FL Studio Synthesis Master Class

 

FL Studio Synthesis Master Class

 

Lesson Info

Waveshaper, Maximus and Neuro Bass

I mentioned that if you if you compress air goes to fasten it pulls the way form up too much than it a little shake the way form and got way shaping but what is distortion due to stuff? And this is karen important question because distortion is present in almost every kind of sound design um, so first let's kind of define the the idea of distortion now, it's actually, the reason why I bring this up is because I thought about it on national analogy while I was trying to build this in my brain, and the thing that I brought up was if you've ever used have you ever used any kind of visual adding tool like finish on whatever it is probably, um a process that you apply it to something called distortion where to start and what we'll do is we'll turn you know what? You know, a source visual and kind of wave it up like a nice of all wavy and we're looking kind of like or but you know that spear staying will show up in a little bit around and it calls that distortion and visually you might be th...

inking well, because if you think about what distortion is already audibly audible distortion is very harsh and crackly and like sharp sounding but then like the visual version of that is smooth looking and they're not that damaging and you could make it damage a looking but for the most part still distortion was not that damaging and the visual aspect is actually pretty president even in normal way forms so mean by that is if I I have myself way, way, way have sort of way for modifiers insides, interest and what I'm doing there to kind of change the way form that's distortion where distorting the way form or changing the shape of the way from what it was originally were distorting its image and then the resulting audio is what comes from doing something a lot of kind of stuff cities in such a state of law has a lot of options, that kind of thing, but if you have, even if you don't have to do that kind of stuff, we have distortion units, that kind of thing and that's what this is basically what they do, tio the audio signals so if I put a wave shaper inside the chain here can't read anything and in anything in india it's alphabetical I should know what you know how to read letters. There you go. So you are stuff here you know this actually a cow up with you after that's a look at how patrick works it's pretty pretty basic uh as I screwed everything I'm doing but it's pretty straightforward and inevitably so like, for example, that the first kind of sort of what we were doing with one of the original way for modifiers is basically this I say basically because it also kind made it louder, but this this curve that were messing with is that same kind of curve that we were using inside maximus and actually wondered this center line is years post missouri tv, and I wonder why my stabbing? So how snap on sigrid, I could use that kind of thing if I do that, that it'll have the exact kind of distortion profile that the centrist eight were messing with the kind of thing you're going a bit further with, whatever you can kind of see the behaviors was like, as it gets pulled the way former is actually changing the shape of the wave, and this would be having changes on harmonic profile if it weren't for the fact that the solid already has all the harmonics, at least in the four year series. That's, really, what the story does is that it adds harmonics to stop it's already there, and so if it already has on the harmonics, the results are not going to be that sort of easy to see and really what's going to happen is that it's just going to add weight to different reminding, especially solid I've been thinking, although it theirs they have created holes about you for the added stuff it did add stuff it just phase canceled because it was the same frequency you're different different phase how cool is that now? Um, if this was slightly unclear there's another another mode in way shaping the asymmetrical mode where it splits it up into top half of over half of what this means is the prize itself to the positive oscillation differently, and it'll part of celts event to the negative isolation on that little those rations should I think, making this a little clearer about what the mission is actually doing if it wasn't already because I know it was a little weird for may when, um I think quite see what's up building there is that they do it to a solid but what happens when this was sideways sideways, which has been defined before he's but a single frequency because it's already adding stuff too, because the shape isn't perfect. Ah, he is the night. So now you mention before, um if you think if you take his oscillator, this is actually a good way to determine what distortion unit is doing to sound is if you play a sign wave through and you look at the oscillator and look at the difference between what has assured us highway but it's distorted and doing interesting things look different and another interesting cuts, but conscious about why about how this applies itself in terms of compression is what we're talking about earlier about the kind of ducking is that if we play more than one source into distortion, that if it gets above whatever threshold that we set based on how loud stuff is, then it would get pushed down together, but because of this, because starting it would be a bit different way I like that play two notes way baby, baby, baby, baby, baby, that's like the first wobble right there really like like aa lot of the older dub step was really a simple stuff like, you know, just like a little passport to do in its day or it's that what we know as a re space? So the last thing, the reason why I actually brought up compression and distortion now in the sequence of things because I wanted to show off a particular bit bunch of stuff I do with some neuro sound design, and if anybody, if you're familiar with what I do, you've probably seen me views of much times but his utilises pretty much everything we talked about so far is the whole board to subtract incidences and also you controls and does interesting things with dynamic range that we actually create in something I didn't have it originally, so let's go let's do that I'm refrain from saying let's do that about quick because I have to keep it apparently keep in mind that I don't need to be quick, just do it and it will have value, so I've got my patter open again different new, fresh thing I'm going to go to default, that there was the giant list of process that comes with interest that we can't change and into the tree form view, which you can if you're not using in a pasture kind of an interesting problem, but whatever. So I'm gonna make a sol wave and I'm gonna do a little bit a little unison you almost a superstar kind. We demonstrate earlier using that idea, I'm gonna put a wastepaper kind of gnarly it up a bit. Katich death nice actually put down some notes because a lot of stuff but you do it's gonna require a lot of information, a lot of multiple parameters, but that's a suicide notes likes land that's really low for no reason. I'm really just putting the stuff that I'm not really trying to write any. This is what I refer to as the big mess, the big mess of narrow and I even I'm doing during random stuff now because I'm demonstrating it by even do this when I'm doing if it really like when I'm trying to integrate this particular kind of sounds like the track I will make this huge mess and I just kind of take what worked out of it so that we're going to use a banned pass holder and two notches the purpose of the band past baltar's the band pass holders the thing that's gonna create the rhythm and even when the matches weren't moving with the matches of what they're therefore defense to kind of change the character of the sound sort of behind it I say behind it although any order of these three filters it could be not ban passed not you're not a passer whatever doing now it'll have the exact result because they're they relate in such a way that their sequence is irrelevant so as the band pass is supposed to be mohr the rhythm of the sound and it's going to move around a bit more um what should be changed to taste changed? You know style of whatever it is you're doing it was explaining why it looks like I'm doing isn't random stuff is not entirely random is kind of random but is not that right and the not just move kind of opposite but not super opposite the large, large sweeping motions to change character what is doing that was created this kind of war billy put their sound and the first thing that's merely noticeable is that the lot quieter than it wass it's sort of diminished in levels and it's almost hard to hear what happened and this is a job for maximus if wave shapers batman maximus is superman um yeah way even look at I don't have a grain was crazy old is that despite the fact that we just was really huge huge moment answering question what I was talking about since not having dynamic range so we just created a whole bunch dynamic range is a result of his being president but I don't want there to be really I want I want to be a solid thing because it makes you seem to make sounds it sounds better so then notice that we that the rain is a bit different for every single bandit create here you have a little bit in high school that was a bit more present is in pieces and bids love less and less and get going forward I want all of the kind of equally present side is gonna create this which remember what the transfer kurt represents which is to say that even if it's a little bit loud thing abroad zero t b according to time rebels and health how fast it reacts that guy so I'm going to bring it all up bring the high is a bit more and now the masters a bit louder because everything is just louder so along with alarm with bringing out back some of the stuff, it also kind of increased the low ends consistency, although for the most part for sound like these your low end is going to be really on defined it's not going to super great and so what you would do for this at the end result you high pass it and then you link a separate sine wave it anything to kind of reinforce the base but for time being though do you want them gnarly in its present specifically so that it can be it can interact with the harsher compression that's that's brought on by strap distortion he now watching I was putting ae q before the distortion in first like it was talking about about the low end interacting with it. If I brought the low one really, really high, you could certainly hear the other figures a frequency is a lot more and a big question that gets asked a lot about distortion is how did he get rid of the mud? How did we get rid of the kind of muddy sounded? And usually people will try to do this by having the cuban post, but don't do that put e q before it and then you can get rid of like that kind of two hundred yards ish you have such incredibly more control over your distortions profile by putting iniki before it, even just regular boring ass saturation like what I was doing here with the waiver and we learn about somebody asked that question the money, money, this question or if they didn't, they didn't think that that I would be talking about that, but it is something that a lot. So now the next step is the studio, yet this is what I refer to as the stack we have to think it would not be here, but it's, zeke, you compression and distortion, then we do it again and now much like we said before about the man past being the the the main rhythm of whatever side of creating it's, the main rhythm again. But now everything is how before this is the kind of character that's created by the notches, and I mentioned this as such because are not going to follow the rhythm of the ritual thought I was getting something else entirely and it's so good with the kind of same sort of rhythm, but it's, just I'm not going to really pay attention to what the original was doing on, like I said, those that look it's kind of random, but I am dealing with a little purpose, and then later, when I act trying to integrate it into a song I'll either bounce it out into audio and then just take the best network or I'll kind of listen the parts and mess around with individual automation clips as parts sounds kind of close to what I wanted to sound like or change notes, because honestly, what the notes are are as important about what, what the motivation is doing as well again, president and the starting again, and also the queue for a sort of double tale that happened there is kind of a result of what happens when you push distortion or compression too long because it's trying really, really, really hard to pull up, um, certain sounds that certainly lower levels than that wouldn't normally, and while it does do that anyway, is usually inaudible, but now we've brought up to being audible and this last, okay, um, and this is basically like the best you can keep doing is you keep having more steps, and also the war funding to do is to go back to the original sound and kind of screw around and here kind of different things that could be applied to happen, they could turn it into a square away would save us always or some cross of something way to change the gene is a profile, and I kind of think like it's it's as much, you know, all these parts well, there's, a lot of them in the individual, the individual level of it all, has great impact on kind of the result, and they think this uses all the stuff we talked about. The use of subjected to the system, formed the filters we used, obviously, the way forms to build it from its original creation. That you'd be utilized way took care of dynamic range issues, and we even use that kind of aid, are sound design sort of goals, because, like, you know, what we did with the maximus is take care of that sound. The range issues was not the kind of light touch that you would apply, like a track master. This is very much a sound is, I think, it's, practically the distortion at this point, and the reason why it is it is because the time variables are allowing it to be smoother than it would be otherwise.

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.