Full transcript
0:05What's up gang I'm NOID and today we are going
0:08to learn how to make this type of leads that I call digital errr683274692
0:23we are going to build a patch starting from a waveform created by ourselves
0:29forming an audio clip and turning it into a wavetable and we are going to work on this
0:35synthesizer which, at the moment, is becoming one of my favorite
0:40synthesizers , I'm talking del VITAL really seems to me that it has many quite interesting options
0:46that we are going to be playing here, this is really a demonstrative video
0:51of what you can achieve with this synthesizer, you can actually experiment
0:58with many other sounds, in this case we are going to see this type of sounds that sound a
1:03bit like digital errors, let's start with this ...
1:11this that I have open here are two midi channels in one I have an operator and in another I have a
1:17wavetable, I designed here a quite random melody, I didn't really think a lot
1:26in tonality, because in the end all we want is to take the transient that is going to
1:30generate this audio, which we are going to convert into audio and from there we are going to deconstruct r a little that
1:38audio to finally send it to VITAL and transform it into a waveform and well ...
1:43the interesting thing about this is that it will create different textures that will give us a lot of
1:49variety when it comes to playing a little with them, without more to say, let's listen to
1:56this operator a bit, it really is a sine wave, it doesn't have much science, we are just
2:03going to take away the release a bit here because I'm interested in making them shorter sounds
2:12ok I'm going to freeze the track let's
2:20flatten our track and we already have here in audio this melody that we made
2:27now we are going to work on the wavetable, it is the same melody
2:31I am simply going to change the waveform and we are going to play a little with it
3:19I quite like the sound and now we are going to do exactly the same thing
3:24we freeze and we are going to flatten and now we are going to deconstruct these
3:30two audios a bit and we are going to mix them so that they generate a waveform we
3:38are not going to play a little by doing the following , we can put one
3:46in the warp mode that is in texture and we are going to increase the time and the grain size
4:22we take different chunks and we are interleaving them, we are going to grab this part
4:29really all this is very random no it is not necessary for you it takes a long time
4:34since in the end we only want to build a waveform that has different cycles
4:42and in different shapes, in some it is more square in some parts it is more
4:49sinusoidal and this in the end we are going to modulate so it will be quite pretty cool
5:07ok then you really don't have to spend a lot of time here, this is going to end up sounding
5:13very different, the only thing I am going to do is that I am going to double it by two and we are
5:21going to consolidate both but we are going to give one of these one octave down
5:34perfect then we consolidate both audios and now
5:42we have our audio ready, this audio will be our
5:47waveform in the vital and it will be our wavetable, now we are going to open it
5:55and the only thing we are going to do is, we are going to pull the audio, we are going to pull it here
6:01to the waveform window and we are going to put it here in wavetable
6:05and practically we already have here all our audio converted into a wavetable
6:11we have different textures with which we are going to be playing, we are going to listen to it
6:19Well it sounds like mistakes but what we are going to do is distort
6:27these waveforms and we are going to do this here with the inharmonic stretch and on
6:33this side we are going to choose the squeeze so with this we are going to be able to start playing
6:59and what we want is for this to be constantly modulating, we are going
7:03to do this with the random we have around here we are going to send this random one to the inharmonic stretch
7:09and we are going to put it in sync we are going to put it in sample & hold and we are going to put In stereo,
7:16this is something that I really liked about the vital, practically what it does
7:20is that the random is being done on the right side and a completely different random
7:27on the left side, let's leave it at 1/4, it seems pretty good to me And with this
7:32circle that we have here we are going to tell our random how far it
7:38can go, it can be a fairly short range or a fairly long range, in this case
7:45I want a range that more or less encompasses all this green line that we see out there
7:57now this same random we are going to send it here to our frame, where
8:04we are going to take different textures from all our wavetable
8:11to this one if we are going to give everything, because we want to
8:15take advantage of just all the transients that we create, then we are going to hear
8:28excellent and now we are going to open another different random for
8:35this other way of distorting our wave table and we are going
8:42to put it in sample & hold and we are going to put it in synchronization we are going to change it to an eighth
9:11Excellent, we already have a very interesting movement there, now we are going to turn on
9:16our filter here and we are going to choose this flange that I like a lot, it gives a
9:25feeling like a digital error since it creates different in different harmonics, it
9:33is raising some resonances, here We can control
9:38how much resonance we are going to get and we are going to start modulating it also with
9:42our randoms that we have here, we are going to send you this one, which is stereo, remember well
9:47that this random is in stereo, we are going to send it here to the cut off of our filter
10:06I like it a lot and we are going to send this other random
10:11here, practically what it does is a blend
10:27and now I am also going to give the mix a little here
10:30we are going to leave the mix here and we are going to apply the random
10:41well now we are going to turn on the other filter, we are going to put it the same in oscillator 1 and we are going
10:48to send it here and we are going to choose a formant this time, I like this a lot
10:55and the same we are going to modulate this formant a bit,
11:03we are going to create another random, we are going to create the other random and I am going to send it here
11:12to the formant transpose and it is going to be perlin and I am going to leave it like that, it is a little more synoidal
11:19than random and we are going to make it also stereo so that it has a game
11:25different would come being a bit like a phaser, let's listen
11:45let's take the mix down a bit, I really don't want it to be complete
12:04I'm going to make it a little slower
12:22and we're also going to play here with
12:26the resonance, how much resonance are we going to give to this other filter, here we are going to decide
12:33how far, we must take care that it does not reach much because it can cause
12:37too much resonance strong that start to distort then that's fine the green bar
12:43we're going to listen
13:07perfect so far we're doing pretty good, now what we're going to do is create
13:13another random but first, what we're going to do is, I want this to move more As if I
13:18were moving it directly here with my hand, then I am going to achieve that with a macro,
13:24this macro we are going to send here, this other macro we are going to
13:29send here and this other we are going to send here to the mix that we have here.
13:38With this we would be, if they realize we would be practically moving this
13:47knob as if we were doing this with our hand, apart from the randoms that it already has, it
13:52already has another random out there then that makes it still so nest move more, all the
13:58modulations are much more variant and well, let's adjust it a bit
14:25We are going to call this spectral, we are going to call this wave
14:33and we are going to call this filter
14:39and well, we are going to send them some randoms around here too, we are going to send them
14:46this random around here, we are going to put it in sample & hold and we are going to synchronize it,
14:54we are going to do it a little slower so that we really have different
15:02rhythms in our randoms and that they are not all the same
15:53I like it a lot and now we can also play a bit with effects,
16:02we are going to delay and we are going to put the rhythm here, we are going to put it in
16:07seconds and we are going to lower it enough so that it is nothing more like a robot
16:12it will not be a Very long delay, it will be a very very short delay and
16:23there it is quite good, we are going to control it here
16:27with the lfo and we are going to put it here in the middle, we are going to do this like this
16:41and we are going to modify it a bit
16:49we are going to change to sync mode since if we have it in trigger every time we have
16:56a note in our sequencer what will happen is that it will always start
17:04from here and we will not take advantage of all the modulations that we are doing around here
17:09and we will send This lfo stops here at the mix and let's see what happens if I am in trigger
17:21every time I play a note it starts from here, what I want is for it to be
17:25in sync so that little by little it advances within this grid
17:32we are going to lower the
17:43perfect tempo and we are going to remove the smooth here and here it is where we are
17:49going to measure how much delay our sound is going to have all of a sudden
18:07ok it seems pretty good to me and now we are going to start sequencing we already have a
18:13pretty cool texture we are going to sequence it we are going to open the sequencer mono here, this
18:19is only in max for live if you don't have it I'll leave it here in the
18:24description and you can download it like the lfo if you don't have the new
18:30ableton in the new ableton we already have it here included in audio effects
18:36in fact we're going to open one because right now We are going to occupy it
18:42and well the monosequencer we are going to sequence our sound here I am not going to stop long since
18:50if not, this video would be too long, already in other videos I have already explained it
18:58if you have not seen it,
19:02you can check it here. I am going to leave the cards here on the screen at the
19:06top I am going to leave you a video that explains a lot and in theory it is something similar to
19:13what we are doing now, but hey in this case as we are in D, then I am going to
19:21press the note C again so that our sequencer mono is reset and we are going to go to
19:29D then it would be C, C # and there we are in D and we are going to randomize the
19:39octave here and give it some variants, let's go to do this like this, a little like that
19:55seems pretty good to me now we are going here to fill, we are going to randomly give it we are going
20:01to do some silences, have some silences, we are going to change
20:05the rhythm of our sequencer monkey here and we are going here to duration ,
20:14We are going to give our leads some variants of equal duration, we are going to put it like this
20:24and we are going to give it a little repeat around here,
20:31perfect seems good to me and now it would sound like this
21:06perfect now we are going to add a reverb for that I opened my LFO here, we are going to add a reverb and
21:16this reverb is going to be the new one that brings I spoke ableton, the truth seemed to me quite good
21:26is convolution and what we are going to handle very simple with This lfo is our dry wet
21:33and what we are going to do is make it reach 40 nothing more, that it does not go beyond there
21:42and we are going to put it in random, this is what it is going to do is that some notes are going
21:48to have a little of reverb and some others, no, then well let's listen to
21:58this I'm going to make it a little longer, I want it to be quite present
22:04and we are going to make it more stereo, we are going to remove a little bass
22:12and see let's hear it
22:27sounds very Ok now something that I have noticed that gives a bit more organic feel to
22:35our sound, well in this case we obviously want to make something that sounds digital robotic
22:41but we can also add a bit of glide to our sound and this is going to make
22:48the notes join as in a bend and we will remove Also give it a bit of release, it seems
22:53that our sound has a lot of release, in this way everything will sound a little
22:58shorter and we will add the legato as well and we will listen
23:27Excellent now you have created a patch and you can practically save it, click here and we are going
23:35to put digital error x and ready I have my patch created, I can also save my wavetable
23:43if I want to use it later, we are going to call it like that and that's it.
23:54a new wavetablem, we can put it and voila ... let's hear how it sounds with the track