Exclusive Production Livestream 44

Nasko2024-04-25

119 views|4 months ago

💫 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.

✨ Highlights

📊 Transcript

✦

Importance of Formants in Sound Design.

06:25

Creating 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.

✦

Creating formants in sound design through filtering and resonance techniques.

17:37

Sine 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.

✦

Explanation of audio modulation techniques in music production.

22:03

Utilizing 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.

✦

Ring modulation technique for creating distorted sound characteristics.

27:22

Two 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.

✦

Using filters and pitch modulation for clean sound, removing formants, and utilizing ring modulation.

36:15

Adjusting 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.

✦

Using wave tables and LFO modulation in Faceplant for unique sound formats.

49:34

Exploring 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.

✦

Creating chromatic overtones through LFO remapping and scaling techniques.

54:16

Altering 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.

✦

Manipulating sound using spectral mask and chroma for precise modulation and frequency control.

01:04:54

Demonstrating 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.

✦

Creating unique sounds through modulation and distortion techniques.

01:17:41

Using 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.

✦

Techniques for creating unique bass sounds.

01:32:46

Importance 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.

✦

Updates for plug data including improved performance and new latency compensation feature.

01:34:51

Introduction 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.

✦

Spectral compressor for drawing frequency spectrum shapes and uncompressing signals.

01:42:50

Users 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.

✦

Using Formant shifting techniques to manipulate audio frequencies.

01:51:54

Tools 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.

✦

Use of spectral compressor in music production.

02:10:17

Spectral 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.

✦

Creating animations and plugins using Blender and Pure Data.

02:18:34

Designing 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.

✦

Features of a software similar to Snappy with high CPU efficiency and simplicity for audio processing.

02:23:52

The 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.

✦

Benefits of Ableton racks and Snappy BRS for music production.

02:32:32

Ableton 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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