5 Ways To Make Sound FX/Oneshots for Psytrance!!!

0:00When it comes to the elements that are

0:01very short and they usually have like a

0:03big delay till on them that brings out

0:05over time, a lot of people tend to call

0:06them either oneshots or effects. I

0:09personally like to call them oneshots. I

0:10personally like to differentiate between

0:12the oneshots and the real effects like

0:14risers and downlifters and impacts and

0:17that kind of stuff. But today I want to

0:18show you a couple of different ideas

0:20that you can use to make interesting

0:21oneshots yourself. And specifically,

0:23we're going to do that in this nighttime

0:25project that I've been working on for a

0:26couple of videos now. And what I think

0:28we'll do is we'll add a couple of ones

0:30shots in this part over here which

0:32currently feels a little bit stale. So

0:34starting off with the first idea is just

0:36going to be an extended squelch. Now we

0:38probably all know of the basic squelch

0:41in the basic way that it's made. What

0:43you essentially just want is opposing

0:45modulations between the pitch of a saw

0:47wave and then a band pass filter. So

0:50let's set up a band pass filter over

0:52here. 24 dB per octave will do fine. And

0:55what we'll do is we'll have one

0:57modulation go up and then on the other

0:59we'll have the modulation go down. And

1:01now just playing a note and playing with

1:03the macro we get sounds like these.

1:07[Music]

1:09Maybe giving it two voices gives it a

1:11little bit more interesting stereo with

1:16playing different octaves.

1:19Maybe this one is the best that we want.

1:20Of course, different notes work well.

1:22[Music]

1:27because we're modulating the pitch. The

1:29note that you play doesn't really matter

1:30for like keeping it in tune in a way. It

1:33matters more for the kind of tonality

1:34that you want to go for. But the

1:36extended squelch is basically just this

1:39but very very long. So what I'm going to

1:42do is I'm just going to have this come

1:44in here.

1:46And let's just play a random note here

1:48to see where we're at.

1:52We'll have this go down and then up

1:55again.

1:57[Music]

2:00Something like that. We also with the

2:01modulations that we've set up, it kind

2:03of comes in and out volume wise, which I

2:05really like. And then we just put our

2:07big delay on this.

2:17And in this case, I'm going to have to

2:18delay stop over here. One thing that I

2:20like to do nowadays in my productions is

2:22if the sound isn't playing, I just turn

2:24the delay off. That way I can go here,

2:26reset the delay, and it stops playing

2:28all together. So now with adding a

2:30little bit of reverb, we're going to get

2:31something that sounds like this.

2:34[Music]

2:53[Music]

2:55So that sounds very cool and is a very

2:57easy way to do things. Another cool

2:59thing that I like to do in this kind of

3:02more slowed down oneshot style is I

3:05guess these rising atmospheres that I

3:08like to make. So the way that you do

3:09that is you have to start with a more

3:11interesting tone. can either just grab a

3:14random wave table, but I personally like

3:16to go with the tones from my tones pack.

3:18Any one of these usually works well,

3:22lower octave.

3:27There we are.

3:29[Music]

3:32And the cool thing is that you can just

3:33browse different tones. And then all we

3:35have to do is add a band pass filter.

3:37Again, band pass filters really carry

3:39side as you can see.

3:41But the whole idea is that this is just

3:43going to be a rising opening up kind of

3:45effect. So we're just going to have the

3:48macro go up like this. And then we'll

3:51have our note in here and go down one,

3:54two, three octaves to get that nice low

3:56gritty sound. And then again, we need

3:59that delay

4:01to make it atmospheric. In this case, I

4:03really like a long delay. And I'm going

4:04to make this stop when the glitch

4:06stopped as well. And then we're just

4:08going to add M turbo reverb for a

4:12massive reverb as well. And this guy

4:15also is going to stop right when the

4:17glitch happens. So that really

4:18everything kind of cuts out when the

4:20glitch happens and then we go into that

4:21glitchy sounds and then it just goes

4:23into the next drop. And with these

4:24sounds, I like them to be mixed more in

4:26the background.

4:32[Music]

4:33[Applause]

4:36So right now it almost doesn't come out.

4:38And the part where it comes out the most

4:40is actually the lower mids which is

4:42early on in the part. That's not what I

4:45want. I do want it to rise up towards

4:47the higher frequencies more.

4:50I guess this guy can be useful there.

4:52And then this guy can go like this.

4:57And that's roughly right. So, let's hear

5:00what it sounds like now.

5:05[Applause]

5:07[Music]

5:17That's more the texture that I want to

5:19go for. Just that continuous rising

5:21effect here.

5:32[Music]

5:43And as you can hear, it just adds a nice

5:45bit of extra sweep right at the end

5:47here. Now, these are the more sweeping

5:49kind of oneshots, and really that is

5:51mainly the style that I want to go for

5:52in this part. But what I do want to show

5:54you is some other styles. So the main

5:57ones would be the more short sounds

5:59which you then put a delay on and just

6:01have a like big delay till kind of ring

6:03out. So in order to do that we just need

6:05some interesting tone.

6:08What we can do is for example get that

6:10with some FM. Let's actually go from the

6:12sub because that is what I turned on

6:14here.

6:16Let's turn this level down and this guy

6:18up.

6:20[Music]

6:21You get some interesting sounds out of

6:23that. But we can also do some self

6:24modulation. For example,

6:27[Music]

6:29let's turn the randomness down here.

6:32[Music]

6:37What could be cool is to maybe randomize

6:39this or not even randomize. If you want

6:42it to be repeating in a way that is

6:45actually manageable, what you can do is

6:47you can set this to say four here. And

6:49then we'll turn this all the way up. And

6:51then we'll just random flat here. And

6:54we'll set this to the face.

7:00Then what we can do is we can set up a

7:03little bit of a gate shape here. Set

7:07that to 16 notes. And now we get

7:09something like this.

7:16Of

7:22course, any of these other parameters,

7:24you can also do the same with the

7:25randomization. Just set this to an

7:28amount of four and then randomize this

7:31flat here.

7:36Let's give this two voice of unison

7:37again so that we get a nice bit of

7:39stereo width. And again, in terms of

7:41processing, we'll do a little bit. In

7:42this case, I'm going to go with the

7:44multiband compressor and set it up like

7:46it was in the old version that it acts

7:47like an OTT.

7:50That's nice. And then a bit of

7:52distortion, which I want to link also to

7:54this. Uh like so.

7:58And then we'll remove any of the lower

8:00frequencies that we don't want.

8:02And now, of course, it is repeating. So

8:04it almost becomes like a sequence, but

8:06just by playing one set of it,

8:10just by playing one of these guys here

8:14and making it even shorter so that it

8:16doesn't repeat that last guy here by

8:18just setting release to zero,

8:22we get a nice bit where if we add a

8:25delay to it, we get this nice big sound.

8:31And in this case, what I would like to

8:33do is

8:34add a band pass to this guy as well, so

8:36that we can add a bit more movement to

8:38it.

8:50And then I'll go, I guess, with a small

8:52reverb on this guy here.

8:56That is sounding cool. And then a little

8:58bit of EQ to just tame that lower

9:00mid-range here. We get something that

9:01sounds like this. Now

9:12little bit low in volume, but you get

9:14the idea hopefully. Now, up until this

9:16point, everything that we've done has

9:18been pretty deliberate in its sound

9:19design. But what I want to show you next

9:21is a way that you can do things that

9:23isn't as deliberate, but still gives you

9:25basically a massive range of one shots

9:27that you can use. So what I'm going to

9:28do is I'm going to make something called

9:30a glitch machine. And there's many, many

9:32different ways that you can do that. But

9:34the essence is going to be anytime that

9:36you play a note, you get different

9:38random glitchy sounds. The way that I

9:41often do this is through my tone spec

9:43combination tables where we just set one

9:46parameter here to randomize which is the

9:48wave table position here

9:55and that is going to give us glitchy

9:57sounds. But honestly this often isn't

9:59enough. So what I'm going to do is I'm

10:02going to hold alt and set this so that

10:05we have a left and right version of

10:06that. So we set up the same modulation

10:09of here. note on random discrete here.

10:13That's cool. But what I would also like

10:15is setting up a LFO here. Setting both

10:19of them to the coarse pitch. We'll just

10:21turn this up to the maximum for both of

10:24them. And then we'll randomize this guy

10:27as well with note on random.

10:36And what we can do as well to make sure

10:37that we have some interesting variations

10:39is to set up another randomness. But in

10:42this case, I'm going to use note on

10:43random one here because I want the same

10:45modulation on both of them. And then

10:47what we'll do is we'll set this guy over

10:49here to be partially low. And then maybe

10:53something like this where there's a

10:55couple of different parts where it's

10:58more likely to stay. So I'm just going

11:00to save the shape as

11:03temporary too. That is usually how I

11:06save my shapes. And then in here, we

11:08just go temporary too to make sure that

11:10we have the same shape. But now we have

11:12a couple of different variations that we

11:14can get.

11:17[Music]

11:20We can do the same kind of idea with a

11:22filter. So let's add a filter to this

11:23and make sure that both of them go

11:25through it. What I'm going to do is I'm

11:27going to use a band pass. And then we're

11:29again going to use randomization. In

11:31this case, I'm going to use

11:35note on random two here on the mix and

11:37that is going to go negative. And in

11:40this case, what I want to do is I want

11:41it to be either on or off and then have

11:45a slight area in the middle where it can

11:47go in between.

11:49[Music]

11:55And of course, we also need to randomly

11:57modulate this guy. So what I'm going to

11:59do for that is I'm actually going to do

12:00two things. We first set up the random

12:02modulation on this guy again. And let's

12:04turn that down a little bit. And then

12:06what we'll do is we'll set up a

12:08oscillator C here. Set this to a sine

12:10wave. And then assign that as a

12:12modulation as well.

12:15[Applause]

12:18And now with a little bit of processing,

12:20maybe that compression again to make

12:21sure that it's always equal in terms of

12:23its loudness.

12:30We can get some really cool sounds out

12:31of that. And we can process it a little

12:33bit more here.

12:36Make sure that you have a little bit of

12:38distortion. What you don't want is you

12:40don't want to add something like a delay

12:42now so that it bleeds into the next

12:44sound that you trigger.

12:48This is going to cause a mess. So don't

12:50do that yet. Also, no reverbs. What you

12:52can add is stuff like a reverb filter

12:55though if you want a little bit of extra

12:57like texture to it I guess

13:02[Music]

13:06again note and randomness here

13:10[Music]

13:12and we'll do note on random on this guy

13:14again as well just the more modulations

13:16that you have the better it becomes

13:18essentially and this guy remaining want

13:21this to be off. And uh I guess we can

13:25have it slowly gradually go up here.

13:29[Applause]

13:31[Music]

13:33And now that we have this random sound

13:35generator, this random glitch generator,

13:37what we can do is we can set up a

13:40pattern that is just going to render out

13:43individual notes of this.

13:45One, two, three, down. Duplicate this

13:48over like so. And we'll make this a lot

13:51longer so that we have many, many

13:53different variations. We can add other

13:55glitch plugins to it as well. So

13:57something like shaper box has a few nice

13:59glitchy presets.

14:02Glitch. And then let's just choose a

14:04random one and see what we get.

14:18Something that might be interesting is

14:20to configure your master mix here.

14:23Then using the modulation, I'm going to

14:25use the remapper.

14:28This is a Max for life device that comes

14:30from the dark integer mod pack. And then

14:34I'm also going to take a LFO. This LFO

14:38is just going to be set to 1 over4,

14:40which is the same as our node triggering

14:43that we have here. We'll set this to

14:45random. And then we'll map this guy to

14:46the input here. and this guy to the

14:48master mix. This way we have the same

14:51kind of idea that we have in here where

14:54you can remap all of those modulations

14:56and we can just make something that goes

14:59like this. So either it's off or it's on

15:02and there's a small area where it can be

15:04like in between.

15:08[Applause]

15:10[Music]

15:12We can do the same with a different

15:13glitch plugin. So, for example, DB Blue

15:15Glitch. Going to open this guy up.

15:18Configure its master mix here. And then

15:20we're just going to copy paste this

15:22setup here. Make sure that you remap all

15:25of these guys, otherwise it may not

15:27work.

15:33[Music]

15:41So you can hear that we're getting a

15:42whole wide range of different glitchy

15:44sounds. And the whole point is going to

15:46be we just record that as audio.

15:49So we'll go track 70 here. Record as

15:52audio.

16:02[Music]

16:03[Applause]

16:20And that is cool stuff. As you can hear,

16:22we do have a few that have like lower

16:23frequencies and whatnot. So, we

16:25definitely want to tame those.

16:35But for example, already this little

16:37part over here, if we put that on a

16:39separate audio track, or actually if we

16:41put the other guys on a separate audio

16:42track here,

16:46there's already a cool like little

16:48glitchy sound that we can add to this.

16:51and just OTTing it will bring out or

16:54really remove any of the dynamics that

16:57it has, which is essentially what we

16:58want because we do want it to come out

17:00of the idea that we have here.

17:06You might find yourself having a few

17:08extra clicks in here which you may not

17:09want. In that case, a tool like a

17:12dclicker like RX8 dclick can be really

17:15useful, but keep in mind that it's very

17:17intensive in terms of latency. So, as

17:19you can see, it almost takes a second of

17:21latency, at least more than half a

17:23second, which is not ideal. So, what I'm

17:25going to do is I'm just going to freeze

17:26that. And then we're going to flatten it

17:28as well.

17:30So, now we have something like this.

17:34And just adding a delay on that will

17:35turn that into a nice oneshot.

17:40Cool thing that you can do with the

17:41delay is make sure that it only really

17:43delays in certain parts. So, for

17:45example, I really would like to ignore

17:46that middle part and get something like

17:49this.

17:53So, we have that final sound a little

17:55bit more clearly in there. And again,

17:57we'll see if we need to do a little bit

17:58of EQing. I think the mid-range is a

18:00little bit strong on the last bit, but

18:03we'll turn off these other two guys, of

18:04course.

18:09[Music]

18:11Maybe the start of it is a little bit

18:13intense. What I'm going to do is I'm

18:14going to have that filter in.

18:18[Music]

18:27Something like that would have never

18:29been something that I would have come up

18:30with myself had it not been for this

18:32kind of crazy sound design. And the cool

18:34thing is that you can do even more

18:36manipulation. So, let's take another

18:38idea in here. Let's listen if we can

18:40find another cool part.

18:47this guy for example. What we can do is

18:49we can stretch this massively and then

18:52use something like the texture mode over

18:54here.

19:01Maybe it's cool to take this render this

19:04out as a audio clip

19:06and reverse that.

19:18But actually what I want to do first is

19:20I want to

19:22set the grain size all the way up here.

19:24And then with the percentage we can

19:26actually change that over time.

19:28[Music]

19:36That's cool. What we can also do is play

19:39with the pitch.

19:41So the transposition

19:43go up and down.

19:49[Applause]

19:51I guess what I want to do is I want to

19:53start very low here.

20:16And then just have it rise like this.

20:34That's a cool idea, but a little bit

20:35extra processing on that. Start by just

20:37having this filter in both from the low

20:41frequencies as well as the high

20:43frequencies. So, we'll set up a low pass

20:45that is going to do also some filtering

20:47like so. And with these guys, I like to

20:51lower the queue at the beginning here.

21:01Little bit of a volume increase towards

21:02the end would be nice so that we have it

21:04a bit more of a rising sound. And then

21:07we're going to have an echo that is

21:08going to help here as well.

21:19So now all in all with our 51 shots we

21:21get something that sounds like this.

21:34[Music]

21:55[Music]

22:02So, that definitely made the drop a lot

22:03more interesting. And I hope that you

22:05can use some of the techniques that I've

22:06shown today to also do that for

22:08yourself. Let me know if you did enjoy

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22:30I hope to see you in the next one.

22:31Bye-bye.