, you can see that like again, that kind of invisible wall effect happens where the other oscillation is getting involved in the primary isolation, but it's restarting at the same period as original oscillation and so we get this is really somewhat interesting I have made the montana diaz later and I could hire so we have a higher range to kind of bring. Bring the sound in now. That's basically that's all slated thinking that's kind of had you could do the whole hack to do it with it. With the terms of this is I should hope isn't sure what the actual processes to do in a real plug in. For all I know, it is actually just that with solids. But that's how I know how to do it. And I prefer doing that's interest in trying to figure how to do that with our sorry is weird. You kind of hear that that's sort of what that sound that sound is based on I try and write me a pattern so I could work on this without playing notes way too high. No, that was so one of those actually hawaii pastor theo. All right, carry that is like not in sync with anything. Kind of ah, huge portion of that's that's not actually moving up and down in pitch. And I think that's, um, the modulation of type that, uh, that sink that's cousin to do that is that really what the default is this far told bands, and it looks like these aren't the seventies I'm used to seeing for, uh and my my own edison and I forgot what they are because it's been so long since I've had the actual change it so looking a little weird to say but um what I used it isn't for is that loaded up in there and I'm able to kind of look at, um the spectrum of the sound but I can also do that with q which could be helpful so with that with that kind of looks like to me is that is not necessarily, uh changing pitch all that often what did you do too it's kind of I think half of muslim also just the automation of the of the think change change change the density between between notes and I make a sound higher and lower of course, because of the harmonic uh, interference supposed being called probably some can distortions of big after that to make it sound a little closer, which is a little hard to figure out what the constable stuff like, you know, they put a phaser here that one moment and they put it the title of it of course on that kind of stuff it's hard to pick out but like the the core aspect of this sounds kind of where I try and go because from there you can easily easily but it's a lot easier to try and like get to those finite tiny details if you know that I was also later say, because if you don't know that, you can't do it like you just have no, no frame of reference know where to start? I wonder if it moves the animation never tried that tryingto, of course, now I care that's off off the grid, we're looking because of them. Cameron it's a really kind of slap shot, steven example of that, but that's amazingly it in it throughout nails, but yeah, I mean, the real kind of secret to this is utilizing outsiders like to get you come closer that's out on me now that now that you know that you can hear the how close it is, my version of ted savants version you can run with that it is because of the ok cool, and I could spend the next two hours trying to like, you know, really hammered in, I'm not going to follow you through me, you know, changing pyramid parameters and a being until I get identical because you really shouldn't try to do that anyway, you really shouldn't try to get exactly like the same original sound because you're not together for a lot of reasons, not just because they go with better is wonderful it's weird, because, like when you're trying to copy a sound your brain is in the mode of thinking that because that sound is your reference that side was officially the best possible version of whatever that sound is and front back into trying to copy it that's basically true because that's your goal but and the grand scheme of things if you're trying to use that kind of sound like you know is that sound the best example possible of utilizing off? I think probably not like there's a bunch of other examples and losing it like I mentioned the north this time in steam no noisy is tommy's thing um so really the goal should be to figure out what the base form of the sound is what process made it and then get like the ballpark of it and then make your own really good version make the version of it that you think that you personally think sounds better of course that could possibly be that you don't know what you're doing, what you think sounds best and that's fine, but chances are based by way less effort doing whatever it is that they're doing because they did that they are going to make it also think sound that made them think they put like a phaser distorted it pitch shifted in whatever didn't want to stuff to it that you just have no way of knowing because of the nature of those particular edits are that there's too subtle to really detect wait less settled and just being like that also music so it cz not so much a wonderful spanish of your time and try and figure that one out his web site but yes so that one was savants mecca at I don't remember what time but it's pretty it's at the main base that track so I think this is the pan guys track uh I could tell because his name on it three seventeen square typeface I really hope that's what they're talking about there are a lot um they were we know there's a lot of square typefaces but this is this is the candidate there's a little family but enough here um like I mentioned that way we can use this to kind of look at, um particular her monica injury but you can also use this the way to do it as well and normally I would use the issue or abuse edison to determine whether at the square or solving this case it is very clearly sounds like a square and we even has the guy take that out so there's a score tied basically what the fact that it is the square is not really what's at stake here in terms of wonder what what is of course way to spend a whole bunch of time uh using this is this is something that I was to be a lot yeah there's that phrase that like to a hammer everything is a nail so much that I think it's a phrase and um for someone like me like for a long time before I learned I actually researched what like you know, so attracted to this this was all the way out like felt how actual filtering work and learning the do that to do e t modulation to do narrow which is just more filtering um my hammer was fm synthesis and so to me every sound was infected this is we just had his whole tirade about like you know everything his effort that this has put the look and it was totally a hope that this is and it's not so much that I'm saying that every sound is I'm just saying that every sound could be most of the sounds you probably could make with f f f m said this is but uh this particular one probably was made with massive and the scream guilt so that sounds like to me but not having even if I had massive it probably still wouldn't try to it like that because it was not it's not like I'm going to uh probably a square and some like gene isn't going on I usually start with citrus for even for a lot of size even if I am going to pretty typical typical likes attractive stuff like I could use harmer for this but um while I like harbor a lot, it is kind of polarizing in the sense that most people don't use harbor or even can because if you're looking, if you have info studio and you're on a pc you're you're good, but if you they are using any of it all, you can get the plug in with ground mack, you're kind of out of luck and that's through a lot of reasons about that and so what's happening is that if I do something that's very specific, the harmer that limits in a big way people's ability to actually do this stuff and I really would not want to do that to you. So that's why I use something like citrus, which is mostly it's attractive stuff and you could do that wouldn't really anything square music you can you can get a recording of a square wave, put it in the playlist and put two of them together and changed a pet shouldn't even have to have a plan that that's that's how simple this beginning by this is anyway, I mean here's a get well it's not something I was talking about before about looking at looking at the spectrum and it's kind of following the filter just kind of looking at it, you can see the filter here we have a big a big league bad pass going up in here which is what I want to try to do that with and then there's this kind of his whole happening up here not one hundred percent sure what caused that I guess that could be like male that there's a there's a band past father here that this is not happy about it but so aside from that telling the filter that's going on right there how can you tell from that view that's a square it's kind of hard to tell from this view because this's kind of like the wrong view but it's mostly just the harmonic limitation it's a lot easier to tell in the u s what's happening because of like, remember the difference between a square in assad's that square has half as many harmonics active so if it looks if it's a hit with the bass sound and it's kind of like this weird void of harmonic in there the low midzi safely assume with the square wave and this is coupled with how it sounds which is kind of that hollow we sort of square ish type that's where his type like the fighting the worry with the board of the defendant definition but it yes that's normally if I if I have my my usual edison settings what this would look like as you could you would see those harmonic the harmonic movement and I said this this tribe has a lot of noise and it actually there's noise at this track and is hiding a lot of the higher harmonic activity this movement that you may be thinking that this this looks like the pitch is moving but it's right now eyes of the filter with me, the pictures saying the same the whole time and it's not just because of the suburbs, even because you can totally have a sub not moving in pitch you have other things will be different as well, but well, the message that the noisy mess is kind of a noisy mess it's still it could still see is very consistent shape of things I mean, because we're not changing. So you know it's now about using visual analysis it's also about the idea of using your ears and first kind of stuff I think comparing it with your own experiences that was not doing that's out. I know what key that was in, but basically bonus, they're not in that area now on the grid now they want to put this foot there in here there was actually a way they were built in tow citrus up here but does behavior is a little bit differently than the one that's that's out in the real world, and the only difference is that it's just it's just not allowed by what settings you use so if I used identical sentences that would necessarily be the identical but you could make it still do it was preferred that it is pretty used to what I'm used to that's really all there is to it ah bian b s so it's actually a little bit of actual announces and see what we're looking at in terms of frequency three hundred yeah I guess that makes sense except around with snare hits also here's a here's a lovely demonstration of what ducking looks like in this in this view here oh this cut is actually I think just the base starts later but up here necessarily happening pretty cool look at so for that matter that's not going to show me where the figures together that really have this not quite now that the problem that I was having this there is that I'm filtering the square wave which is all well and good but what's happening is that, um the band pass it is only active on certain harmonics and nothing in between which isn't quite what this sounds like you actually know I'm no idiot it's probably no is layered in with the original sound which you could do in centers things fade away of here is the noise level and we just heard all the way up and then I'll say it just becomes a noise all slater does funny things on bases interesting how you can really I mean, I know how much of this particular blast is part of the uh um snare what it is like snaring noise layer or if it's part of a thief the actual sound and say not tryingto fight the sound booth they feel there's a little higher than when I was doing it because they get too low or doesn't have harmonic activity for their she work but there's a different kind of distortion using because that distortion of the big fish that like that I could do you wait wow remember what I said about the hammer and nail thing? Um, as much as I said that like, you know, if I'm if I'm in an effective fm, so this move new didn't get everything to be solved it's also kind of weird to keep our that I think if I'm not going to get us out and that is that, you know, that's fine, okay it's it's possible that maybe a fourth totally wasn't them and that when I'm attempting to do now is giant, we still have time, although from what I'm hearing from other with panda eyes uh the guy is particularly good at this kind of sound design that he's done stuff before that stunned me, but that was also because of the time I was unfamiliar with what like a phaser and a flander as a plug and actually did the's days I do know more about that that wasn't entirely unexpected result a one hundred percent of them think it was gonna do that was pretty interesting that I think I'm just going to do that without them leave that there was kind of fun kind of funds and this is also another reason why I d'oh sanders and requests a lot because every once in a while actually more than you more often than you might think given how you know people are always introducing me as being like the best sound designer in the world and for f l on that kind of thing drew that like you maybe like already given zabel's sound yanking it but like I have this's this is a fairly common occurrence even for something that you might think is simple in fact is probably a bunch you in the chat right now that know exactly how to make the sound and inventions because you're familiar enough with massive know how to use the screen filter but as much as I refused to use it it's you know everyone's got a different kind of things to be about it, but they do learn things that do come up with interesting ideas and also everything that is said earlier about, you know, finding more resource is to try and figure out how to do new stuff you you know, immerses often it can think so as muchas you guys are running so high schools that, huh? Ah ah ah oh, you see why I think that's a family, you know, because it's just sort of it's already about closely what I was doing, not that it's, you know, perfect, but it was the right that was that had to have there been questions accumulating. We had a question about dark acre jack had a, um, question about said I noticed seamless, always setting up these patrons in the same way. Is there a way to create a template patch er nfl and just loaded up a template? Yeah, so you could sort of have everything set up and just yeah, well, part of thatcher is that you're able to especially the generator version you're able to make, use the plug it and have your channel, your effects line all of your facts lined up your chain. All that all in the same thing is totally is decidedly in gold is one part that anything you say that you can save, you know, the pre set here in that kind of thing, and as much as I don't tend to use it like I know channels add one of the patch or whatever there's this whole other business over here about how to add plug ins there's the plug in priest has put the plug in databases even this plugging picker thing that is actually really cool that I don't use just because I'm used to really old ways of doing things because I've been using it for ten years, eleven years and um out of this trooper f l eleven before it fell twelve there's actually some ways where you could like you can you can totally just replace the default loaded loading thing with whatever it is that you want to have and uh oh or that in department database just making it highly other thing that is a catcher patrick with this thing in that patrick their thing and the battle for this first you just have a many as you want click a dragon a dragon the bears were so anyways do that kind of business so yes to answer questions why ah it's my attempt to sound like that one particular rhythm I was in the round bpm but sound design cares not now this is dylan again squares a square which kind of sound so I am doing the fm but I'm doing it with the arctic, the onset of the margin and also there being a higher active than the previous one, then the fundamental outsider so at least where prisons way and we're not limited to just the one thing that we've been using for the whole for all day about using that we've been using very simple applications of basic way forms, but chris has so many ways of screwing with wave forms that do much more interesting things wait, wait, I'm kind of I'm kind of convinced was critical about noise involved you can kind of generate that nose with wish reviews appropriate shape just shoving a hope and just a whole bunch of stuff into it, but under way it's actually link the volume of this test we'll whoa, whoa, whoa, whoa, whoa too. So that sort of was related. That sounds like it's, right? And of course, when we jam everything together with distortion, everything is rated it's like franken sound that you know, it was kind of like this weird faizi almost behavior of the sound that sounds kind of like easy and the reason why it sounds phases because actually, because of this little following line you can see here the harmonic moving around with this lower guy you might have seen this happen with my last attempt just square in the filter because this guy being so loud when it gets pushed into distortion it creates the higher harmonics from that is the fundamental from where whatever no is being put like whatever toes being pushed up and that creates this guy here and that moving when they're moving around together a creates a kind of faizi a shot because what happens with the phaser that's? Why it's crazy in my opinion wait e wait whoa, whoa wow wow whoa whoa wait whoa whoa whoa, whoa, whoa or something month look at, uh, distortion options always in the same place it's always in the same place why won't why won't why won't why won't why won't why won't why won't why won't whoa, whoa, whoa, whoa! Why won't whoa, whoa, whoa, whoa, wait, wait, wait, wait so far a mobile closer than it was with that pretty previous attempt that's basically, the sound is just ah, cuba differently like the, uh, part part of what you have to do when he tried to isolate aside like and make it simple. You have to also think about how it sounds without the rest of this stuff in the track without the hats without the probable probable white noise in the background everything without the drones wait, wait, wait, wait five what way it's probably going to get with that and in this case, it would appear is though it required a hammer funny how that worked out I was going that everything is their family except staying in their family

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