Exclusive Production Livestream 44
Nasko2024-04-25
119 views|4 months ago
š« Short Summary
The video explores sound design techniques focusing on formants, harmonics, and modulation using tools like EQ, filters, and wave tables. It emphasizes creating unique sound formats through manipulation, modulation, and distortion of sine waves. The demonstration showcases practical examples of creating formants, ring modulation effects, and spectral compression for enhancing sound quality and design possibilities. The video also discusses upcoming updates for plug data, including a spectral compressor with customizable features. Overall, the segment encourages experimentation and exploration in sound design to create dynamic and innovative musical compositions.
āØ Highlights
š Transcript
ā¦
Importance of Formants in Sound Design.
06:25Creating strong overtones through formants gives sound body and character.
Using EQ to visualize and manipulate formants can impact sound quality significantly.
Formants play a crucial role in enhancing sound design possibilities, distinct from overtones.
The segment hints at upcoming content on sound design techniques to simplify complex concepts for viewers.
ā¦
Creating formants in sound design through filtering and resonance techniques.
17:37Sine waves are utilized in tools such as Serum and Faceplant to manipulate sound characteristics.
Understanding harmonics and spectral frequencies is crucial in formant creation.
Practical examples of manipulating sound through filter adjustments are demonstrated.
Advantages of using sine waves for creating formants over forceful filtering methods are highlighted, offering optimization insights for sound design techniques.
ā¦
Explanation of audio modulation techniques in music production.
22:03Utilizing ring modulation and global unison to manipulate sine waves for unique sounds.
Enhancing sound design possibilities through filter modulation and level adjustments.
Importance of understanding waveform interactions and modulation techniques for innovative musical compositions.
ā¦
Ring modulation technique for creating distorted sound characteristics.
27:22Two sine waves are used to create unique outcomes by imposing one signal onto another.
Compression and a low-cut filter are added to control frequency information.
Samples and a plugin can be utilized to implement the ring modulation effect.
Emphasis on the versatility and control offered in sound design with ring modulation.
ā¦
Using filters and pitch modulation for clean sound, removing formants, and utilizing ring modulation.
36:15Adjusting bias and mix in the resulting sound for desired effects.
Shaping sustain bass sounds with spectral suppressors and wave tables.
Comparing ring modulation techniques in different plugins like Serum and Faceplant.
Exploring post-processing effects like EMPower for additional modulation possibilities on sine waves.
ā¦
Using wave tables and LFO modulation in Faceplant for unique sound formats.
49:34Exploring Unison modes like frequency stacking and pitch stacking to generate multiple sine waves for complex sounds.
Manipulating harmonics and using ring modulation for further sound customization.
Emphasizing experimenting with different settings to create gnarly, distorted sounds akin to FM synthesis.
Showcasing the versatility of Faceplant in sound design.
ā¦
Creating chromatic overtones through LFO remapping and scaling techniques.
54:16Altering semitones and octaves to achieve higher ranges and unique sounds.
Utilizing tools like chroma and pitchmap for precise note manipulation within scales.
Enhancing mono sine waves with wave tables and filters to create cleaner and more dynamic sounds.
Showcasing the process of drawing melodies effectively.
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Manipulating sound using spectral mask and chroma for precise modulation and frequency control.
01:04:54Demonstrating techniques for removing resonance and applying filters to create unique sounds.
Recommending the use of spectral mask plugin for advanced options in sound manipulation.
Exploring Unison and chord modes for experimenting with sound design and imposing formants onto different elements for creative results.
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Creating unique sounds through modulation and distortion techniques.
01:17:41Using ring modulation with bias adjustment to generate FM overtones.
Experimenting with different effects and filters to manipulate sound.
Automating levels, applying modulation, and utilizing various tools to enhance audio quality.
Emphasizing the importance of the formant in shaping sound and creating impactful bass tones.
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Techniques for creating unique bass sounds.
01:32:46Importance of understanding sound layering and morphing for desired effects.
Manipulating sine waves and adding harmonics to create dynamic bass tones.
Encouraging experimentation and exploration in sound design for distinctive bass sounds.
Showcase of pitch shifting, delay, and frequency shifting in bass sound creation.
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Updates for plug data including improved performance and new latency compensation feature.
01:34:51Introduction of a spectral compressor prototype with auto gain and makeup gain controls.
Plugin allows users to compress the spectrum with customizable noise profiles.
Demonstration shows how the compressor affects noise profiles and harmonics for a unique compression effect.
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Spectral compressor for drawing frequency spectrum shapes and uncompressing signals.
01:42:50Users can isolate overtones, enhance sound spectrum, and use it as an EQ.
The compressor can detect and uncompress formants, offering clean compression.
Versatile tool for mixing and sound processing, reshaping and enhancing sound quality.
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Using Formant shifting techniques to manipulate audio frequencies.
01:51:54Tools like Envelope, B pass filter, and wave table are used to modify sound properties.
Emphasis on enhancing the original sound and achieving consistency through compression.
Option to use compression for post-processing and as a base enhancer.
Importance of balancing audio frequencies and utilizing tools like spectral compression effectively for sound manipulation.
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Use of spectral compressor in music production.
02:10:17Spectral compressor enhances sound quality and intensity while utilizing minimal CPU resources with auto-sleep feature.
Details on compression amount, dry/wet settings, and auto-gain functionality are emphasized.
Mention of ton clipper add-on for soft clipping and distortion.
Creator planning to launch beta version for user testing on Discord, aiming for CPU-friendly and efficient tool for enhancing music production.
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Creating animations and plugins using Blender and Pure Data.
02:18:34Designing plugins involves using ADC, DAC, oscillators, and effects.
Pure Data is versatile and accessible for creating custom plugins without needing a Mac or Windows computer.
Pure Data has the potential to become a popular platform for music production.
Upcoming live streams will further explain plugin creation in Pure Data.
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Features of a software similar to Snappy with high CPU efficiency and simplicity for audio processing.
02:23:52The software offers cool documentation and demo projects for easy understanding and implementation.
Easy visual audio programming with features like spectral processing and filters.
Emphasis on the ease and speed of remaking processing within the software for innovative audio designs.
Plans to develop tools like a spectral gate and port existing designs for enhanced functionality.
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Benefits of Ableton racks and Snappy BRS for music production.
02:32:32Ableton racks and Snappy BRS are efficient and visually appealing tools for music production.
Pre-release launch on Discord planned for feedback and testing.
Focus on innovative techniques and sound quality in music production.
Emphasis on using cleaner methods for sound production and positive sign-off to viewers.
00:07this my handy for
00:11one live
00:38all righty can you guys hear
00:44me may have to lower the gate a little
00:47bit like
00:52there think that's a bit better
01:01let me just quickly notify
01:09everyone oh great you can hear my
01:11keyboard like crazy
01:30yeah it's picking up a bunch of
01:31background stuff so I'm going to turn
01:33this up a little
01:37bit maybe that helps a little
01:48bit all righty we're going to wait a
01:51little bit for people to come in and
01:52then we're going to start
02:00hello frame perfect and
02:06beautiful hope you guys are doing well
02:33doing good great to here sweet I've got
02:37six people in now which is
02:44good Let Me
02:47Go full screen enabl
02:50turn won't need this just need that
03:16hello back from Germany Duke
03:19knck do donak
03:26donak how's the mic quality by the way
03:28cuz I'm using a different mic um right
03:32now sounds a little bit more roomy I
03:35think but
03:38uh should sound good
03:42enough hello
03:47admin it's not the lava leam mic anymore
03:49cuz I I have I'm using the hexa the hexa
03:54IMs now and plus the L lay it's like a
03:57little bit too many cables on my end
04:03was a bit annoying so I'm now using the
04:06the Elgato wave Neil I think it's
04:14called huh
04:37so mic sensitivity might still a bit we
04:39be a bit weird I'm going check this real
04:41quick before
04:45we before we start no it's pretty good
05:15are we good
05:19hello hello elf
05:22Walker all right I think I think we've
05:25got 11 people
05:28in I think we get can get
05:34started internet is Qui there we
05:45go me put the mic over here a little bit
05:48oh hello Zilla how you
05:53doing finally a stream yes um well the
05:57thing is with the streams
05:59is the reason why I sto doing them
06:02regularly is because there's only a
06:03finite amount of things I can talk on
06:06that are sort of
06:08important um and recently I figured out
06:11this whole formant technique which you
06:13guys maybe some of you guys have seen on
06:14on me talk about it on Twitter um but
06:17that's that's what this live stream is
06:19going to be all about which is formance
06:21and overtones and how you can create
06:23your own instead of trying to force it
06:25with other
06:26things um and it's going to be a really
06:28cool video I think it's going to open up
06:29a lot of sound design possibilities and
06:31it's incredibly simple but it makes so
06:33much sense once you understand it um
06:36hello
06:37macki hope you guys are doing well and
06:40also I may give you guys a little bit of
06:41a sneak peek to the spectral
06:44compressor later on it's not done yet
06:47but I do want to work on it and finish
06:49it up within the next week um cuz it's
06:52going to replace OT for you guys and
06:53it's going to replace a bunch of other
06:54things sound design wise I think even
06:57like some like EMP power you don't
06:58necessarily need anymore views in the
07:00spectral
07:02compressor um but yeah is this a sign
07:04wave thing you mentioned in Discord yes
07:06and I'll explain how you can do it how
07:07you can do it efficiently and how you
07:08can do it in creative ways
07:11because it's such a simple thing but
07:13it's
07:13everything right um so yeah I guess I
07:18guess now is the time to get into it
07:20everyone's here and we can
07:23get the video so what sign technique am
07:28I talking about
07:30um what I'm talking about specifically
07:33is forance um forance is usually the
07:38strongest most dominant harmonics in the
07:40mid-frequency Spectrum generally
07:41speaking that um give your sound the
07:44body and
07:46character um if you don't have any
07:49formance it's usually a very noisy sound
07:53like white noise pink noise Rises um
07:56even certain effects can be considered
07:58like background effects can be
07:59considered more sort of noise rather
08:01than actual sound in a sense um and but
08:05formans are important um because formans
08:08give your sound um some kind of
08:12bass not Basse with the double s but
08:15with just an S and an e right the
08:18fundamental uh
08:22to to to any
08:27sound uh video's KN okay perfect
08:30so let's talk about it what I'm going to
08:32do is I'm going to bring up a bunch of B
08:34sounds um and then we're going to talk
08:35about what the actual for are cuz
08:37sometimes it's a bit tricky sometimes to
08:40um think about fundamentals rather than
08:42forance U but forance
08:45are the're very specific so I'm going to
08:48go over to volume
08:5025 and I'm going to load up some of the
08:52foreman base one shots and I'm going to
08:53talk about what makes them so special um
08:56so I'm going to drag in say number two d
08:59can you guys see
09:04this you guys able to hear
09:09that sweet sounds good so I'm going to
09:14play through a bunch of these for and
09:15base
09:22shots so what you can hear is that all
09:24of them have a very strong forant right
09:27they are they have a very strong
09:28overtone and they're very clear and
09:33understandable if I load up an EQ you
09:36can even see what I'm talking
09:38about in this case maybe eq8 is not the
09:40most uh the easiest to look at I mean
09:43maybe Vision can show some interesting
09:47things no vision's a bit too messy but
09:49you can kind of see it in Vision if we
09:51go ahead and open this
09:53up uh let's open up the other sound here
09:56as an example sweet so when we're
09:59talking about forance generally speaking
10:01what we're talking about is just a few
10:02sine waves and we're not talking about
10:04the base fundamental which is down here
10:06we're actually talking about these uh
10:09sine waves over here and these ones
10:11right here so what I'm going to do is
10:13I'm going to load up uh different eqs so
10:15you guys can kind of actually see what
10:17I'm talking
10:18about I think Pro Q3 might be good as
10:21[Music]
10:22well there you go so let me oh have an
10:27so so what am I talking about
10:31I'm not talking about the overtones here
10:33which are also kind of considered
10:35forance but I consider them more so
10:36overtones to the fundamental um what I'm
10:39talking about is not this big spike
10:41right here which I could just boost you
10:44can clearly hear that's an overtone of
10:46the sub you can see it here as well
10:48being represented I'm not talking about
10:49this I'm talking about these guys right
10:52here
10:54that I think that one's also partially
10:57part of it it's it's primarily this one
11:00talking about that
11:02Peak and that
11:05one specifically these ones those are
11:08considered forance or you could consider
11:10them overtones now what happens if we
11:13remove these let's focus for example on
11:15this one format right here I'm going to
11:17switch this uh Peak filter
11:20for uh there we go I'm going to switch
11:23that out for I think I'm in the mini
11:25view or something and let me put this
11:27put this up to uh a little bit bigger
11:29let's put it to
11:31medium so I'm going to put this to be a
11:33notch filter and I'm going to very
11:35aggressively Notch
11:38out that
11:40frequency so what you can hear is that
11:42the sound has essentially now lost its
11:45character it doesn't have that bite
11:48anymore it does it wouldn't stick
11:49through a mix anymore right you would
11:51still hear the the top end and the the
11:53mids H and highs and the low end but the
11:56sound doesn't really have any character
11:57or body anymore hello Jale J kale and
12:03Al um these other overtones you could
12:06also consider
12:08formance but I've noticed generally
12:10speaking the best drops in EDM in
12:13general usually have sounds that have a
12:15strong format one strong fundamental
12:17that gives you a certain note it's very
12:19important so you can see if I filter out
12:21this format
12:23here this uh harmonic the sound becomes
12:27very empty very Hollow if we go over to
12:31this one
12:33base we figure out where the form is
12:37it's roughly over
12:39here and you can hear the same
12:41thing it is pretty Hollow we could
12:44obviously go in and say uh
12:51boost other
12:55forance and therefore get you know a
12:57second format in there a second and
12:59strong um um
13:02overtone so that's really important to
13:04understand at first is that forance
13:06generally speaking lie in the
13:08mid-frequency Spectrum and they are
13:10usually the third or fourth strongest
13:13harmonic in the in the frequency
13:15spectrum so that's usually very easy on
13:17how to detect forance in a sound if we
13:19load up any other uh base one shot let's
13:22load up this one for
13:25example you can see that this this rule
13:28doesn't always apply because certain
13:30sounds like this
13:32one have multiple formance you can see
13:35there's a bunch of different sign waves
13:36here in the middle it's still like this
13:39one it looks like this one has a strong
13:43forment right there and then these B
13:49here so if I take all of these out you
13:51can tell that the rest of the sound
13:52actually breaks down a little bit and
13:54it's just kind of like noise on top of
13:56stuff let's up this one you can see a
13:59strong format right
14:00here and right
14:02[Music]
14:04here so now that we understand what form
14:07are and uh where they where they lie
14:10what can we do with this information
14:11well this is the cool part we can make
14:14our own formance instead of trying to
14:16force formance using for example Peak
14:20filters uh we can actually just make
14:22them with sine waves because they are
14:24just a sine wave right H what do you
14:27have for your proq range resolution
14:29speed until tilt set up
14:31uh I
14:34think this is the setup right here you
14:36can de screenshot of that um but
14:40yeah so what do we do this with this
14:42information well and we use it to our
14:44advantage we know that a lot of sounds
14:46are made up of a bunch of sine waves
14:48right that's how all sounds work and
14:51what that means is that we
14:53can very specifically create sine waves
14:56to do certain things for us and in base
14:58design as an example we're using it to
15:01create the formant of a sound so what
15:03I'm going to use is I'm going to use
15:04serum and face plan I'm going to show it
15:06with both techniques so you guys can
15:08understand what's going on but I'm going
15:10to start off with face planine because
15:11it's very simple we can actually go to
15:13serum as well what do you guys want me
15:14to start with a face b or
15:19Ser it's your choice
15:30some say serum some some say pee PE now
15:35equal I can do it at the same time for
15:37both but it's really the same
15:40thing
15:42um so let's do it in serum first so you
15:45can understand it very simple in there
15:47because it's also doable in serum and I
15:48think people recognize serum a lot more
15:50and then we'll go into face plan and
15:52actually make it a lot better because in
15:54face you have a lot more options
15:56actually only have the default skin on
15:57here but we'll have to we'll have to
15:59work with that so the way um the way you
16:03can do a formand uh with a sign wave in
16:05Serum is very simple um you want to have
16:08a start starting sound to base off off
16:10which in this case I'm just going to
16:11pick any of my wave tables so I'm going
16:13to use say complex in this case and if I
16:16go ahead and write down
16:19a mey Let's do an
16:23eote so
16:29I can now move
16:34around can now move around this wave
16:36table and uh that'll give us some pretty
16:38good
16:41results but what the magic now comes in
16:44is is taking a second uh oscillator to
16:46create the for and force so usually um
16:50and the way most people would do it is
16:52you usually create a formant in a sound
16:54by filtering you guys all know the
16:57techniques of bamp filtering High Pass
16:59filtering low pass filtering they all
17:01different techniques to to essentially
17:04emulate or impose formats one example is
17:06a high pass filter with a strong
17:08resonance right we're cutting out the
17:10low end and then we're boosting um a
17:13certain
17:18harmonic so if I were to do a constant
17:21movement like this as an example
17:37that would be considered a forant right
17:39because we're just resonating a certain
17:41part of the spectrum I can actually
17:44probably open up
17:46the F filter Pro Q again so you guys can
17:49see what I'm talking about I'm going to
17:50make it small again so it's just kind of
17:54there on the side so you can very
17:57clearly see this little
17:59harmonic right
18:04here that if I were to filter that out
18:07using a notch filter as an
18:10example we very quickly and quickly
18:13undid what the high pass filter did with
18:16the resonance
18:17right you can see that we're still high
18:20pass filtering but we're not getting
18:21that resonance
18:23anymore and this is obviously a very
18:25good teque it's very simple and fast to
18:27do but the issue is we're using a filter
18:31we could use a peak filter which would
18:32help as well but it's all resonance
18:34based right it's all based on some form
18:37of audio already being in the sound
18:39that's very important to understand it's
18:41like filters only work when you have an
18:42incoming incoming signal and if the
18:45actual fundamental if the harmonics
18:47actually line up because if you take a
18:49look at a wave table as an example and
18:51we zoom out the um the Spectrum view you
18:55can see that the Spectrum or any wave
18:59table or Sy that you usually play has a
19:02certain set of harmonics and these
19:04harmonics are not
19:06chromatic now what does that mean um the
19:09Spectrum has chromatic frequencies as
19:12you can see we have for example right
19:13here if we click on here we have an A6
19:15which is a one harmonic at a frequency
19:18at 1,760 htz so if you were to play a
19:22harmonic there that would be a perfect
19:24A6 wave tables do not abide by that
19:27concept uh they usually go off the base
19:31uh frequency which in this case is a
19:34chromatic note I think it's e I think we
19:37play we're playing an e and then I think
19:40the next one that is still chromatic is
19:42the octave above which is the second
19:44harmonic right here that's going to be
19:46an octave up so right around here and
19:49then from there on we're going to start
19:51getting inharmonic frequencies so what
19:53that means is that if you're trying to
19:56um to have a filter chromatically
19:58resonate at notes which can be very
20:00useful for example for melodies or a
20:02bass sound that has place a specific
20:05note um we're not really going to be
20:07able to do this because a lot of the
20:09overtones in the wave table are not
20:11going to be
20:13chromatic which is one of the things
20:15where like additive synthesis could
20:16probably be really cool if you have like
20:17a wave table and then you make a
20:19chromatic and then you could like you
20:20know do something like pitch that would
20:22be pretty cool but the main idea here is
20:24is is that usually frequencies or uh
20:28yeah frequencies generated by wave table
20:29symphysis are not really chromatic um so
20:32that if we're trying to do this with a
20:33filter we can only resonate the the
20:36frequencies that are actually in the
20:38sound so that's a bit limiting now what
20:42does that mean instead of trying to
20:44create a forant using the filter let's
20:47create the forant using a sine wave so
20:49we're going to load up oscillator B and
20:51we're going to take a sine
20:52wave and right now that sign wave is on
20:55the same fundamental frequency so if I
20:57just take it up let's see I think I'm
20:59going to make this mini
21:02view you guys can see if I boost it
21:05remove it you guys can see the frequency
21:07there so all we have to do is just
21:09emulate it the same way we did it with
21:11the filter as you can see the cut off of
21:13the filter is really just the pitch
21:15position of the resonance so what we do
21:18is we just grab the same ELO and put it
21:20on the course pitch let's make it a un
21:31down a
21:32b now one thing that you can tell is
21:35we're getting the same movement but
21:37we're not imposing it onto the other
21:38sound and this is both good and bad
21:41because now what that
21:44means is that we're getting the sine
21:46wave but it has no correlation to our
21:48wave
21:52table and there's one particular
21:54technique that you can use to make this
21:57work which is really cool and I've only
22:00discovered this recently when I was
22:01trying it out on face plant and that's
22:03what we going to do it in face plant
22:04later as well um in order to have the
22:06sine wave correlate somehow to the wave
22:09table what we need to do is we need to
22:10use audio modulation what that means is
22:13we have a clean sign W that goes like
22:15this and then want to apply something
22:17like a
22:18window like this so it's going to
22:21change um the volume of the sine wave
22:25depending on the volume of the wave
22:27table so if we turn on the level of the
22:29wave table complex here we can switch
22:32this to ring mod which there's a bit of
22:34a difference between am and RM in uh
22:36serum but we're going to switch to ring
22:37mod I'm going to start turning up the
22:39ring
22:41mod and what you guys can see is we're
22:43now
22:46imposing the uh the volume of the wave
22:49table uh onto the sine wave yes this is
22:52the am thingy yes but there's a couple
22:54more things that you'll be learning in
22:55this in this live stream so what you
22:57guys can see now is that is now that
22:59sign wave sounds a lot more like it's
23:01part of that
23:03sound but we're also imposing a bunch of
23:06the top frequency stuff and the bottom
23:08frequency stuff which might be a little
23:09bit annoying so what we can do is we can
23:11then use a filter because we now roughly
23:13where the sign is going to be we can use
23:15a simple high low high low filter so I
23:18think we're going to have it somewhere
23:19in here HL with low high there we go and
23:23we're just going to narrow it
23:26down to B
23:33so the interesting part is is that now
23:35we can play the sign whether any
23:37frequency that we
23:41want and it's not going to be
23:49ignored like a filter would because you
23:52know once again the the inh harmonics
23:53are a bit different
23:59so generally speaking 50% should be the
24:01maximum that you should go as soon as
24:02you start going over 50% what happens is
24:05that it kind of rectifies itself it kind
24:06of folds back into
24:09itself and what you're starting to get
24:12is if you take a a look here closely I'm
24:14going to turn this up actually even
24:15further so we can get a proper frequency
24:22there you guys can see that there's two
24:25sine waves now it kind of split the one
24:28sign that we
24:30had that one sign with right there kind
24:32of split it into two and then it kind of
24:35like move them apart and funny enough
24:38you don't have to do this using am you
24:41can actually do this using Unison so if
24:42you have say the ring mod at
24:4850% and we go into Global Unison so we
24:52you turn up the Unis into two and turn
24:54down the random and then go to Global
24:57and turn off the width so it's just
24:59adding two sim on top top of each
25:02other we can use the Dune to Dune these
25:06two signways from each other so you can
25:08see now we've split the sign the sign
25:11into two different ones at different
25:13pitches and we can continue turning up
25:15that
25:18range using the Unison dtune
25:22settings now we're getting a really
25:24interesting result here
25:30we're almost getting like a weird Square
25:31wavy type format into the sound so now
25:35because this the sine
25:38wave is is uh sort of like has the
25:42amplitude imposed by the wave table we
25:43can bring the wave table back
25:55in and you guys can hear how that sounds
25:57a lot more natural
26:00right if we take off the ring
26:09modulation that ring modulation will
26:11help you
26:12to impose the sine wave back into the
26:19Spectrum so what we're going to do now
26:21is we're just going to use the level
26:22here and just um modulate the level of
26:25both the sine wave and the W table
26:33going to lower it a little bit cuz we
26:34don't want it to be too
26:37extreme and funnily enough this is
26:39really really cool because this is just
26:41basically what we did back then with
26:42cooker bases right which is just two
26:45sine waves one is the fundamental and
26:47one is just some other note and then you
26:48distort them together and then obviously
26:50you
26:53get that really cool sort of inter
26:56modulation in this case I would have to
26:57switch this to assign as
26:59well oops uh we might want to take off
27:02the
27:03position now if we take off the ring mod
27:06we will just get that sound right which
27:09you guys definitely which you guys
27:15definitely just a very basic sound
27:17design uh technique which is just to
27:19distort two sine waves but the idea here
27:22is that we actually don't distort them
27:24instead we use ring modulation to impose
27:26a similar Distortion sort of
27:28characteristic which is that what
27:30happens if you guys have ever like
27:33distorted noise with a sub you guys how
27:35you get n you get that crunch we're
27:38getting a sort of
27:39similar uh imposing of uh one signal to
27:42another with ring modulation does the
27:44same thing um not this it doesn't do the
27:47same thing but it has a very similar
27:48outcome except now we can use any
27:53sound if you take out the
27:56Distortion you can hear there's no
27:58connection
28:02here now we turn on the
28:06remote and suddenly feels like it's part
28:09of the sound which is really cool now
28:12what this goes really crazy is isn't
28:14with this step but the fact that we're
28:16now using a sine wave that is sample
28:18accurate so what can we do with that
28:20lots of fun stuff we can make a
28:22chromatic we can um do some really weird
28:25blops and bloops we can make Melodies
28:27with it so what I'm going to do is I'm
28:29going to have um this LFO 3 control the
28:33pitch of that second oscillator B and
28:36I'm going to have it be a unipolar
28:43again you can hear for example now we
28:45just have a triangle shape and that
28:46works quite
28:49well and you can hear how that sounds
28:51very very
28:56natural I can do motion if I wanted
29:01to and what's really cool about this
29:03technique technique means what that
29:05means is basically you now have two
29:06sounds that don't have any filtering so
29:09you can just add
29:10compression and you basically have a
29:12base sound the only thing I would
29:13probably do in this case is just add a
29:15low part a low cut filter to the low end
29:19because when you have the sign s swoop
29:21up you probably don't want all of this
29:23low frequency information there
29:24happenening right you just want to have
29:27primarily the formed on the top
29:29happening so we're going to use a high
29:31pass filter to Just sh
29:33remove some of that low
29:35[Music]
29:36end like
29:41that but you have to be careful when you
29:43move the pitch down of course you have
29:44to move down the high PA as
29:47well so what we can what can we do now
29:51as an example you can make some really
29:53cool sounds if you just make it stepped
30:03[Music]
30:07let's make this a little bit
30:10[Music]
30:19faster pretty wild stuff right we can
30:21pick it different compressor I mean wave
30:24table and you can hear as long as we
30:26have that ring mod on
30:29it imposes the the the waveform of the
30:32of the wave
30:35table onto the sign
30:38wave if you push it above 50% you get
30:41more of like a
30:42[Music]
30:44f tou
30:47sound makes this a little
30:52softer now of course you could add
30:54things like com filters and such after
30:56the fact if you wanted to
31:01[Music]
31:03and then we can change the
31:10pitch but the idea here is that you
31:12don't really have to do any of these
31:13things to create formats you create the
31:15format at its core which is with a sign
31:19wave once again if we wanted to we could
31:21use uh 100% ring mod to create those
31:24cool tones which is a fast and easy way
31:26to do it but I highly encourage you guys
31:29to just try it out with unison try and
31:31see if you can find cool Unison
31:44notes that can potentially get
31:48you and one thing that I found that was
31:50really cool if you have say let's have a
31:53regular shape again so I'm going to go
31:55basic shape just clap
31:58sometimes really cool to do if you
31:59wanted to have sort of sustain at a
32:01certain point at a certain note turn it
32:03up to
32:04100% And then have it ramp up and down
32:08like this then we're getting a certain
32:11for tonality for quite quite a while
32:13we're getting a note essentially with a
32:15sine wave and what you can do is since
32:18we are on semones we can figure out like
32:20how far we want to
32:21go so say with this alile I think it's a
32:24little bit more difficult to potentially
32:26do in serum but if we type in
32:2924 that should technically speaking be
32:32uh two octav up let's try
32:3448 that should be four octaves up I'm
32:37not sure if it is because the the amount
32:40in Serum is a bit weird in face BL it's
32:42a lot
32:44simpler but now if you change the
32:47semitone over here we can essentially
32:49just tune the not
32:53[Music]
33:00now of course because this is a sine
33:02wave that we're generating this is being
33:04kracked so if I play a
33:07no let's turn these all into envelopes
33:13here you can hear depending
33:20on I can get vastly different fields for
33:23the format uh if I just mess around with
33:26it
33:29it's turn off the
33:31[Music]
33:33UN and it's obviously key tracking which
33:35is
33:36awesome because now you're actually
33:38getting proper notes um playing from
33:40different POS uh different noes um
33:43different
33:44form and this is all due to the fact
33:46that we're using this we're generating
33:48the form with a sine wave um if it was a
33:50filter we'd have to ke track the filter
33:52and then that would have to follow let
33:55me doing this passively by distorting
33:56several sounds together to to the sub
33:58frequency ring mods all C it yeah
34:01basically right very similar Technique
34:03we all kind of just do different things
34:05to create forance but I find this way is
34:07actually the cleanest and have it getes
34:09you gets you the most control but it
34:10gets crazier than this
34:13so that's all cool and dandy how do we
34:16do this with samples very simple and
34:18there is a plugin that can do this so if
34:22we for example just have this
34:24play which will just Loop
34:28let's do it twice like four times
34:31here we have a sign with playing like
34:33this let's put the FB filter proq on the
34:35master here so it's easier to see and
34:37let's say we have this one shot
34:39base let's play it multiple
34:42times so how do we impose the sign wave
34:44we can just obviously layer
34:49it let's uh turn this
34:52up now another thing that I might want
34:54to mention is there's a way you can make
34:57this word
34:58without having to also modulate the
35:00level of a sine wave it's very very
35:02simple uh all you have to do is just
35:04take off the level right
35:06here and then as you can hear already um
35:10if the pitch is zero and we have a high
35:12pass filter that basically means no
35:13volume right because it doesn't get past
35:16this point right here we can do the same
35:18thing by just having say an eqa after
35:20serum and saying anything above I don't
35:23know like 200 HZ doesn't even get played
35:25right so only when this wave for
35:28and this LFO goes over that is where we
35:31start getting the sound essentially or
35:33the sine wave the forment we can also
35:35roll this off a little bit if we wanted
35:37to and now we're getting a really clean
35:48sound just with a filter and with pitch
35:51modulation that's it now if you put both
35:56together you may have have to adjust the
35:59uh the shape of the LFO
36:10here so how do we impose the same
36:13technique that we did in serum in audio
36:15so the first thing I would recommend
36:17that you guys do is remove the forment
36:19from the original side so we take an eqa
36:22we figure out where the forance uh sit
36:24we take a not fter
36:29it's roughly over there but what you can
36:30also do is you can use something like s
36:33um or you could use uh n spectral
36:36suppressor does the same
36:38thing so we can see the formance already
36:41here in the middle if we don't turn on
36:43Delta and let's change the low and high
36:46frequency regions those are the forance
36:49in the sound so
37:00that is Step number one now we basically
37:02just have a very noisy Basse sound and
37:06then the next step is to use ring
37:10modulations just like we did in serum
37:11but how do we do this well there's a
37:13free plugin that can do it which is
37:15called kerz ring mod if you load up ring
37:17mod uh by kerz you have the option in
37:20the modulator section to pick inut input
37:233 plus 4 if you select that and then go
37:26to your s uh um selector we can select
37:29the base sound which is two and for and
37:31base one shot 02d select that and now
37:34what it's going to do so we solo
37:36this it's going to do the same thing
37:38that it did in
37:40serum if we put the bias to 100% this is
37:43essentially 50% in
37:48serum and if you turn the bias down
37:50we're going to get that same sort of
37:52rectification well not rectification but
37:54that same fold back you can see that s
37:58right here spitting up into
38:00two but I recommend just being at 100%
38:02And then just mixing it
38:05in now let bring thata to the
38:11front and maybe filter some other stuff
38:15out so we're just getting primarily the
38:17the
38:19fundamental we got
38:21it and we let's play it with the B
38:26sound I'm going to turn turn off ring
38:27mode and turn it back
38:31on suddenly it feels a lot
38:35better
38:41it it sits much better with the uh with
38:44the base sound so let's I'm going to I'm
38:46going to roll off the lowend here a
38:47little bit
38:49so some more of that so we can play
38:55lower awesome so that's working so what
38:57can what can we do with this well we can
38:59now replace the initial bass sound with
39:01anything and in this case spectral
39:03suppressor is just going to remove the
39:05form of the bass sound and we just
39:08[Music]
39:13replace we may want to look at this not
39:15being super loud so I'm going to go back
39:18into serum and turn it down a little
39:20bit you don't always want the format to
39:22be super loud because then it's very
39:24obvious
39:27[Music]
39:37now let's try some more Bas sounds right
39:41here and you guys can see all of these
39:44work depending on how you do the shape
39:45as well if we cut it off really
39:48early or if we play it later by
39:50literally just moving the
39:53shape we're getting a bunch of really
39:55cool
39:58like just listen to that
40:03man yeah we may have to move around the
40:06suppressor a little
40:09bit there we go the f is now
40:12gone let's make this
40:17lower maybe we just have a triangle
40:23shape sometimes it's good to also just
40:25follow the same sort of
40:27volume of of your
40:44Bas sweet so this is how you do it in
40:47serum now what else can you do well if
40:49you move over to face plant there's a
40:51lot more options um when it comes to the
40:53sine wave technique uh also another cool
40:56thing if you want to if you create some
40:58insane sustain bases this technique is
41:00actually really
41:01awesome if you take a wave table and
41:04just Mor through the wave table so let's
41:05forus pick complex we just Mo through
41:08this wave table really
41:09[Music]
41:11slowly let's pick maybe the one that's
41:14more
41:15[Music]
41:21busy and then we use the S swaave
41:23technique
41:25[Music]
41:28you can now obviously distort the two
41:30together and get a sustain base but
41:31funly enough if you just use
41:36ringot and we turned on the r face
41:42[Applause]
41:49Randomness oh not FM uh
41:54use ring
41:58[Music]
42:11may actually sound a little bit
42:12different than in face
42:14Bond let's pick a up right
42:23there here we go
42:36you get some pretty cool inter
42:37modulation happening from The Ring
42:42mod some really strange
42:48[Music]
42:57now once again in face plant it's going
42:59to sound a little bit different and a
43:00little bit better in my opinion so let's
43:02move over to face plant I'm going to
43:04grab face plant I'm going to actually
43:06just replace the the serum part
43:08here and I'm going to take I'm going to
43:10get rid of those uh things there so here
43:12we just starting off with a with a saw
43:16wave I'm going to do the same thing
43:18we're going to grab a wave table in this
43:20case right any of my wave
43:25tables we're going to slow
43:28modulate through the wave
43:30[Music]
43:32table well that's not
43:37slow and then on another Channel another
43:40group we're going to pick sine wave and
43:43in this case what I recommend is that
43:44you guys uh use the
43:47[Music]
43:49[Applause]
43:52harmonic and as you can he once again
43:54it's just layer on top it's not doing
43:55anything but in face p can do is ring
43:58mod as well just like in serum so we hit
44:00this little plus button here from the
44:01wave table and apply to the level and
44:04the same logic applies in this case it's
44:05not 50% but it's 100% which gives you
44:0850% in serum and then 200% gives you
44:12100% in serum
44:22[Music]
44:28so you can push it hard if you want
44:34[Music]
44:34[Applause]
44:36[Music]
44:42to and if you pair that with some
44:44postprocessing as an example for example
44:46EMP power uh which is uh right here
44:56[Music]
44:58[Applause]
45:04once again without
45:07[Applause]
45:10it you get all that modulation
45:14happening on that sine wave right so
45:18let's go ahead and grab just a simple
45:20wave table again I'm going to grab a
45:23complex here and I'm going to grab a
45:24sine wave just like earlier and to do
45:27some bass sound so I'm going to create a
45:29simple shape like this I'm going to use
45:30this shape for the pitch of the sine
45:33wave and then I'm going to have a
45:35regular shape here for our BAS on which
45:37is just going to be like this and then
45:39we're going to have a shape uh that is
45:41just a ramp to go through the wave table
45:44and all of these are going to be on
45:45Sync It's so simple and easy so that's
45:48going to apply to the prim position this
45:51going to apply to the gain right
45:54here so we can just play that
45:57simple stuff and then for the sine wave
46:00we're going to apply this to the
46:02harmonic and what's really cool in face
46:05plant is what you can do I'm going to
46:06make this a little bit bigger so you
46:07guys can see it better uh what you can
46:10do is you can put the harmonic to zero
46:12which is zero HZ so a pitch of zero
46:14which means it's just gone and now we
46:16can apply the LFO to the
46:21harmonic and now it pitches from zero up
46:23to that Harmony
46:28uh then you can just shape your
46:36forant whatever way you want no
46:40already we have a really cool format
46:42going on we not even automating the the
46:44gain as you can see here so what I'm
46:45going to do is I'm going to add a filter
46:47just a regular high pass filter a fall
46:51off so that is one way you can blend it
46:54in and not have all the lower uh
46:57you know sine wave harmonics appear in
46:59the Spectrum and then we're going to
47:01apply the same ring mod so I'm going to
47:02hit the plus there and apply onto the
47:04level at
47:09100% And what you guys can hear now as
47:12well is that there's not a bit of
47:13highend so we need to grab another
47:15filter and apply it to the highend in
47:18this case it would actually be smarter
47:19to not use
47:21um this signal but the envelope signal
47:24even though I'm not sure if that's also
47:25being modulated
47:27you might be able to just use um instead
47:30of modulating the game here we use the
47:34LFO and that would use usually modulate
47:36the gain just on the level directly so
47:39if you turn that to
47:40zero now instead of using the envelope
47:43for the volume we're using um this uh
47:47gain and I think in this case as well
47:49you could now have this filter be
47:53here uh this the sine wave and the
47:55filters can be above of the wave table
47:57because it doesn't really matter
47:59anymore and now we can apply the
48:02modulated wave table onto the gain of
48:05the
48:06level and you can hear it basically
48:08sounds the same now because this isn't
48:10just a constant stream of
48:14volume I can turn off the filters so
48:16it's a little bit simpler to
48:18understand but it's very simple to
48:20understand right are you guys following
48:23along this isn't hopefully too complex
48:25this should be fairly simple right we
48:27have a wave table that we're morphing
48:28through and we're using this LFO to Mor
48:31just modulate the level of the wave
48:32table which is just faster than doing
48:34the envelope um very simple touch that
48:38so now what we can do is we can change
48:40the pitch of the
48:44harmonic and you guys can already hear
48:46we already have
48:49me and I can do all kinds of things to
48:55it and the logic applies I can have it
48:59go really high and then I can go into
49:00the editor and do a a stepped um Step
49:05sequence and we're getting some wild
49:07some wild
49:13formats you can apply even more ring
49:15moding if you wanted to let's apply the
49:16fields as
49:25well so this is this is all cool and all
49:27but what can we do in face PL that's
49:29different to serum um well in face plant
49:31we get a bunch of really really cool
49:34Unison modes so what we can do is let's
49:37have the harmonic at one certain level
49:38it doesn't really matter and let's just
49:40have a play one note which means just up
49:43at
49:46100% And then we determine the page here
49:50like that so now let's turn on Unison
49:53and switch from smooth mode to creative
49:55and we can switch either to frequency
49:56stacking or pitch stacking which what
49:59this does is it creates a second
50:01harmonic which I think I can show
50:03probably with a
50:05filter um and then I'm going to turn off
50:07the wave table I'm going to turn I'm
50:10just going to get rid of the modulation
50:11here so it's just um singular cycle I'm
50:14just going to have the harmonic up so
50:15you guys can see what's going on uh
50:17might actually be difficult to see it
50:18here so what frequency stacking does is
50:21if we have the range down at minus 100
50:23we can slowly turn it up
50:28and we're getting a second harmonic
50:29there we can also switch it to pitch
50:31stacking which does a very similar
50:34[Music]
50:37thing so now we're getting two sine
50:40waves instead of one which we can then
50:41control the distance of uh and then the
50:44cool part is that you can just go
50:47[Music]
50:50more and what I found sounds really cool
50:53is usually when you go with three or
50:54four sine waves and have them really
50:55close to each other
50:59you get this really cool gnarly sounding
51:02format that you would usually
51:06get from other types and other ways of
51:09of processing like say acid bases or
51:11anything like that usually acid bases
51:13have like one one strong sine wave that
51:17because it gets distorted with the sub
51:19it gets like these multiple sign waves
51:21next to each and it's really cool
51:23because it's a really uh genius way of
51:25re like um recreating sounds that you
51:29see um through a spectrum because if you
51:32see the format of a sound um and you see
51:35that is it's it's a set of sine waves
51:37essentially which by the way if you look
51:39at like something like FM you can create
51:42FM type sine wave structures
51:46with uh with sine waves so I can I don't
51:49even have to use this I could just be
51:50very specific I have two sine waves
51:56and then whatever way I set it maybe I
51:58set the levels
52:01different now we're getting sort of a
52:03weird FM type harmonic that we can then
52:06impose onto this wave table and we can I
52:08think I believe we can use
52:11a mix I'm not sure if we can modulate
52:14that yes we can modulate the mix so we
52:16can just
52:17impose we can just do the ring modding
52:19on the on the level
52:22here which might
52:24not yeah should work out
52:28I'm not sure this is if this will sound
52:30correct though so I would probably just
52:32advise doing it this
52:35way but I think it's doing it correctly
52:37the the thing is just that we don't have
52:38any we're not modulating the harmonic in
52:40this case which we would obviously have
52:42to do as well um but as an example I'm
52:44going to turn down the harmonic to zero
52:45and then just start Ming it
52:54again and then I'm going to go in use
53:05Unison turn it up a little
53:10bit let's only have two
53:15voices so you can hear for example if
53:17I'm at a range of like minus 85% we're
53:21getting this like FM Terror SC types out
53:29and if I go ahead and add more
53:33voices and make them closer to each
53:37other we're getting this really
53:43garly this really naughty sound excuse
53:46me if I lag out sometimes um I think my
53:48Internet is slow currently not sure why
53:52um paric is going crazy I'm going to
53:54close this real quick see if uh that
53:56relaxes paric a little
54:02bit hopefully it does yeah I think it's
54:04relaxed now sweet um so this is all cool
54:08and
54:09all um but what can we do that is like
54:12really special to this and that is
54:16chromatic overtones so the way we do it
54:19is we turn off the Unison uh mode here
54:22and what we do is we send our LFO
54:25through a remap
54:27which in this case can be scales so we
54:29can do a scale 48 semitones chromatic
54:32and then we can apply this alfo to that
54:34scale and then instead of U going
54:36through harmonic we go through
54:39semitones so I type in 48 in here and
54:43now uh all the different notes that we
54:45are
54:46generating um with the shape are now
54:49chromatic so they're actually like in
54:53seatons which you will not really be
54:55able to here if you're not stopping on a
55:07note you can kind of hear it here we can
55:10also do
55:17this and what's really cool since this
55:19is just an offset we can just move the
55:20semi around
55:26and get some pretty cool
55:29results now what I recommend instead of
55:31doing the semi because it it it's kind
55:33of limited in range a little bit um I
55:36recommend sending because we still want
55:38this to start from zero which is
55:39currently not put the harmonic to zero
55:42and then add I'm going to make these
55:44small add another remap and this remap
55:47is going to look like this you're just
55:48going to add a point here and just move
55:50it all almost all the way to the left
55:52add another point and move it to the
55:54bottom here so that means if if if this
55:56LFO shape um isn't above say 3% of value
56:02it's just going to turn it off so if I
56:04play this to harmonic at one and I'm
56:07going to take off the semi you can see
56:10that we're just getting a consistent
56:13note
56:15um I think we have to set this up
56:17correct yeah this is up 1% there we go
56:20uh and then we have to obviously apply
56:22this LFO to the
56:24remap and you can hear as soon like
56:26whatever it's doing here doesn't matter
56:27as soon as it goes to zero this remap
56:30also goes to zero but anything in
56:32between doesn't matter and what that
56:35allows us to do is it allows us to put
56:37this harmonic to zero when the the noes
56:40off we can actually kind of like move
56:41this in here as
56:46well but yeah you want it just to be
56:48very very very aggressive the reason why
56:51we want to do this is so that it
56:52actually goes down to zero and we don't
56:53get like the fundamental sine wave and
56:56then we apply the same chromatic remap
56:58again to the semi send here so
57:0148 and then what we can do here with the
57:03harmonic is we can say instead of going
57:05up to time one we go time 2 so that
57:09turns all the semi semitones up an
57:12octave and now we're getting higher
57:14ranges so now instead of say two we can
57:16go with
57:17four and now we're getting a much higher
57:20range because this is only 48 semitones
57:22so you can't go too high or low uh with
57:25this uh remap
57:29now you're wondering why is the special
57:31well watch if we use something like
57:33retune if we use something like chroma
57:35if you use something like pitchmap we
57:37can then take those semi semitone sine
57:40waves and make them a specific scale I
57:43think it's also somewhat possible inside
57:45of remap you can pick different scales
57:47but I'm not sure how
57:49the um how the uh the base node would go
57:54right the the key essentially
57:56um so instead we can use something like
57:58chroma so if I go and load up chroma as
58:00an example uh we can make this say C
58:03major and the cool part the cool reason
58:07why this works is because all the sign
58:10waves that we have in here are
58:11incredibly
58:13accurate right they're incredibly
58:15accurate so what that means is that
58:17every sign that's being played as a
58:18formant here is actually going to be a
58:20specific
58:22note um it's not going to be off by a
58:25few cents it's actually very
58:28specific so what that means is that
58:30chroma is going to have a fuel
58:33day rep pitching those
58:43harmonics I'm going to put this back to
58:45two
58:55here sorry about that so I'm going to
58:58turn down the level here of the of the
58:59phone a little
59:08bit so can you guys hear how like every
59:11single sment that's been placed uh
59:12played is now
59:14actually um
59:26is now playing being played within the
59:28scale and this also works for things
59:29like 3 and dominant if we pick that
59:40one turn off
59:47the okay so I'm going to go back to
59:49Major because that just sounded nicer
59:51I'm going go back to Major here see
59:54major so what's really cool about about
59:56this is right now we're just playing
59:57sort of a bunch of sine waves very
01:00:00fast my question has been visually
01:00:03answered yes um but the reason why this
01:00:06works so well is because all the all the
01:00:08sign waves are being played
01:00:09chromatically they actually jumping
01:00:11between semitones instead of um some
01:00:14random sign
01:00:16value so what we can do as an example
01:00:18here is we can now get very creative
01:00:20with our shape so I'm going to go ahead
01:00:23and draw a shape that stay on a note for
01:00:26a
01:00:33while and then I'm going to change the
01:00:35semi
01:00:39sem turn it down a little
01:00:43bit so you guys can hear how we're not
01:00:46getting a proper Melody with this
01:00:52baser I'm going to add some Pro
01:00:54processing so I'm going to grab
01:00:56an
01:00:58ENT turn up the
01:01:01[Music]
01:01:04time now another thing that I may want
01:01:06to mention is that this sine wave is
01:01:08mono right it's a very mono sine wave
01:01:11because it's just well it's just out of
01:01:13an oscillator so what we can do is we
01:01:15can split up say the wave table and the
01:01:17sine wave so I'm going to grab a wave
01:01:19table and I'm just going to grab a group
01:01:21down here and I'm going to put that wave
01:01:23table in here and then take an envelope
01:01:26here and this is I'm going to send
01:01:28straight to Lane two where the EMP power
01:01:30is and then Lane number one which is the
01:01:32sine wave I'm going to grab a comp
01:01:34filter and just sterilize that sterilize
01:01:36that sign a little
01:01:38bit and you can hear that makes a big
01:01:41[Music]
01:01:47difference how cool is that
01:01:49right you just get this really clean
01:01:52fundamental that's also actually L key
01:01:57[Music]
01:02:11it's all in
01:02:13key and you can also literally draw your
01:02:17Melody so let's say we make it a little
01:02:18bit slow hold a note here I'm going to
01:02:20make it 48 so we have a little more more
01:02:23space to play with and I'm going to just
01:02:25draw in
01:02:35[Music]
01:02:44[Music]
01:02:49something let me switch out the wife
01:02:51table we something El
01:03:00[Music]
01:03:05that sterilize
01:03:08everything I'm going to turn off the
01:03:10formance just so you can see how much of
01:03:11a difference form form
01:03:14[Music]
01:03:22make and then I can still change the sun
01:03:25off here
01:03:27[Music]
01:03:35now how can we apply this same technique
01:03:37with samples right like what if I want
01:03:39to use this on a sample instead of like
01:03:41creating an my own sound again well you
01:03:43can we just take off uh everything here
01:03:46except for maybe the com filter so we
01:03:48just have this
01:03:49again let's have it a little bit
01:03:53longer let's move it up
01:04:01and then we just do the same technique
01:04:03so we have chroma on already which is
01:04:04good so we can just keep that uh and
01:04:06then I'm going to grab ring mod and grab
01:04:09the same base that we have
01:04:12here I'm going to actually turn off
01:04:14chroma because I don't really care about
01:04:15this being in key at this point I'm
01:04:17going to grab free face PL h no free uh
01:04:19to informant here in the ring mode put
01:04:21it to self turn up the
01:04:24bias play them
01:04:28together sounds a bit weird right
01:04:31now uh especially because we're getting
01:04:33a bunch of f here gra
01:04:40Q oh we have to select uh input 3 plus 4
01:04:46not there we go so now make it a little
01:04:49bit quieter because it's very loud right
01:04:52now maybe let's turn on chroma again and
01:04:54see what happens
01:04:58I'm lagging Jesus Christ sorry I just
01:05:01lagged like
01:05:02crazy um I'm going to put this on
01:05:04complex Pro and then find a no that
01:05:06works with
01:05:07it oops sorry I'm lagging again like
01:05:16crazy there we go sorry uh and then I'm
01:05:19just going to find a not that works okay
01:05:26I we on D
01:05:28so should be
01:05:31that you don't quite hear it because
01:05:33chroma isn't on both of them so I'll add
01:05:35chroma to both as an
01:05:38[Music]
01:05:43example this in C major this is D so C
01:05:46sh yeah this should be the
01:05:53no let's actually put it to a d minor in
01:05:56this case uh so I have a add minor
01:06:00B and then we can just move this
01:06:14up and then obviously I would personally
01:06:16like recommend you guys to use uh
01:06:18spectral mask if you haven't already
01:06:20that's a plug DOA plug in I'm not sure
01:06:23if I have it on this computer
01:06:26um let me check plck data effects and
01:06:29then would pick uh two
01:06:31group and then pre effects and then
01:06:34obviously we'll load up spectral mask
01:06:36which I don't think is on this computer
01:06:37so I'll have to send it to myself here
01:06:39real quick uh if you guys excuse me for
01:06:42a second
01:06:59[Music]
01:07:23someone's typing like crazy in the back
01:07:24if you guys can hear I'm not sure
01:07:27[Music]
01:07:30um all right let me copy this
01:07:33over bam there we go I think that's it
01:07:37now I don't need this anymore this can
01:07:40close sweet all
01:07:43right let me go back to
01:07:46main so first I'm going to import the
01:07:48workspace
01:07:50for uh spectral mask and then I'm going
01:07:53to open up the patch
01:07:56there we go so oh I guess I haven't
01:07:59imported the uh the skin here
01:08:05yet
01:08:07them excuse me for a second
01:08:12here this is a different computer that's
01:08:15why there we go Nasco then select that
01:08:18in there and we're done sweet um quickly
01:08:21just going to save it okay so what you
01:08:24would do uh and this this case is now I
01:08:27have chroma On You' use that on S would
01:08:30select the same channel and then it
01:08:32automatically selects pre effects and
01:08:34then all we do is to turn on the
01:08:35external mode and start turning this
01:08:41up you can hear it kind of fixes all
01:08:48the all the crazy uh resonance and
01:08:54stuff that um it usually applies to
01:08:57things we can also do this just for
01:08:59example for for the fundamental but uh
01:09:02for the form doesn't
01:09:06matter you also want to make sure that
01:09:08when you change you know the the uh the
01:09:11Spectrum around you want to make sure
01:09:13that you're not cutting out frequencies
01:09:14too much so I'm just going to apply the
01:09:16filter just an eq8 here so I have full
01:09:19control and I can see when I'm going out
01:09:21of range
01:09:29but yeah that's how it works so now I
01:09:30can play any notes
01:09:35here and I can change these around if I
01:09:38wanted to I could go in and just play
01:09:39these
01:09:44[Music]
01:09:57and I could go in and go some do some
01:09:59crazier movements because once
01:10:01again we're working with really clean
01:10:03sine waves so make use of of that um of
01:10:08that precise modulation that you can
01:10:10impose
01:10:20[Music]
01:10:30so yeah once again let's not make let's
01:10:33not make it for just make it
01:10:35clean we canot go in and just use any
01:10:38sounds we can even use whole ass
01:10:43patterns I think this is a bit faster so
01:10:45I'm going to repitch it a little bit
01:10:46doesn't really
01:10:49matter let's check out this
01:10:51song you can hear I'm removing the
01:10:54fundamentals again
01:10:56which these are these base
01:11:02patterns literally all of these are made
01:11:04with the same technique except I think
01:11:05in some of them I forgot to put a little
01:11:07bit of comp filter stereo stuff on um on
01:11:12the fun formance um but
01:11:20yeah so you can see spectral suppressor
01:11:22here works really well to just remove
01:11:24all the forance from the original
01:11:26sound and then we can uh apply them
01:11:29ourselves so I would probably do
01:11:30something a little bit shorter like
01:11:36this and we'll move this
01:11:43down
01:11:46there if I wanted something a little bit
01:11:48smoother I can obviously do that
01:11:55let me make it a little bit faster so we
01:11:58have full range once again if you're
01:12:01just doing something a tonal get rid of
01:12:03all these things and just automate the
01:12:05harmonic from zero to something that
01:12:07makes it as easy as
01:12:12possible let's have something low
01:12:14forward
01:12:21here and then let's try and see if we
01:12:23can use the Unison as an example
01:12:25to create some some sort of
01:12:28uh a
01:12:50over that sounds sick right there it
01:12:53just sounds like it's part of the sound
01:12:54this
01:12:59you can also see just right when I have
01:13:01hit a certain range you can see how it's
01:13:03inter modulating itself right
01:13:10[Music]
01:13:17there so if you design sounds you can
01:13:19essentially now use anything and just
01:13:21impose these formans onto stuff and
01:13:23which is a lot of fun and this all kinds
01:13:24of weird things that you can do you can
01:13:26try as an example to use one of the cord
01:13:29modes if you use say a
01:13:32minor um in here let we start
01:13:43adding now we're getting a really weird
01:13:47overtone this maybe keep it to uh to one
01:13:50note for a specific time
01:13:56and we can do say eight that would be a
01:14:06perfect now we're getting like a chord
01:14:09overtone which is really
01:14:18strange a bunch of fun stuff harmonics
01:14:20is also strange
01:14:25does some really weird stuff you can
01:14:26still
01:14:28the so you can see how you can get very
01:14:31creative with the way you do these
01:14:37formats um there's a bunch of
01:14:39interesting um Unison modes that um face
01:14:42plan offers and I think in vital as well
01:14:44you probably have a bunch of interesting
01:14:45ones you have octav you have
01:15:05and the shorter you make the format the
01:15:07more realistic using
01:15:14sound and depending on where you place
01:15:17it it'll be more interesting as well so
01:15:19we can change the face for example
01:15:28so this is all open to you guys you can
01:15:30you guys can decide what you actually
01:15:31want to do with this technique there's
01:15:33probably so many things that you can do
01:15:34with this technique that is absolutely
01:15:36crazy you can also just take a simple
01:15:39sign and just distort it why
01:15:44not who's telling you not to do that
01:15:47right you can just do that if you want
01:15:48you can just you can then change the
01:15:53bias Maybe you can use shape a table to
01:15:57use some
01:16:00crazy some crazy wave table to distort
01:16:03your sine wave with and you get a
01:16:04completely
01:16:06unique that's the Le
01:16:10here smooth out the smooth there and
01:16:13let's make this a little bit more
01:16:22aggressive really cool stuff all just
01:16:25with one sign
01:16:28wave switch out the
01:16:36Bas maybe here we'll
01:16:47do obviously this first base you
01:16:49probably want to do something else but
01:16:50that second base you can probably use
01:16:55and then make it a little bit slower now
01:16:57this is you do have to get used to this
01:16:59you will probably it sounds weird but
01:17:01you'll probably suck in the beginning uh
01:17:03when you start doing this because you
01:17:05have to get a feel for how fors
01:17:11work but as an example all of a lot all
01:17:14of these um Forman base one
01:17:17shots uh what they
01:17:23[Music]
01:17:27all of those were made with the ring mod
01:17:29and in this case I actually made it
01:17:30really easy for myself because I just
01:17:32used the ring with the bias down which
01:17:34just generated those sort of teror squat
01:17:36overtones by itself so in that case you
01:17:39don't want to play around with any of
01:17:41the Unis and stuff you just want to keep
01:17:42it at one side
01:17:46wave you can already see those two
01:17:48signes right next to each other so you
01:17:50could technically make this uh just
01:17:52yourself um
01:17:55so if if I were to go in here as an
01:17:57example um you take the B again it's way
01:18:01louder and then start
01:18:13offsetting like that you could do that
01:18:15if you wanted to but I find that this
01:18:17bias technique also works
01:18:20well and then you're getting those
01:18:22really cool FM type overturns very
01:18:27simple it a little bit
01:18:33louder Let's uh move this around a
01:18:35little
01:18:41bit let's get rid of it on this
01:18:49section and let's switch it out for just
01:18:51a basement shot let's for example try
01:18:52one from the food sample pack I'm just
01:18:54going to grab one from
01:18:55[Music]
01:18:56here Works instantly let's try this
01:19:02one try lowering
01:19:08harmonic
01:19:09works and what's cool about Ring mode as
01:19:12well is that it's always applying to the
01:19:13sub of the s that you're layering it
01:19:16with and this is also with Spectrum mask
01:19:19or without this is without Spectrum mask
01:19:21this is all just happening um real time
01:19:24without anything just a sine wave that
01:19:27you're modulating the pitch
01:19:30with and then that goes through REM
01:19:33mod and then if you use the bias all the
01:19:35way down you actually get some weird
01:19:37like FM overtones which is really
01:19:40cool as you can as you can hear this
01:19:42sounds like it's part of the
01:19:45sound and this is really cool because it
01:19:48means that you have full control over
01:19:49what actual node it's supposed to play
01:19:56so we could switch out this Bas s for
01:19:58something that's even more noisy what if
01:20:00it's literally just white noise and a
01:20:03sub
01:20:04right um I'm not sure if I actually have
01:20:07a sound like that but we can make one in
01:20:08face
01:20:11plant so if we just take Pure White
01:20:14Noise uh and then took the stereo send
01:20:18that to Lane
01:20:20two and then let's turn on the stereo a
01:20:23little bit let's make it high pass
01:20:27I think we need to undo these two
01:20:29effects right
01:20:34here then let's automate uh the LFO
01:20:37again uh the level here of the white
01:20:43noise and then we apply F modulation
01:20:47from that
01:20:52noise turn
01:20:57maybe we will apply some sort of high
01:20:58pass
01:21:00V I think some movement would probably
01:21:02be
01:21:09nice and let's try do this now this s
01:21:14doesn't have a sub so let's add a sub
01:21:15we're going to add just
01:21:18a they beef it up a little bit by using
01:21:20a distortion
01:21:25and then automate uh it's grab a instead
01:21:28of grabbing the filter we're going to
01:21:29grab oh we okay we're removing it that's
01:21:31why so here actually wait undo that have
01:21:34the sign with happen after so it's not
01:21:36being
01:21:38affected and then modulate the level
01:21:45again like that and then let's give it a
01:21:50level uh where is it mix mix so we just
01:21:55automate this
01:21:56instead take out that level
01:22:04again and then we take out
01:22:07the
01:22:09there and then what we do is since this
01:22:11is now modulated we can take the final
01:22:14output of the envelope and then put that
01:22:16onto the sine
01:22:20[Music]
01:22:21wave I don't think you can pick a
01:22:23different seat seat and the the white
01:22:24noise so let's have it
01:22:25[Music]
01:22:31random and then I want to have it uh
01:22:33appear for a short duration but have it
01:22:36be at full full volume of full pitch
01:22:41for for a fairly decent amount of time
01:22:45uh since the new update you can just use
01:22:47uh very simple shapes in
01:22:51here and then let's apply uh
01:22:56maybe
01:22:58[Music]
01:23:06double and then maybe some
01:23:10[Music]
01:23:12processing and that's literally just
01:23:14white noise so if I if I let's let's do
01:23:16a sample instead because the sample will
01:23:18just sound better let's go to special uh
01:23:21no let's go to effects miscellaneous
01:23:24P noise stereo that makes it
01:23:30easier so you can see that foran are
01:23:34really what where it's at right the
01:23:35foran totally
01:23:37um tells
01:23:39you what a sound is going to end up
01:23:41sounding like the foran is everything
01:23:44more so than the sub more so than the
01:23:45high end it's the foran that's really
01:23:47important in a
01:23:49sound or in the Bas on at least
01:23:56I'm sure if we add some nice little
01:23:58flanging to this so I'm just add a
01:23:59flanger here uh I'm sure we can probably
01:24:02get some pretty cool
01:24:03sounds so I'm going to apply the Salo to
01:24:07that
01:24:12[Music]
01:24:17flr like
01:24:20that and that's just what nice
01:24:25turn it
01:24:27up we can't even turn it up because of
01:24:29the Ott so that's already leveling out
01:24:31the the format for
01:24:32[Music]
01:24:37us but yeah you get the general idea
01:24:43[Music]
01:24:55sted
01:24:56[Music]
01:25:09together let's also make sure that this
01:25:11doesn't have any low end so we're going
01:25:13to have a high pass photo on
01:25:16here that's just naturally shaves it off
01:25:19when it goes lower and Pitch which is
01:25:21really really easy to do
01:25:26and then try going hm here with
01:25:36the so what would happen for example if
01:25:38we took this really clean form in and we
01:25:40start applying a delay to
01:25:44this set this to Lane two which is
01:25:46already happening
01:25:51perfect so now we're just applying a
01:25:53delay
01:25:54to the forment of the
01:25:58S what would happen if we applied a pit
01:26:14shifter so you guys can see where this
01:26:16goes you can use a frequency
01:26:21shifter you can try anything with this
01:26:24anything will work really you can try
01:26:26ring on
01:26:34it
01:26:36maybe
01:26:38course makes it stereo maybe we'll apply
01:26:41a bit
01:26:44Crusher that's pretty
01:26:48wild that sounds pretty
01:26:52cool once again we're just bacing this
01:26:54off white noise right so if we were to
01:26:56switch this out for a base sample it
01:26:58would be a completely different story
01:27:00let's grab a base
01:27:02sample doesn't matter which one it'll
01:27:05just
01:27:09work apply the I think it's already
01:27:12applied
01:27:14actually let's grab the original
01:27:17though let's make it a little bit uh
01:27:19shorter because it's pretty long
01:27:26see what not we're playing we're playing
01:27:27a d so that's
01:27:32good maybe the OT isn't necessary
01:27:39[Music]
01:27:41now Crush
01:27:52[Music]
01:28:01how cool is that you can do so much fun
01:28:03stuff with this technique I think if you
01:28:06were to decouple this you could probably
01:28:07do some pretty cool things with the uh
01:28:09shifter I think has a delay module
01:28:11inside of it so you can probably do some
01:28:14wild stuff with that as well um I wonder
01:28:17let's see if we can actually if you can
01:28:19actually do that I'm going to go ahead
01:28:20and uh duplicate the face pal patch one
01:28:24is just going to be a glorified sample
01:28:26uh sample player so I'm going to
01:28:28grab uh where the hell am I right here
01:28:32I'm just going to replace it with a
01:28:33sampler put it to sampler and then put
01:28:35the scale to 0% go to filter turn off
01:28:39the filter turn the volume to zero and
01:28:40then the volume down so we just have
01:28:43that and then we have we have our
01:28:49clean our clean format right here I'm
01:28:52going to remove these things
01:28:54and then we will apply ring
01:28:58mode from this other channel so we're
01:29:00going to go to four instrument rack and
01:29:02then select um n base One Shot 14 post
01:29:06effects and then select uh input 3 plus
01:29:114 and now we're getting that impose um
01:29:14that
01:29:16imposing I'm not I'm not going to
01:29:18process the high end here I'm not going
01:29:19to cut it out now because I'm going to
01:29:21add the shifter to it which is going to
01:29:22be before the ring mode and going to add
01:29:25it to it's to frequency and then turn on
01:29:28delay
01:29:30and no
01:29:34sound excuse
01:29:38me oh there you
01:29:41go and start moving it
01:29:51up let's make it to milliseconds
01:30:00how CL
01:30:01that maybe we have to start it off a
01:30:03little bit earlier to compensate for
01:30:19um sounds like this is making it mon
01:30:26what
01:30:38this oh yeah and obviously we have to
01:30:40remove the fundamental from this one CU
01:30:43otherwise uh it's not going to we have
01:30:46two competing formats right which makes
01:30:48no
01:30:49sense and if you don't want to use
01:30:51something like a spectral suppressor or
01:30:52S you can just fig figure out yourself
01:30:54just grab a notch
01:30:56filter and see where the foremans are
01:30:59and remove them
01:31:00[Music]
01:31:02yourself forance are very simple and
01:31:05very easy to to detect because they're
01:31:07the strongest uh harmonics in the mid
01:31:10frequency spectrum
01:31:21[Music]
01:31:27let's try a
01:31:38pitch and it's go ahead and uh play
01:31:41this let's try the shifter after
01:31:48remote but I find before it sounds a
01:31:50little bit better it sounds like it's
01:31:52it's uh imposing it better onto the onto
01:31:55the
01:31:58sound yeah now we can just switch out
01:32:00the the
01:32:01sound here again we'll have to figure
01:32:07out where
01:32:12the let's make this just a
01:32:16[Music]
01:32:21single let's make it smooth like this
01:32:31now we're getting some really weird
01:32:33formats because we're using this shifter
01:32:36with the
01:32:41feedback but that's basically the
01:32:43technique and this is just the starting
01:32:46point and this this is the reason why I
01:32:47wanted to do this live stream is because
01:32:50um I want you guys to get a little bit
01:32:51of a head start on this idea of creating
01:32:54your own sort of characteristic for bass
01:32:57sound um outside of the the traditional
01:33:00ways of doing it which is uh you know
01:33:03with filters and such but that you guys
01:33:05have full control so you guys can come
01:33:06up with really interesting ways of
01:33:08creating formats that sound really
01:33:10interesting because formers are usually
01:33:11the part that are the most interesting
01:33:13about a bass
01:33:15on if you guys have ever heard like
01:33:18norof Funk bases and stuff or like
01:33:19drumman Bas in general the the most
01:33:21interesting sounds are usually the ones
01:33:23that start off with maybe white noise
01:33:26and lowend and then they bring in weird
01:33:28harmonics into the sound and make it
01:33:30sound super
01:33:31interesting and that's this is basically
01:33:34the same thing is figuring out which
01:33:36sine wave positions s
01:33:40nice and imposing them onto a different
01:33:45sound but yeah that's basically the for
01:33:48technique took two hours to explain but
01:33:51I think uh there's a lot going into it
01:33:52and I think it's really important to
01:33:54understand that you can't just layer a
01:33:55sine wave if you just layer a sine wave
01:33:57it's not really going to do
01:33:59it it can work if the sound sort of fits
01:34:02it uh but J speaking uh you want to have
01:34:05some way to to morph uh to morph both
01:34:11sounds and this very simplistic green
01:34:17mod works really really
01:34:21well sweet J says do you preview spectr
01:34:24comp at the beginning no I did not but
01:34:27I'm going to now
01:34:29um so this is just a little bit of a
01:34:32demonstration of what's
01:34:33coming but uh I've been working in uh
01:34:37plug data for the past week um working
01:34:40on the next plug data patch because the
01:34:42idea is um and there's already a few
01:34:46things about plug data that are getting
01:34:48better there's a new update coming out
01:34:51sometime in the next few months and
01:34:53there going to be a big big update
01:34:54that's going to improve performance and
01:34:55everything which is already great but
01:34:57they're also going to potentially bring
01:34:58in a
01:34:59latency um compensation object which
01:35:02means that um when that new version
01:35:06comes out if you don't care about
01:35:08automating
01:35:09parameters there's a there's going to be
01:35:11a version or depending on if they update
01:35:13the parameters as well um where you just
01:35:15have to load the patch you don't have to
01:35:17load a workspace anything like that so
01:35:18it's one less step and that's the whole
01:35:20idea is is is for PLU data to be as user
01:35:23friendly as possible ible so it's almost
01:35:24like a
01:35:25plugin um and uh while we're working
01:35:29towards that um I've been working on
01:35:32this next idea which is a spectral
01:35:34compressor because I've been liking
01:35:35spectral compressors quite a bit because
01:35:37they get you all the way there without
01:35:39having to use saturation or anything
01:35:40like
01:35:41that um so what I have here is a little
01:35:45of a demon mini demonstration of a
01:35:47working prototype and which I'm working
01:35:49on right now which is I'm going to
01:35:51import uh I don't have any workspace to
01:35:53import right now but I'm going to open
01:35:55up the patch right here which is um I'm
01:35:58going to call it spec comp when I have
01:36:00to set to M right now I have to manually
01:36:01set the latency which is
01:36:04960 uh samples which equals roughly 21.8
01:36:08milliseconds so that's roughly what you
01:36:09can expect because uh spec comp is going
01:36:12to be using uh 10 uh 512 bands of
01:36:18compression which is quite a bit um so
01:36:21I'm going to load up one of the older
01:36:24um patterns because actually I'm going
01:36:27to do the I'm going to do something
01:36:28melodic first I'm going to do uh
01:36:35piano I think this may also still have
01:36:37the safety limiter on no okay uh if you
01:36:40load PLU data if uh if you want to try
01:36:42out Spectrum uh Spectrum mask make sure
01:36:44to uh watch the little tutorials that I
01:36:46did on it because there's a few things
01:36:47that are very important about it but
01:36:54let's go over this for
01:36:57now it sounds like it's already doing
01:36:59something but it
01:37:03should can you guys seear that weird
01:37:05little attack oh it's up here that's
01:37:07why all right there we go so right now
01:37:10uh the plugin is mono because I have to
01:37:12create the effect first and then make it
01:37:14stereo because the effect has to be
01:37:18doubled right for the left and right
01:37:19here um but this is spec comp so this is
01:37:22a dry wet that you have right here and
01:37:25then you have a this is a make oops
01:37:29sorry sorry this is a makeup gain um
01:37:33control which uh goes up to you heard it
01:37:37just there for a second it goes up to 84
01:37:40DB of gain
01:37:43compensation I'm so sorry uh yeah it
01:37:47goes up to 84 dib of getting
01:37:49compensation glue compressor for example
01:37:52does 20 DB of gain
01:37:54compensation um I think Ott does up to
01:37:58like let's see how many it does it does
01:38:00up to 24 and obviously utility lets you
01:38:03only go up to 35 DV so uh this single
01:38:08instance of of spec comp will compress
01:38:11to the point that you need 84 48 DB of
01:38:15gain
01:38:15compensation um so just let that sink
01:38:18in but what you get is down here and I'm
01:38:22going to actually simplify I'm going to
01:38:23remove the compression curve cuz it's
01:38:25not really too necessary but right now
01:38:27I'm going to just show it for
01:38:28demonstration purposes um this is your
01:38:31compression curve which currently is at
01:38:33zero so this is your main compression
01:38:35amount so when I turn that up I'm going
01:38:37to have to move the the fresh now it's
01:38:39actually in the middle it's perfect
01:38:41start moving it up you can see that it's
01:38:43starting to
01:38:45compress the
01:38:49signal right there but what's really
01:38:51interesting is what you're seeing there
01:38:53is uh a spectrum view so what that means
01:38:56is it's it's compressing the Spectrum
01:38:58rather than compressing just the
01:39:01volume so it's doing it in 512
01:39:06bands and what you may also notice is
01:39:08that when I turn up the
01:39:10compression this makeup gain also
01:39:13follows and it follows quite nicely it
01:39:15won't follow perfectly but it'll follow
01:39:18quite nicely and this is thanks to the
01:39:19auto gain that I've built in to the
01:39:22plugin and what also
01:39:24happens is if I uh turn off the auto
01:39:28gain obviously then it won't do it
01:39:29anymore so you can see if I turn it all
01:39:31the way up gets really
01:39:32quiet but the same applies for autogain
01:39:35for the threshold offset so if I move
01:39:37this up and then move the whole uh
01:39:39compression threshold up it also moves
01:39:42down the makeup G vice versa if it move
01:39:44this down which means more compression
01:39:46it moves up the makeup game so there's
01:39:48some some smart stuff like that
01:39:50happening in the plugin um but as you
01:39:52can see it's now compressing the signal
01:39:54and you can see the gray signal the gray
01:39:57Spectrum right here is your result I'm
01:39:59actually going to remove the yellow um
01:40:02spectrum fres because I only really want
01:40:04you to focus on the
01:40:07results um which is
01:40:10obviously uh the the gray
01:40:13one right now as as jkl already uh said
01:40:18this is currently targeting white noise
01:40:20so as you can see right here you get a
01:40:22straight curve which means everything
01:40:24that you compress in this case is going
01:40:26to abide to White Noise so if I turn
01:40:27down the attack and release all the way
01:40:30you're actually almost getting like a
01:40:31spectral Clipper because now there's no
01:40:34attack and release
01:40:37values so if I take down the fresh even
01:40:39further you can see if I load up uh
01:40:41maybe
01:40:43another another eqa that we can compress
01:40:46this down to the point where it's just
01:40:48basically white noise
01:40:50[Music]
01:40:54but the cool part is is that you can
01:40:56select the the curve or essentially the
01:40:58the the noise
01:41:01profile by this uh slider on the right
01:41:04side which you can't really see right
01:41:05now because I can switch this to a white
01:41:07note maybe then you can kind of see it
01:41:09here um there's a slider here and a
01:41:12slider
01:41:13there um I'm going to turn to back here
01:41:15so it looks nicer I'm going to still
01:41:16replace these by the way like the gii
01:41:18isn't done yet as you can see um but
01:41:21this lets you
01:41:24[Music]
01:41:28the Spectrum so you can see down here
01:41:30how it's like now now it's tilting the
01:41:33threshold so now we're more towards
01:41:34something like pink or brown
01:41:36[Music]
01:41:39noise and then as well if you combine
01:41:42that with softening the the attack and
01:41:51release you get a really nice
01:41:53compression happening everything's nice
01:41:56and full but still you you're still
01:41:58getting certain harmonics that are
01:41:59coming
01:42:01[Music]
01:42:11through so that's already fairly nice to
01:42:14to have as a uh spectral compressor but
01:42:18this one goes a little bit further and
01:42:19let you actually draw your own shape so
01:42:22in the middle here you can just
01:42:23[Applause]
01:42:25draw whatever you want if you want
01:42:29your frequency spectrum to look like
01:42:31this if you want to
01:42:33add small little bits here and
01:42:38there you can do
01:42:40that if you want less
01:42:43highend draw it up if you want more
01:42:46base do that this is essentially a
01:42:50compressor and an EQ at the same time
01:42:58but there's another secret feature right
01:43:00now that you can't see in the gii which
01:43:02if I hit the little edit button you can
01:43:03see on the bottom here and this feature
01:43:05is called
01:43:07overtones and if you remember if we when
01:43:09we talked about the forance uh what this
01:43:11does is it isolates the overtones and
01:43:13formance of a signal and lets you
01:43:15uncompress them so let's do a flat line
01:43:18again I have a little
01:43:19secret little secret button up here
01:43:24I'm going to compress it quite a
01:43:26bit like so and you can see down here we
01:43:30get this
01:43:31overtone graph and I can turn up and
01:43:34down this threshold to detect more
01:43:38harmonics which I may have to adjust
01:43:40this as
01:43:41well so now if I bring this in
01:43:44[Music]
01:43:59it's now detecting the strongest
01:44:01formance in a sound and letting you
01:44:03uncompress
01:44:05them which may not be very useful on
01:44:07this piano right now but as an example
01:44:09if I bring in a base Loop uh let me do
01:44:13base
01:44:15pattern this
01:44:18one I you have to Sol
01:44:22it you can see all of those overtones
01:44:24being um detected here so now we can
01:44:27move the threshold down to isolate it to
01:44:30the most dominant
01:44:32ones let's Loop
01:44:34[Music]
01:44:41it you can hear how those formans are
01:44:44now coming out so you're getting really
01:44:47like strong compression
01:44:56and you're able to
01:44:58uncompress uncompress those forments and
01:45:01what's really cool is that you can kind
01:45:02of just draw your own shape here as well
01:45:04so if you only want Su
01:45:05[Music]
01:45:15performance because and the reason why I
01:45:17did this is because sometimes it picks
01:45:18up the
01:45:21S and then you're just getting
01:45:25you just it's just
01:45:28distorted but sometimes it's fun to just
01:45:30isolate a frequency or you could uh what
01:45:33you could do as well is you could uh
01:45:35just and then
01:45:44just some pretty fun stuff but generally
01:45:46speaking it's
01:45:55it's it's generally speaking meant to
01:45:57like detect the formance of a sound and
01:45:58then let you uncompress them so you get
01:46:00a really clean sound I think I have some
01:46:02cool uh base Loops that can probably
01:46:04benefit from this in the second pth as
01:46:06well like this
01:46:13one so here without it you just get the
01:46:16super compressed
01:46:19signal which we can maybe like let the
01:46:22up in
01:46:26and then we can bring in the
01:46:34perance completely reshaping the sound
01:46:40here and the cool technique is to like
01:46:42isolate the strongest
01:46:45fundamental and then just also boost
01:46:47this to in and kind of store them
01:46:50together
01:46:57that's sometimes fun as well and I still
01:46:58need to like Implement that properly
01:47:00into the UI so it looks
01:47:03nice but yeah so that's spectral comp um
01:47:06it's also really good for mixing because
01:47:08you can just have on say a base group
01:47:10and just process everything so you don't
01:47:12have to really think about stuff
01:47:18anymore and you can be so you can just
01:47:21have it partially in the sound to just
01:47:23enhance the Spectrum a little
01:47:28bit you can see if you take a look at
01:47:30the frequency spectrum here on the eqa
01:47:33as an example it's much
01:47:35Fuller with a little bit of spectr comp
01:47:38in it I'm going to take down the up a
01:47:41little bit but then we about it's just
01:47:44rather bumpy
01:47:47[Music]
01:47:54and if you take up the releasing attack
01:47:56quite a bit it's actually quite Dynamic
01:47:58it doesn't sound super
01:48:08compressed and this can actually
01:48:10compress quite a bit if you do like if
01:48:12we go with a fresh all the way
01:48:14down all the way down and then we turn
01:48:17the attack release
01:48:18down you can see we just
01:48:23that is a ridiculous amount of
01:48:27[Music]
01:48:38compression but you can still have it
01:48:39sound fairly clean by bringing back
01:48:41those
01:48:42forms which is really
01:48:48interesting and sometimes there's some
01:48:50really weird things where you can really
01:48:51mess up the shape that you can have in
01:48:53the middle here and then move it like
01:48:57this and then you get this really weird
01:49:01shape shot the other way around as
01:49:06well and you can cut off the top there
01:49:09oops Yeah so the the threshold right now
01:49:12the the sliders are still a bit broken
01:49:14they didn't quite work the way they
01:49:17should sorry
01:49:24but yeah if you want guys want I can
01:49:25just quickly show you what it would look
01:49:27like to design or like to postprocess a
01:49:30sound with this um I can probably show
01:49:32it on a base gra because I've noticed
01:49:34that with
01:49:37um with um let's do instant media
01:49:41clip with spectr comp you only need one
01:49:44instance you don't need three instances
01:49:45of OT on like that you just need one
01:49:47instance of spectr comp uh which is
01:49:50really cool so I'm going add plug data
01:49:51to that and then let's do it in face
01:49:54plant because face plant is the
01:49:56boss I'm going to grab a envelope and
01:49:59we're just going to pitch down so I'm
01:50:01going to take the Decay up tack
01:50:07down and then I'm apply that to the
01:50:09master page a little
01:50:12bit then we're going to do this
01:50:14technique where you can form and shift
01:50:16inside of face plan so I'm going to grab
01:50:18a wave table let's do complex here and
01:50:21I'm going to have this um saw wave
01:50:24replicate this wave table turning down
01:50:28the I think it was the harmonic to zero
01:50:31and then applying phas modulation to
01:50:34this so we can
01:50:35essentially
01:50:38um it's using pH modulation to reimpose
01:50:41its original pitch sort of it's kind of
01:50:43weird um but what this allows us to do
01:50:47is it allows us to then change the uh
01:50:50level of the swaave
01:50:54and we're getting a really cool sort of
01:50:55form and shifting technique which is
01:50:57fairly clean and there aren't any same
01:50:59old band splits at 100 HZ and 2.5 khz
01:51:02I'm so tired of just hearing those band
01:51:03spits exactly like Ott does a lot to
01:51:05your face and to your sound like Dre
01:51:07speaking most people when they use Ott
01:51:08they have to use an EQ after to fix what
01:51:10OT does which is like really bad because
01:51:13if you use Ott it should be one and done
01:51:16right that's sort of the idea and I hope
01:51:18Spectra comp can be that because Spectra
01:51:19comp lets you literally just sculpt
01:51:23the frequency which is awesome
01:51:25right
01:51:27so uh what I'm going to do is I'm going
01:51:31to use this for Forman shifting
01:51:34technique
01:51:36to uh go the opposite so when it goes up
01:51:38and Pitch it goes down
01:51:39[Music]
01:51:42for and then I'm going to grab um this
01:51:44Envelope as well and just more through
01:51:46the W
01:51:50table so we get a sound like that let's
01:51:52grab a B pass filter which is like the
01:51:54good old technique of uh base
01:51:58grows so let's do there
01:52:01and let put that on
01:52:05[Music]
01:52:14there and lastly I'm going to grab a um
01:52:19I'm going to grab a wave table which is
01:52:20going to be a modulator wave table which
01:52:22will be window I want to apply that to
01:52:25the gain of uh this wave
01:52:29table so we're essentially tightening up
01:52:32the
01:52:35waveform using this wave table and what
01:52:38that does is it gives us more transients
01:52:40essentially so now if we add it as an
01:52:42example if we add it in
01:52:44power uh it would sound like
01:52:46this where you at
01:53:02let's mess around with the
01:53:05forat let's have
01:53:07[Music]
01:53:18this I think that sounds pretty cool
01:53:20right there
01:53:23so we got
01:53:24[Music]
01:53:30that but you can tell you can tell that
01:53:33we probably need another Ott for this to
01:53:35sound
01:53:36[Music]
01:53:38good and I was right we needed three OTS
01:53:41to make this growl sound good right so
01:53:44let's uh let's undo this I'm going have
01:53:46this over here I'm going to turn this
01:53:47off let's go into spectral
01:53:51Comm and it's start
01:53:55compressing I'm going to start start
01:53:57turning up the up again here turn down
01:54:00the
01:54:03release I'm going to turn up the volume
01:54:05of this a little
01:54:06bit so we again get a little bit more
01:54:08volume out of it and then I'm going to
01:54:10start drawing my old drawing my own
01:54:12frequency spectrum pressure
01:54:39I'm going to go into the forance here as
01:54:41well I'm going try and see if we can
01:54:43bring out some of the forance
01:55:13[Music]
01:55:22w
01:55:23[Music]
01:55:33so we name may need a little bit more
01:55:34highend I'm going to only do
01:55:35[Music]
01:55:37two I may have been a bit
01:55:45too go back into the for
01:56:01let's go in and maybe manually com
01:56:04decompress some of those formance that
01:56:05we want
01:56:12[Music]
01:56:51so you can also see how we can kind of
01:56:53shape the formance now with this
01:56:59compression what we could also do is we
01:57:00can just increase the forment
01:57:03inside then maybe we automate uh the
01:57:06forment depending on
01:57:09[Music]
01:57:17[Music]
01:57:22w
01:57:35[Music]
01:57:47[Music]
01:57:56now I'm going to just add some little
01:57:57pokes in here just to see if maybe you
01:57:59can get some
01:58:01[Music]
01:58:11interesting now we're getting a ready
01:58:13sick
01:58:25now the reason why it still sounds very
01:58:27different to OT uh would you consider
01:58:29putting a frequency chart under the
01:58:31Spectrum analyzer oh I see what you mean
01:58:33yeah I can totally do that you're right
01:58:35yeah I can totally do that for sure
01:58:37that's a good idea just so you know like
01:58:39what is what right can totally do
01:58:42that the fact you can just draw the
01:58:44shape is so handy that's the whole idea
01:58:46is that I want this to be the main star
01:58:48of the show here is because just being
01:58:50able to draw this
01:58:52you also got to make sure that
01:59:15this and I was considering giving you
01:59:18like a 2X option for the compression
01:59:20because you can technically speaking
01:59:21just keep pushing
01:59:25gain keep pushing gain into
01:59:29specom and the more the
01:59:38better but at some
01:59:39[Music]
01:59:41point at some point it's just going to
01:59:43be
01:59:44that of compression rather than you know
01:59:47something
01:59:50small here
01:59:59[Music]
02:00:10[Music]
02:00:20and now we can just go back in
02:00:24[Music]
02:00:27you can see it's really removing our
02:00:29formance right now because we're just
02:00:30compressing
02:00:32everything and that's why I wanted the
02:00:34form
02:00:35[Music]
02:00:37technique so you can specifically Target
02:00:40the
02:00:41stuff to be
02:00:44[Music]
02:00:55but yeah you can use this to do the all
02:00:58the postprocessing on a side
02:01:00[Music]
02:01:04you or you can use it as a base enhancer
02:01:07so if you already have a preset um that
02:01:10you like let's see if we maybe some of
02:01:11the stuff in my
02:01:15um in my preset pack for uh for face PL
02:01:22and did it just
02:01:24crash that's not
02:01:29good it's not good that it's crashing on
02:01:32on the official uh preset par I have to
02:01:35talk to the uh to the C guys about this
02:01:40maybe the maybe the bank is like broken
02:01:42I need to download the new version of it
02:01:43and see no it works that's weet
02:01:48okay uh let me have like a note here
02:01:52[Music]
02:01:56okay maybe not that sound we probably
02:01:58don't want to enhance that
02:02:00sound so let's not of a different one
02:02:07[Music]
02:02:13[Music]
02:02:23as an example let's do this one maybe
02:02:30know now let's turn off the turn down
02:02:33the OT amount which I can't do in here
02:02:34so I'm going to have to go in here and
02:02:36turn these
02:02:40down usually the idea here is that it
02:02:43replaces Ott for you right that's that's
02:02:46sort of the idea um so let's bring in
02:02:48plug
02:02:50data I think I have somewhere over
02:02:55here spec
02:02:59comp to
02:03:01wa
02:03:03uh
02:03:14go and you can see it's really you know
02:03:17compressing the performance as well
02:03:33Let's uh change
02:03:42this let's go inside and then
02:03:46reintroduce some of those formats
02:04:15so now it's very much enhancing the
02:04:17original
02:04:18sound so now you go in and
02:04:35it also helps with uh consistency in
02:04:37certain s so now we can just like use
02:04:39different ones
02:04:47and this one was for example very
02:04:49aggressive in the mids and Highs but
02:04:50doesn't have quite
02:04:52[Music]
02:04:55those and
02:05:06then so you can see how we're sort of
02:05:08rebalancing the Spectrum
02:05:13now and soon it's doing in a very
02:05:16non-destructive way because it's all
02:05:17compression it's not clipping if you
02:05:19wanted it to clip you can just turn the
02:05:20attacka
02:05:22and now you're
02:05:24just being very
02:05:47aggressive so that's spectral compressor
02:05:49or spec comp in this case
02:05:52the make visualizer makes the sound even
02:05:53better goes so hard uh there a shake in
02:05:56the main knob thank you would you say
02:05:57the majority of the magic of this is
02:05:59within the drawing a lot of it yes
02:06:01because you can make it custom to what
02:06:03you like
02:06:08right and what's really fun as well is
02:06:10to just put it on whole songs I don't
02:06:12think I have any songs on here
02:06:15directly
02:06:18uh for do you have anything interesting
02:06:25process uh I don't think I have any like
02:06:28full songs anywhere
02:06:30here um but like it makes anything more
02:06:34intense that's what I'm trying like even
02:06:35a pad if you took out a
02:06:37pad this pad is already fairly
02:06:44intense so let pick
02:06:46one it's a little bit more lowkey like
02:06:48this one
02:06:50[Applause]
02:07:00I feel this F as
02:07:20one see so you can hear how like mid
02:07:22focused it is right so let's counteract
02:07:27that so you can see how we just
02:07:29counteracted that mid
02:07:32Focus let's focus it more on
02:08:06[Applause]
02:08:10so now we've brought out all of the high
02:08:12end and it's not actually like imposing
02:08:13white nose that's just the original
02:08:15signal and we're just bringing out all
02:08:17the high end if we wanted to and so now
02:08:19if we load up a
02:08:23[Music]
02:08:25piano we're getting a very intense
02:08:27version of
02:08:28that and you get to get some really nice
02:08:30transients if you turn up the attack
02:08:35[Music]
02:08:38here can even see how the visualizer
02:08:40reacts to it it looks really
02:08:47cool what's really fun is to just draw
02:08:50your own shapes so I'm going to
02:08:53do something fun and then still tilt
02:09:02[Music]
02:09:18it again without it
02:09:24and slowly turn
02:09:27[Music]
02:09:32up we've essentially like it's like
02:09:35throwing Ott onto something but then
02:09:37actually sounds good and you can also
02:09:39see that CPU wise it doesn't use a lot I
02:09:41mean I'm on my like crazy computer right
02:09:43now but uh this plugin as you can see
02:09:46disabled or enabled doesn't use any more
02:09:47additional CPU because it auto sleeps
02:09:49take a look at the CPU here it's well
02:09:51this case it's a 2% but if I play it
02:09:53it's actually doing the processing which
02:09:55in this case is only 3% on my laptop is
02:09:58actually a bit more so I still want to
02:10:00optimize it but what it does it it all
02:10:03sleeps so that means it goes back down
02:10:05to 2% um which uses less CPU so it only
02:10:09uses CPU when sound is actually coming
02:10:11in what were the parameters that would
02:10:13mostly match Ott uh would be the
02:10:15compression amount which is the amount
02:10:17and then the dry wet is uh well that's
02:10:19more so
02:10:21well this is more unique because the dry
02:10:23wet here is actually a dry wet and the
02:10:24amount is like compression and you want
02:10:26to use the compression with the auto
02:10:28gain
02:10:29enabled so it roughly matches the the
02:10:33game
02:10:34change because this is 60 DBS of makeup
02:10:38gain so if I disable the auto gain and I
02:10:40start turning down the compression you
02:10:41can imagine what happens right gets
02:10:43really loud and the other cool thing is
02:10:46is I've I've added this ton Clipper
02:10:49which is like a really nice sort ofof
02:10:51Dipper so to enable that it's sort of an
02:10:55all in all package now you're boosting
02:10:58to Z DB and so you're soft clipping
02:11:00already you're distorting and you're
02:11:03also compressing so it's it's like end
02:11:05power but as a
02:11:08plugin and it can sound really good on
02:11:10stuff if I have uh as an example if
02:11:12usually try try on brakes because on
02:11:14brakes it sounds really
02:11:17cool for have
02:11:22[Music]
02:11:26all right let's do this one for
02:11:33example you may lose a little bit of
02:11:35high high frequency information so I
02:11:36[Music]
02:11:38have now let's uh reset this because I
02:11:40don't want to use the settings in here
02:11:43uh specom oops thank you
02:11:52start you can see it automat
02:11:54automatically
02:12:07matching give it a little bit of a
02:12:09[Music]
02:12:15vshape okay that keep maybe
02:12:18not let's clip it
02:12:21[Music]
02:12:25you can try and
02:12:29use but currently the overtones needs to
02:12:32be implemented a little bit differently
02:12:33I just realized that I had to change
02:12:35something in
02:12:36there it's currently not cracked but
02:12:39it's still going to be part of the
02:12:42gii and now you can just mix it in with
02:12:46the original
02:12:52now the other one is obviously stereo
02:12:58so that's a really nice sunning
02:13:07compressor you can change the
02:13:10size I wouldn't go any further up
02:13:13because then you get you can see that
02:13:14it's not the highest resolution because
02:13:16that's just a limitation with du aut
02:13:17right now
02:13:18[Music]
02:13:21see I have another one this one's a good
02:13:23example as
02:13:24[Music]
02:13:36well some attack compress it like New
02:13:38York City
02:13:40[Music]
02:13:46Style and once again all the compression
02:13:48is happening Spectrum wise right it's
02:13:50not just the volume
02:13:52how's the face rotation of this plugin
02:13:53well there's none it's linear
02:13:55[Music]
02:13:57face so if I were to put it in a
02:14:00group I have to match the and there's
02:14:03also currently a bug that if you Loop a
02:14:05section in a door the latency resets
02:14:07doesn't actually happen when you render
02:14:08something but only when you Loop it so I
02:14:11may have to not Loop it otherwise it'll
02:14:15[Music]
02:14:18reset but let's see if we can kind of
02:14:22uh get the Delta of the of the plugin
02:14:26this way might be possible it might not
02:14:29be yeah now you're getting the Delta so
02:14:31you can
02:14:35hear oh this has to be mono because
02:14:37otherwise it's really
02:14:39strange uh
02:14:43[Music]
02:14:49[Music]
02:14:55so whenever you hear that like weird
02:14:57phiness happening um that means it's
02:14:59linear face and this is because it's an
02:15:01fft
02:15:03effect so it's in your
02:15:09face so you can just use it as a sound
02:15:12enhance I'm going to try to make try and
02:15:13make it as CPU friendly as possible and
02:15:15early next week when it's basically
02:15:17ready for release we're going to do a
02:15:19prototype launch uh beta
02:15:21uh pre-release um release candidate
02:15:24launch on the Discord uh where you guys
02:15:27can try it out and let me know if it
02:15:28works for you or if it doesn't work
02:15:30hopefully it
02:15:31[Music]
02:15:39works but yeah it always ask some like
02:15:41the the gii is pretty
02:15:43nice let me tell you those those knobs
02:15:46uh those dials do feel as good moving
02:15:49them around as they look
02:15:52and I made them all in blender and did
02:15:54all the animations and stuff so funny
02:15:56enough if you actually take a look at
02:15:58the uh folder you actually need the plug
02:16:00data folder for this to work um you get
02:16:03you get to see the creation of all these
02:16:05things so there's a whole Sprite of
02:16:08animations in here that are necessary
02:16:11for all this stuff to work and sometimes
02:16:13it's it's really fun to see how all of
02:16:16that uh
02:16:19Works uh those are bries and they allow
02:16:21me to do anything right so this is just
02:16:23a PNG animation that's how they usually
02:16:25do it in in
02:16:29plugins and then it can look this
02:16:35nice oh yeah you can just throw this on
02:16:37anything even drums or like once again
02:16:39bass Loops are usually really nice
02:16:41sounding patterns and fls
02:16:43[Music]
02:16:59and sometimes it's really good cuz it's
02:17:00just kind of evens it's like a little
02:17:01bit of like a so it's obviously
02:17:03compressing but then it's also making
02:17:04sure sure that you don't have any crazy
02:17:07performance that not stick
02:17:18[Music]
02:17:19out and love dry wetting it not having
02:17:22it at 100% but just having it in kind of
02:17:24balance out this the
02:17:29[Music]
02:17:36Spectrum yeah it's a lot of fun and uh
02:17:39this is going to start the beginning of
02:17:41you know like monthly PLU data patches
02:17:44because that's essentially what I want
02:17:45to go to and I'm currently like with
02:17:48every patch that I do I'm getting better
02:17:51and better what I do and I also get to
02:17:53reuse some of the parts like the gii
02:17:55design not the gii design but the the
02:17:57back end how it works cuz if you open
02:18:00the PLU data patch you can see it's
02:18:01quite complex as soon as you start going
02:18:03into the N Ready of it um if I open this
02:18:07up there's more stuff here there's a
02:18:09bunch of array stuff that happens and
02:18:11then you have the actual processing in
02:18:14here and then just to get for example
02:18:17this knob to work as it is you have uh
02:18:22uh where is it you have this P slider
02:18:24right here which has a whole bunch of
02:18:26logic in it and all that kind of stuff
02:18:28and this is all essentially Max for Life
02:18:30stuff stuff that you would do in Max for
02:18:32life but we can do it in PLU data and
02:18:34that means it's free of plug data
02:18:39[Music]
02:18:44free and you get to make your own
02:18:46plugins essentially without having to
02:18:48actually like make the DSP and
02:18:51and have to have a Mac like a Mac
02:18:53computer and a Windows computer to have
02:18:54like um both work for people because
02:18:59black data is free and open source so
02:19:01you just download that and then use your
02:19:02favorite presets from your favorite
02:19:03artists I think that's a really cool
02:19:05feature to look to
02:19:07[Music]
02:19:21but yeah that's spec comp is going to
02:19:23come out next week sometime next week
02:19:26once again I'm sorry for for being
02:19:27fairly inactive this month I I was
02:19:30working on some projects that didn't
02:19:31really pan out to well um and now I'm
02:19:35back on the grind and
02:19:38uh and I'm ready to basically P pretty
02:19:42much all the Ableton racks and snappy
02:19:44racks a lot of them at least I want to
02:19:45Port them over to pla data so you guys
02:19:47can both use them inl and you can use
02:19:49them in uh an Ableton or any D even
02:19:52bidwick which many people may consider
02:19:55moving to um so that we can all benefit
02:19:59from the
02:20:00system um which has so many things going
02:20:04for it and I really hope that PL data
02:20:06becomes the next big thing besides like
02:20:08Snap people and stuff because um you
02:20:10could probably even build chroma in here
02:20:11if you wanted to um it would take you a
02:20:13while because it's essentially Max life
02:20:15and you have to learn how it works uh
02:20:18well you have to learn how pure data
02:20:19Works which is this is all based on but
02:20:23it's really not that difficult if you
02:20:24wanted to make a simple soft Clipper you
02:20:26just create a new patch uh grab
02:20:30ADC and DAC which is just input and
02:20:33output you plug them together you get
02:20:36stereo
02:20:41uh that's it now you have sound coming
02:20:44through and then whenever you put in
02:20:45here between between and here like in
02:20:47Patcher um you can process so can for
02:20:50example grab uh there's even like
02:20:52certain tools in here that you have like
02:20:54iio oscillator effects multi so you can
02:20:56make oscillators with this you can go to
02:20:58effects and then you can like clip we
02:21:00can use
02:21:01maybe uh where is it the Distortion they
02:21:05had a specific Distortion one drive load
02:21:09up Drive put that in here you always
02:21:11have to have like you have to have a
02:21:13doubled put left and right and then you
02:21:16have here it says Drive Factor so we can
02:21:18grab like a number or it could be a d
02:21:21um even like a knob control it like this
02:21:24and
02:21:28then yeah there's a bit much just go
02:21:30from 0 to
02:21:32one or maybe 0 to
02:21:3610 in my case actually just like using
02:21:39tan H it's called which is signal
02:21:41hyperbolic tangent function which is
02:21:43just a soft Clipper essentially it's a
02:21:45little bit more aggressive than a soft
02:21:46Clipper so it's really good for base
02:21:47design for example just really nicely
02:21:51distorts your stuff we grab a uh well
02:21:56they don't I don't think they have a
02:21:57necess check if they have like a gain I
02:22:01don't think there's such a thing as a
02:22:02gain uh
02:22:05but um even though that would be
02:22:07actually they do I think they probably
02:22:09do yeah they even have a stereo gain
02:22:11which you could technically use but I
02:22:12wouldn't recommend using these um
02:22:14because they're not really meant to be
02:22:16this it's much simpler to set up
02:22:17something like a game just a knob and a
02:22:21uh multiply this whoops I can't type it
02:22:24in because I'm I think I'm
02:22:26on I'm on uh because of paric
02:22:31probably so I grab this
02:22:33twice and this just multiplies the
02:22:36signal amount so if I do from one to say
02:22:3810 then it's going to get really loud if
02:22:40I turn this
02:22:43up but I we're getting this really nice
02:22:45Distortion with tonage and that's
02:22:47actually what it's what is in Spec comp
02:22:49uh as the Distortion the clipping module
02:22:52so if you enable that it enables the the
02:22:54Clipper and you can see actually like
02:22:57plug out is really nice it visualizing
02:22:58you everything that you need so if I
02:23:00click on this you can see where it's
02:23:01going oh I think just a second ago not
02:23:04anymore I guess but you can hover
02:23:07over uh oh I think now maybe no you can
02:23:10hover over different uh lines and stuff
02:23:12and you can see what they send out you
02:23:14can kind of understand this is all a
02:23:15mess right now as you can see um but it
02:23:19gets really interesting
02:23:21[Music]
02:23:27but yeah that's black out I may do like
02:23:29a full on live stream and and explain
02:23:31how it actually works at some point um
02:23:33like making our first plugin essentially
02:23:36in an exclusive production p uh
02:23:38production license I don't know if you
02:23:39guys would be interested in that um
02:23:40because this is much more freeing than
02:23:43something like Snappy but it's also more
02:23:44CPU efficient because you're not um
02:23:47hosting a bunch of different plugins
02:23:49with their own like these P um it's it's
02:23:52very simple and they also have like a
02:23:53bunch of really cool uh documentation so
02:23:57they could go in here and go
02:23:58documentation and they have like demo
02:24:01projects for example if you go to live
02:24:03Electronics we have oh oops uh
02:24:07documentation you have a bunch of
02:24:08different things here you have control
02:24:09symphasis filters spectral processing
02:24:12you could even go in there filters and
02:24:13reverbs go to spectral processing you
02:24:15even get things like this is going to be
02:24:16really cool in the future I'm going to
02:24:18like probably make a high quality Sonic
02:24:19pit shifter
02:24:21you can grab uh I think it was an
02:24:22advanced face
02:24:24recorder uh resynthesis as an example
02:24:29segment whoops uh so I just play this
02:24:33out and
02:24:39then that's essentially a pit shifter
02:24:41and then we have it I think here as well
02:24:43that's the origin
02:24:45sound K is fairly smoothed out though
02:24:52so they have a bunch of interesting
02:24:55um bunch of interesting different uh
02:24:58techniques and how you can do stuff and
02:25:00it's all like visual audio
02:25:02[Music]
02:25:08programming lots of fun stuff in
02:25:11here and they even have a compressor in
02:25:13here which is pretty interesting but it
02:25:16doesn't actually work like
02:25:18mine this is like a
02:25:20fullon uh more of a Clipper I think it's
02:25:24using like clipping you can kind of see
02:25:25it here it's just clipping the
02:25:27signal not not really doing anything
02:25:33special can turn that up a little bit
02:25:36while specom obviously in this case
02:25:39offers offers a bit more control the
02:25:42release attack and then the specr fresh
02:25:44ala was all very very daunting to make
02:25:47but I wanted to just not have to use OT
02:25:50anymore
02:25:51and we're getting there next week
02:25:53sometime next
02:25:57week yeah it's kind of wild that it's
02:26:02free so to make chroma you would have to
02:26:05implement like a a whole face for coder
02:26:07pit shifter all in PD right well you can
02:26:09take one from the from the examples you
02:26:11could take the face for coder there
02:26:12because everything that you do as a
02:26:14patch and plug out is yours um even if
02:26:17you take like some of the demo uh demo
02:26:20stuff you can use it essentially
02:26:23um oh there is just one yeah as I as I
02:26:26mentioned yeah yeah this plugin is super
02:26:29wild like it's it's so fun you can do a
02:26:32bunch of really really cool stuff in it
02:26:33like obviously the spectral spectral
02:26:35mask as well is all based
02:26:39on on that stuff and that's actually
02:26:41going to get an update as well for the
02:26:43Spectrum analyzer that's going to get an
02:26:44update and uh
02:26:54it was also surprisingly easier than Max
02:26:57and Max for
02:26:58life I think they did a great job at at
02:27:01making everything make sense
02:27:05um and I was able to so this is pretty
02:27:08cool I was able to remake the processing
02:27:10of spectral mask if you guys remember I
02:27:12had this VST that I made
02:27:16um which is somewhere in I don't know if
02:27:18it's still here yeah I think right here
02:27:21um what's really interesting is that I I
02:27:23was able to remake the processing of
02:27:25spectral mask within a day in PLU data
02:27:28well it took me like three months to
02:27:30make spectral mask in well two months uh
02:27:32to make it in
02:27:35R&B because it's just so fast you
02:27:37there's no TR it's directly a plugin
02:27:39already right with R&B it's like a whole
02:27:41process and I think it also takes half
02:27:43the
02:27:44CPU so if you to this put this to
02:27:47external um you can you can see we're
02:27:50using 5% CPU here if I delete these
02:27:54other channels here 5% CPU and if I
02:27:57switch over flu dollar we have 2% still
02:28:00and then external we're using still
02:28:032% um so it's incredibly efficient too
02:28:06while also being able to do more like
02:28:08with spectral mask all you're seeing
02:28:10here is just basic juice GUI stuff like
02:28:13everything that you see here is just
02:28:15very very basic it's just sliders and
02:28:17points right that's all I was able to do
02:28:19in an RMB and then plug data lets me do
02:28:23these wild gys um and unless you control
02:28:28the Spectrum what you want to filter
02:28:31out you have multiple controls you have
02:28:35buttons custom gii you can change the
02:28:37size okay this is a little bit pixelated
02:28:39but you get the
02:28:42idea and obviously specom is going to be
02:28:44a good example of of what is possible uh
02:28:48GUI in
02:28:53was going to be possible inside of PL
02:28:54daa I think it's going to be really
02:28:55really cool um but yeah do you have any
02:28:59ideas for your next PL da patch or maybe
02:29:01it's a secret pH the next one I was
02:29:02thinking could be probably like a really
02:29:04cool sounding spectral gate which can do
02:29:06both so it can act as a s but then it
02:29:08can also act as a gate and it's just
02:29:11supposed to sound really good and be
02:29:12easy to use and fast um just the end all
02:29:16be all you just use that if you use a
02:29:18spectral gate sort of
02:29:21idea and then after that I want to start
02:29:23porting I might actually do that
02:29:25simultaneously but I want to start
02:29:26porting things like nsub because it's so
02:29:29much easier to do in PLU data and can
02:29:31look so much cooler and have much cooler
02:29:34options and such um and then yeah I want
02:29:37to start Ping stuff over right um that's
02:29:40sort of the idea I want to even like I
02:29:42can combine some of like nsub and
02:29:44spectral compressor and then you have
02:29:45like the ultimate base design tool um
02:29:49that can do all kinds of wild things to
02:29:51make Bas design crazy um but uh I think
02:29:56I think there's so much it can do but
02:29:58there's also so much I want to still p
02:29:59over from like um cool racks and stuff
02:30:03that I've done like smart Clipper uh I
02:30:06could make that a spectral smart Clipper
02:30:08so it detects when certain frequencies
02:30:10are going as over as a threshold and
02:30:13then Clips them before you just go into
02:30:15General clipping um stuff like that
02:30:18where it's like actually smart and not
02:30:20just for the
02:30:21sub um but
02:30:25yeah um I think that'll wrap up the the
02:30:28live stream um we've been talking about
02:30:31the spectral compressor for almost an
02:30:33hour now so uh but I did think I do
02:30:36think it I didn't really I don't know if
02:30:37it really did a live stream on I didn't
02:30:39do one on spectral mask I think but
02:30:42obviously it's deprecated because the
02:30:43plugin doesn't really excessive I might
02:30:44have to actually remove the live stream
02:30:45if I did one in the first place um but
02:30:49uh it obviously still counts for the
02:30:51pluck data patch so it still works in
02:30:53that case um but
02:31:00uh yeah I think was was worth talking
02:31:02about because you guys obviously have
02:31:04seen me transition to this and rather
02:31:06than trying to still make Ableton racks
02:31:09uh which is obviously possible but as as
02:31:13you guys know um even there I had to
02:31:16move to Max for life to do like more
02:31:18interesting things and then I decided
02:31:21that hey when using Max for life it's
02:31:23kind of unstable on Ableton it's just
02:31:25Ableton and then Ableton racks also just
02:31:27ablon and snappy brecks are obviously
02:31:29Snappy BRS are great because they're
02:31:31multiplatform but they don't have any
02:31:33GOI at all right they're just a bunch of
02:31:35knobs um and snappy racks are very
02:31:39inefficient in
02:31:41CPU um which is the whole reason for
02:31:45Chroma uh also GUI of course um but I
02:31:48thought you know maybe there's something
02:31:50out there that can just be good at
02:31:52everything and PLU data is that and
02:31:54that's why I'm putting all my all my
02:31:56sense into that that hat because it's
02:31:59starting to pay off visually especially
02:32:02because it looks really cool and I I
02:32:04really like plugin designs and I thought
02:32:06you know maybe I haven't really seen
02:32:08many plugins designs like these that are
02:32:09like interactive in that sort of sense I
02:32:11mean there are some but um yeah you're
02:32:14going to see more of that stuff in the
02:32:17future great stream I learned a lot
02:32:19can't wait for the specom yeah same I
02:32:21actually just want to get it finished so
02:32:23I can use it myself so I'll not have to
02:32:25think about OT anymore awesome stuff
02:32:27brother have a good rest of your day you
02:32:28too I'll see you guys around and um be
02:32:32aware uh on the Discord next early next
02:32:34uh week we're going to do the
02:32:36pre-release um launch and then you guys
02:32:39can play around with it and let me know
02:32:40if it breaks or doesn't um but other
02:32:43than that I hope you guys enjoy the live
02:32:44stream and I'll see you guys around in
02:32:46maybe the next one when I do a full
02:32:48breakdown or then when this anything
02:32:50else that is super groundbreaking like
02:32:51the for technique which is really really
02:32:53important I basically use that all the
02:32:55time now um because it's just cleaner
02:32:58than trying to make something work in a
02:33:00fam or like with P filters or whatever
02:33:02there's certain sounds where I still
02:33:03don't do it of course like brows I think
02:33:06with B house fold still sound better
02:33:08anyways um stream was fun I hope you
02:33:11guys guys have a great rest of your day
02:33:13and I'll see you around
02:33:15s bye-bye
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