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FL Studio Synthesis Master Class

Lesson 21 of 23

Sound Design Requests Part 2


FL Studio Synthesis Master Class


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Lesson Info

21. Sound Design Requests Part 2

Lesson Info

Sound Design Requests Part 2

Forty on our tab I'll let you know that everything is on fire except a statement there from j all right was this guy this is, uh bonfire yeah, I am presenting the first moment in this track where the sound is audible um and I don't know something to think about that's playing this's the first three times four times I try to cut down on how long the actual sample is, but I noticed a kind of behavior that made me think of some of these russian not the same sound but I'm looking at I'm pretty sure there are saying that exactly the same time and this is so very clearly a massive sound like it's just unbelievably this is baby bassett and people have figured this out really hard like it, so the fact that I'm I could do with massive and I'm probably not going to nail it if you really want this to be nailed to go to youtube and look up bonfire massive tutorial and kind of to sit through really my problem with allowed tutorials out there are not so much that like they're wrong because some of t...

hem actually do have like really good sounds of really good information there just really bad and presenting it and I must say that I'm the best because I totally have made a lot of mistakes I just hate but there's a striking just huge portion of tutorials that I just can't sit through that I can't wash because it's just so obnoxious for you know reasons that I find personally in actions I would say that's not going to be the same for everybody for all I know there are amazing and that was the worst but um there they exists and it was also for the primary reason for a long time that I'd never did any kind of basics tutorials on my own channel because I was like well there's already ten million people who did the basic so why do I need to be another and right I was just left I did to charles of things that I knew that they were not another no no no no I love to be to not waste time that's really the main the main thing I like to not do is to not waste time my own or someone else's but uh so if you could give you mean if they are as bad as they are for news there for me and you could sit through them there are plenty of stories out there that will show you exactly how to do the body firebase uh uh uh uh never actually tried to do the notes five ah again with all right yeah well I guess that they kind of want to be on the ground for this cause automation uh uh we're all just changed up ah what should be one seventy five because we're pretty sure that's a drub a drum step track yeah because it's got those german based fills from rob swire's pendulum days if you didn't know that life party guys who used to pendulum doing them doing the um active thing again because that eye wall that's gonna be squarish this guy I would I'm going to do this cruelty thing with the fundamental towns that's kind of a combination of the two and it isn't really because I think it's given soundings articulate that particular bartoli actually it's not gonna but um with the kicker about this particular sound is that it za gravel but it's all squelches this is like super duper spot to you very knife party esque nice party very killing always ask under this count before or after that I know that robs why was really really impressed with uh kill the noise killers the sound design there's this whole twitter thing where they're all very impressed with it that's right so then secondary watching the show and for I know that's not one hundred percent clear but for for a long time out people would they would ask like how to do the x y and modulation because they knew that it controlled some of them but they didn't they weren't aware that it was like a custom in control that I was creating the leak and I thought that's what passengers did and I tend to be true but c'mon try and do here the government is more analysis if you look at if I get the sort of the initial sound like the higher frequencies where you see this kind of these sort of pillory vertical businesses come in and if you also kind of see it's really hard to tell what they're linked there almost like the sort of triangle motion and this is pictures going up pictures coming down but just going up going down that's f f that's a big super indicator of fm and uh which is why you know squelch idea that that would have won I have b squad to the kind of things that you have it but you know it's that kind of like other than when the cake kidshands I was you big was the big um side changing it kind of fades in a little bit knew more so near the end there that's why I'm fading in the swell t like in the opposite motion of the self now there is a way to kind of control this is their way of thinking like maybe actual form it because it's not really a formal thing it just happens to be a foreman thing when we do the fm like this because of the because of the the spectral activity but we think that we can nudge it around a little bit in a certain way so why make this little that's my son better but the walls now german baseball to be great I say that but I've tried to make stuff in three four before it is not easy doing anything other than like four four and left and specifically like this kind of like growing tried using a super duper hard like us oteri future base five forest arms whatever that's fine but like straight up genres this is super duper hard to make stuff work out of four for because you just you wanted the head banging like the polls changes in his car like it where is it just does not make you know maybe someone in the chat some kind of expert and crazy time signature changes show me a metal song I'll give you sixty times changes look joey stories about that but if I if I mean that I'm going to ask him how does he deal with bands that I want to have eight hundred times against changes a day it's kind of private give us I've been again it with just him and I really was just found like I didn't really do any kind of poster whatever like it's it's not that that started so very isolated that song is so very clear what it is and so the massive part being what it is is just kind of ghana remain like that thiss weird shape of made this sort of hexagonal sine wave I wasn't planning on doing that but that's what? Looks like you have the big questions no we're uh see we got one. Um this one may not be timely right now how would one go about recording modulator? We got that question that's um that's a massive in joke is it it is ok there. Um I made a video a while ago that was, well, she's in a regular lives dream I was doing vote coating stuff and I was like I want are going to record a modulator and so I opened up opened up edison about mike open I just went I'm recording imagine later this's my modulator I think what I was saying before making weird was yeah, these noises and it was for me it was a good time and then like this for just for fun I like made a song out of that so just like dirt after dude, I'm recording a marriage later this is my matter later and that gets its funny is out but people the that's a big old things they were saying they had a recording of modulator they're making making fun of that tree that land because it's funny it's like the fourth most popular thing I've ever done which in and of itself is kind of stupid but I know how their networks so I'm not going to be a grudge a grudge that all right, what is this? This is ok, this is this is going too easy. Yeah, you have to play any more than that, you know that isthe so this is one of those things that, like I really can't blame people who does knowing but when I do it you're going mad you're just being annoyed. I'm not going to use it just for this imaginary it's hard because I like I like being farmers like my super saw like any kind of like really unison any kind of thing. Harmer is like the lord of and super styles are no different there but thinking the other ones out against your results and it might mean to you about it if you sort of are familiar with this but traffic not the um it's mostly just like category talking about leads before it's the idea that like you if you think it's always base in the base range that's very different what it's always sounds like a higher figure range so it's kind of a superstar in one particular context that would sound different than what you would think a superstar with sound like an irregular context and this is one of contexts and here's a fun trip with harmer and also citrus citrus is to in various parameters they think the way to remember about centers will be mentioned about how there's the row of parameters and then there's the modifiers for the practice and harvard that's their arrangements pretty much of saying we have dropped them and he would has a bunch of parameters and each parameter has the list of modifiers which for most part they're more or less the same as the list of body fires in the president's interest on this a little more because there's a z mapping and suppose it just an accident why, but it's also it's an index mapping units in this mapping is also in citrus, and what this is is that it allows you to change the value of that parameter per unison voice. So in the moment we have nine minutes and voices have been open and in pitch I could do things like I could make each these polls and also the sides represents. Each represents one of the nine units of voices, so I could say, I want these three voices that said the voice to be an active, higher and that's uh here, yeah, fortunately for things like pitch there the group the grids are separated to represent sensible things like semi tones and actives. So now it's, an active fire for those rewards is that's, the center voice in the to the to immediately stereo and on the other six on the outside are the active lower and he could make you know way more complicated to make it nine boys court just be single court so this kind of thing is really served touching girl because again there the idea about trying not really to get the specifics of things this isn't a super wonderful example it is a little bit of wait that's what happens when you it's boards in edison which is always very and this character of also is very, very mixed sensitive like the q in that kind of thing I think this is what I'm trying to hear is actually pretty similar to what you would do for a trap lead is that like even just accidentally particular parts of the spectrum kind of changes the tone of everything in this kind of really almost bell kind of sounding tone of this particular sound has to be achieved by sort of pushing the peak kind of our needs to be thieves the same thing as if you just had I make it's always with no affection just put a big ass speak at some some number like they would have that kind of uh well three o three ish things that's kind of what you do for three or three three three base athens based kind of thing thank you so much and it's probably like I mean in the track itself there's so much noise this noise anywhere and producers like these noises so much noise sort of raise their prices they're doing what a price in a cab well, I just I just try to combine like four different silly songs my brain and work out very well it was like the spider man song they might be giants and like that is that the mafia? We got some as obama and I'm not trying to be hard to do much more than that it's a superstar kind of thinking to leave deal probably in texas patch but maybe there's layers I personally think it needs to be layers like um layering people wonder why, you know, why did you later? By the way, they do players, how many layers to do, what they're doing with players and my my sort of look at that has always been do you need layers and that's sort of like the compression question is kind of like when do I need to compress every sound in the layer, every sound and for what purpose of my layering and then went away layer like that's? I feel like that when I'm questioning should be so war and when you mentioned supersize yesterday and the idea of tracking services and phasing face cancellation of african defense cancellations to create the pad the warm kind of bigness of everything it's easier to do that with layering that is to do that when they get just a solid standard since and this is because you can have more density of the same them our voices but with slightly different which changes because if you if you open a massive and you use sixty four voices and you have a really narrow like pitch range it's always weird lays everything because just two which competition of phase and off the voices were here right now I'm using nine voices and really there remember that this isn't actually nine voice this is nine sets of five hundred sixteen voices four thousand four hundred sixty four which no I didn't do that in my hand I didn't know that that's what it adds up to because they keep using the number and um for changing things like the harmonic units and pitch and then like the actual pitch for some of the voices are altering that at that level gives you more sort of phase change in the sound than you would within with and almost any amount of wearing and this is certainly or more of these but that that really quickly started to add up to being white noise which is just frequencies on everywhere and it doesn't really matter what space canceling because this freak which is everywhere kind of thing a magic that noise so that's that's out which one is this is the eighth one noses okay all right so this one's a little silly um I like it. I like the suggestion of it because of one percent no way so this one I don't know if it's the same sound what I mean by that is that you can actually you can see what I was like. Well, what I was seeing in the way I was playing, it actually can very clearly see what I'm saying here is that like when I was talking about the separate sub yesterday, what I was doing that that bland track and the idea that I like using what amounts to a little past saw way we're having those particular harmonics looks like this guy agrees with me and he used a lot of them like me, but pretty high in what looks like sort of the sub version of what the sound is and then there is a high version and it's kind of so you see the hard by that kind of presence happening here, but then does this business going out top and that's what's causing the the really vague, time talking thing and I'm mohr almost a hundred percent sure that's a better bet pressure doing that and I offices on the saw impossible that is he's big crushing the base of something and then replacing it and that's why I brought out to make a sound yeah, that is a low pass filter opening up really fast oh, ok, here's actually something we could look at in the analysis here to help us determine what what's going on here it looks like there is a low pass saw that's the main base going on beneath everything and then after the low pass is when the big question is you know wondering how you could possibly know that and that's because if you look at the big crushing activity up top here maximize this you look at the big democratic activity here's where the low past fades and his fades in with it up top even as well because what happens when you need a big crush is that you get you get this kind of conformity activity and then it kind of copies itself higher because of the harmonics are faring in that put together anyway so this this and if it were if the law passed after the big crushing it would pass everything will be passing this as well so either this this the big crushing is actually being applied to the sound um after after the bill passed or is just two separate sounds and they're being passed together but they give me a place to start which is good because it really big crush a lot and while I mean really at all so my experimentation with it it's gonna be a bit interesting it's kind of kind of house you think going on right wear bland gets in your head what kind of houses that do you guys know I asked I asked the chat what genre of music is that please tell may look it back to me a couple seconds the commission's plan point about plame plant wamp wamp went by and play and play in me assault wave to be a crash in weird house speaker john oracle weird house I don't even know how to make the steel with that that what was doing I think I think you out today that's where this goes out ah ah ah ah ah and got rhythm is it has anyone in the chat told us what well john this is a big room fidget house future house future a bit crush house crush house all right they're all in there fortunately there is a poignant called defector has a big crush of it because it lu fei puppy step ah across the whole pole part of this is the idea that we're gonna little passing list I wanted to be disassembled the passengers the tallest ah kinda uh oh that sounds like the sonic dash noise like when you put it firing at the bash oh oh yeah you totally know all right so like many defector why do you ruin the uso watch effect there is an interesting plug in but it was designed by the guy that made sour star jack scholar and I click on it and then I no longer construe ole or hit play and yeah wait eh no cool, so remember was talking about before about how like the ff characteristics are them not themselves have anything into informants? It just so happens that the resulting spectral motions is that this is pretty similar to this where, because of the in and out motion of that particular area of the spectrum, it has that kind of vocally characteristic which I'm hoping it's pretty similar to what that's a lie hey you e that's actually like frequencies that that's what we're looking at six k ah ah some way that way uh residents e oh, yeah, yeah, I want I want my mom some combination of this and that will get you that little passau big crushed in a particular way like defector affect his big pressure is one thing, but I don't really know because in theory, using using the wave shaper in the way that chemistry before to tow represent you know what they bet that it's about like that's what big brothers do, but if I were to use with the players able to do that, it doesn't look anything like the kind of big crushing that we expect and that's probably because normal bit pressures have some attenuation in them for certain kinds of figures the response that means that makes them not sound bad because if you think about the actual big crunching should just sound awful but there's certainly no limitations and filters aircraft in there to put him in it so that it sounds in the way that could be used. Musical um oh, yeah, that is, though, because honestly, I'm not really that being the big crunching, but you could probably do you could do this and massive and most immediately just, you know, have a saw, put a filter on it and put one one of the interfax post filter and make it big crushing in your good what's that so you hated the sound that's another one of those things that e when I was looking at this now, I had the kind of epiphany about the fact that I knew that this was after the pass is sort of like, I know I knew what the process a bit crushing does to something in a spectral sense because I knew that I was able to say this and go, oh, cool, because if I didn't know that, I will look at this and go away that's a really complicated felt there that's just a really complicated further and it's sort of again the whole hammer and nail thing where if you're if you're if you are, if you understand certain prices, they're going to think that a lot of things are going to be that process especially for sound is that because of the end of day it could be a really complicated felt that you could do that with the sister particularly specific filter but it would be really hard which I guess isn't really a problem if you have the current time but then I think you know the whole point of sort of learning how to reverse engineer stuff do you have a point? But you know, do you be able to do it? You have to be about sort of have a repertoire of I'm understanding of certain things might be thinking well that's not helpful helpful at all well, I tried to be helpful that is due duty oh, so this is f a f if a ph and this track is called hudson hawk and I'm making a bit about explaining this person is because I like this person sound is that he's kind of like business kind of like another joe ford and if you really were who joe ford is decided if you lose in this track he would probably be maybe like wow is pretty somewhere and when I figured out how to do the job forty joe forty ish kind of sound with the ring modulation with interest that much that I used for the vocoder carrier a risky did that but with the narrow filter stop that's kind of how I how I go about doing it although joe foreign presumably a with uses a massive to accomplish the feat um although there is rain modulation built in the massive it can't really do the things that such a modulation does which is why I'm of the opinion that joe ford utilizes the filter reference the kind of approximate a amplitude modulation that's my but this track is particularly cool and I I recommend that you find it later and let's do it this sound however is it really one of those is not one of those sort of really intense like fix outing joe forty ish things this is a bit different and I wasn't sure when I heard this how I go about doing it I'm still not sure how it went but what's weird about this is that kind of it has the square edge to it but it has the saw chunky nous to a no I mean and it almost sounds to me talking about hammers again it almost sounds to me like what happens when I do the spells bfm with a sharper saw signed with an almost square wave kind of thing I say it's a combination of a whole lot of stuff that um again that super show what I'm what I'm gonna do with this well I am more inclined to think of this is assault wave square away filter because despite this b s always but the reason for that is because you could look at what's going on down here where it is either a band pass or a peak filter which is just ah people there is what is just a dick you knowed that goes up it goes down that's what people? The reason he could just easily way over oversaw wave and um what makes you think it is because if you look at this it can't skips harmonics because as much as they felt they could push pretty hard at where is if there's no sound for it the filter filter through it's not going to do anything there so it can only do that where this filters and what the tarmacs president unless you factor in feedback and it doesn't sound like there's any feedback active for the moment so you make it look at this it's not just a straight line going down it looks as though it's uh pretty even this is a kick drum with that's a snare drum he's my guest on that matter she's so very, very tight sound go at its surface is not really that complicated a concept that's pretty it's still pretty uh three o three three three ish with the idea being that the filter peak before distortion to give it that kind of vague talking sense which has been around since the dawn of synthesizers literally well I guess not really since distortion had to keep up to fair amends at all but uh that the three or three whenever anyone says a three a three even that tells you what I'm talking about I'm referencing the role in tbe three or three it's very really mano phonic synth that is responsible for the entire acid jonah it's such a play with that and and hearing every game against feedback from their mother in the room this's not business right so the people there and I mentioned that but like before distortion it could be something as simple as this saw wave doing that plus some noise and the reason why I bring up noise is actually this is kind of what this looks like if you look at this business because of here we can't I mean the harm others aren't so distinguishable up there anyway but what we are like what we're seeing is this kind of like this was pillar and then this pillar and then this pose kind of sweet separation and this separation what this is is ducking and is ducking per you know oscillation of the way from what what is it ducking and it's what's tugging is the sol waves hit with the actual tooth of the saw wave if you crush that up against distortion with salt with noise it ducks and even even aside we will do that because the amplitude of of the way form comes up pushes it up push it away and uh when it comes when it comes back down if you hear and then it comes back up again and then gets pushed away and that comes back up again because that's what? You know compression like what distortion is those two things and uh so wait there's your acid although most normal asset has done with a low pass filter but really all that it is the decree of residency peak somewhere way phase distortion that's actually that's probably not literally actually phase distortion, but it is phase movement when I moved to filter around any kind of sounds like it's moving in pitch that's because we're changing to phase really fast far playing it and because of what we learned for fm earlier it's a distortion so that you're so you see an actual example of that, I'm sure you've experienced it yourself this when you've done and leave, no one fell through that stuff, so that puts noise now it was a lot more because there's that there's a quality that I attributed to the, uh, distorted sign squelch thing matthews be it, go back to listen to it. I wouldn't pumped up this guy so hard the noise is kind of pushed around in different way with the q voicing but that's basically it yeah, just in case you didn't know I mean also historically a very good example of kind of the acid genre that's just I could tell you, what's, going on what you can ask a chat with the song. It wasn't you. They will gladly tell you cool. Yeah, my dad, I didn't know that was one of the sound, is I request? I did, I think, for thirty k twenty k, but yeah, so these weren't all the sounds that were requested, but these were all the ones that I decided I wanted to d'oh.

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.

Class Materials

bonus material with purchase

SeamlessR - Sound Design Reverse Engineering FL Studio Session.flp

bonus material with enrollment

SeamlessR - FL Studio Synthesis Syllabus.pdf

Ratings and Reviews

Student Work

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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