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Tutorial

Fat Juicy Analog-style Bass Tutorial

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In this synth tutorial, Joe Hanley, the creator of Syntorial, will take you step-by-step as he creates an analog-style bass patch. Don’t forget to download the Monark patch below:

Native Instruments’ Monark – Download

VIDEO TRANSCRIPT

Hi, I’m Joe Hanley, creator of Syntorial, and welcome to a quick synth tutorial on how to create a fat analog-style bass. Here’s what it sounds like. It’s a really simple patch, doesn’t require a ton of programming. But it’s a collection of very subtle changes, and some changes that not many people even think about. And it’s kind of a sought-after tone, how do we get that fat, warm analog bass particularly from a soft synth?

This isn’t your ordinary synth tutorial. This is Syntorial. Making programming synths easy. With videogame-like training, teaching you how to program synth patches by ear. Each lesson starts with a demonstration, then an interactive challenge with over 200 lessons. Once you complete the program, you’ll be able to create the sounds you hear using almost any synthesizer. Try the award winning Syntorial today.

Now this is a soft synth modeled after a analog synth the Moog. This is called Monark by Native Instruments, but there’s tons of synths like this. And really, to get this sound, all you need is a synth that has an analog style filter with a filter drive option, which I’ll talk about in a second. All right.

First, I’m gonna initialize this, so you have a plain… Sound. And I’m gonna increase our range up one octave. And I could have just played up higher on the keyboard but I had to do this because later on, we’re gonna get into key-tracking and it’s dependent upon this setting. Now, we have a square wave right now. But I wanna go with a saw. A square would work as well, but after all the settings are done, you’ll see how this saw really gives us that kinda true, warm, classic synth sound.

Now, to get our bass sound, we need to take some highs off so that our sound is more focused on the low end, so… Let’s bring our cut-off down. And now we have a simple round bass. This is fine. This is good for just like a subtle low end. It’s great for layering in with other bass sounds. Let’s say you’ve created a bass sound that’s got way more personality. It’s brighter, but it’s missing bottom end. Sometimes a simple analog style synth with a saw, cutoff turned down layered in just gives you that nice bottom.

But we want this sound itself, to be a bit more noticeable and a lot fatter and that’s where our filter drive comes in. Now this synth they call it load, but it’s the same idea. We are increasing the level of sound going into our filter. So listen. You hear this overdrive. A little bit of a warm distortions that’s coming out of the filter. Analog style filters love to be overdriven. Oh, such a nice sound.

This is really the key to getting an analog character out of an analog filter. It’s all about this filter drive. And you see this on other synths, so then our example would be Sylenth1. It has a really nice analog style filter, and its filter drive gives you the same distortion, same overdrive. So that’s really the key to getting that analog tone.

But there’s other subtle things we could do to get a fatter sound. One is increasing our amp release by just a little bit. So, in this synth, we have attack, decay, sustain, but there’s no release option, which, yeah, it’s a bit odd right? Well, there is a release option it’s hidden. And if I enable these switches, our decay knob controls it. So whatever our decay knob is set to, also sets a release time.

So right now, when I let go of a key… It cuts off very abruptly. If I increase it just a little bit. It just gets rid of that awkward cut-off. If I increase it a lot. You hear the note fade over time. Zero. It’s kind of unnatural, but also it makes the sound a bit smaller. With this tiny tail, it just creates a bit more sound, and it actually creates fatter notes.

It’s one of those really subtle things you’d never think to do when you’re going for kind of a fat sound. It also mimics an actual electric bass a little bit more. You know, when you stop a note, it’s not zero milliseconds, it’s the real world right? The string stops vibrating quickly, but there’s a tiny tail. So we get just a bit more of a kind of a human real sound here.

Next. Again, to get a bit of a sort of a real sound to this give it some subtle character, we want the note to start a bit brighter, and then get darker. We wanna add a subtle attack transient. We could do that with our filter envelope. So I’m gonna turn up our decay first. Nothing’s gonna happen yet. But if I increase the contour, I’m gonna do it a lot so you can really hear what happens.

What happens is our contour, sets a higher cut-off point, for our sound to start at. And our decay takes it from that brighter point, down to our cut-off. If I increase our decay, it’ll take longer But we want pretty quick, so it’s just at the beginning of our sound. Let’s do around here. And, we don’t want it to get so bright. It’s just that tiny little transient at the beginning. Now that’s just a little bit more playable. It’s not so static, it’s not so stiff. It just feels better.

Now, remember what I said before it was actually starting as a square. Well, let’s try square let’s see what it sounds like. It sounds pretty good. A little bit of a heavier feel to it, but… There’s something about how the saw interacts with the cut-off. It just gives us a nicer bottom end. That’s why I went with the saw. All right, so here we have a nice fat analog bass. It’s got a bit more of a playability to it because of our filter and our amp. Sounds nice.

But let’s say we wanna take it a step further, we wanna do some kinda little bass fills with it. We want to be a bit more noticeable, but we don’t wanna lose that bottom. Key-tracking. Key-tracking when we enable both of these switches, will make higher notes significantly brighter than lower notes. So here’s my lower note without key-tracking. It’s a little brighter. But this change is pretty subtle. Now let’s compare the higher note. Way brighter. So now I still have these low notes. When I jump up there, the note really sticks out. And since I got a little bit of extra brightness on that low and I’m gonna back off on the cutoff. So now I get both my low end for that bottom, fat bass and then these nice… Fat fills up top.

And then I’m gonna boost the resonance a little bit. And what this does is, it kinda does two things. It actually makes the low note a bit boomier, a bit bottom endy-er, and it makes the higher notes a bit more shaped and pointed, so let’s, first let’s listen to the bottom. I’ll crank it so you could really hear. It’s subtle but it almost kind of adds this boom underneath. So that’s nice, now what about the high note. You hear that? It kinda just shapes ’em a little bit. Makes them a little pointier. We just want a subtle.

Why is this happening? Well, our resonance boosts our sound at our cut-off point. So if your cut-off is turned down, you’ll get a boost in the lows. If your cut-off is in the middle, you’ll get a boost in the mids etcetera. But we have key-tracking enabled, right? So even though our knob is set to here, the higher we play the higher our cut-off actually is. So when I play that low note. I’m getting a boost in the low end. When I play the higher note. I’m getting a bit more of a boost in the mids, so it’s giving it shape instead of bottom end.

Again, a simple change but really subtle. It’s these kind of things that separate you know, okay patches from great patches, these tiny little finishing touches. And last, we want to add a little bit of kinda swagger on those top higher notes. Let’s increase our glide so that the notes bend between each other. That’s a little too much. Compare.

They just kinda bend between each other, they get a little bit of attitude. Problem is when when I wanna go back down. it takes a while. So if I enabled legato. When I play notes separately, space between them. No bend. But when I connect ’em. They bend. So now with my playing, I can choose when the glide kicks in and when it doesn’t. So I can… I can connect the upper notes to get that bend, and separate the lower notes so I could jump back down to that heavy bass. So there you have it, a nice fat analog playable bass.

This isn’t your ordinary synth tutorial. This is Syntorial. Making programming synths easy. With video game like training, teaching you how to program synth patches by ear. Each lesson starts with a demonstration, then an interactive challenge with over 200 lessons. Once you complete the program, you’ll be able to create the sounds you hear using almost any synthesizer. Try the award winning Syntorial today.

Synth Tutorial: Creating a Two-Tiered Mod Wheel in Serum

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Watch Joe Hanley, the creator of Syntorial, as he demonstrates making a two-tiered Mod Wheel in Serum. In this excerpt from the Serum Lesson Pack, you’ll learn how to set up the Mod Wheel to activate one type of modulation with its bottom half and another modulation with its top half.

Get 4 more Serum videos for free via the Syntorial Demo.

VIDEO TRANSCRIPT

In this video, I’m gonna show you how to make a two-tiered mod wheel in Serum. What I mean by that is a mod wheel whose bottom half activates one modulation and then the top half activates another. To learn about this, we’ll go over modulation curves as well as the modulation auxiliary source.

Now, this video is actually an excerpt from the Serum Lesson Pack for Syntorial. Syntorial is a synthesizer training app that teaches you how to program synth patches by ear. It does this by combining video demonstrations with interactive challenges in which you program patches on a build-in soft synth.

The Serum Lesson Pack adds 55 videos that show you how to take everything you learn in Syntorial and apply it to Serum, as well as covering all of the many additional features that Serum has to offer. And you can get the first four videos from the Serum Lesson Pack for free by going to Syntorial.com, clicking Try for Free, and downloading the Syntorial Demo for Mac, PC, or iPad.

This has the first 22 Syntorial lessons but also the first four videos from the Serum Lesson Pack. Once you download Syntorial, just go into this dropdown, download lesson packs, and you’ll see the Serum Lesson Pack at the top. Just click the Download button. We also have lesson packs for Massive, Sylenth, and a couple others, and like I said, the demo will have the first four or five videos from each of these packs. When you buy Syntorial, all of the packs and all their videos are included. All right, on to the excerpt.

And then you’ve got these curve boxes. So, what the curve does is it makes the source focus more of its time in the top or the bottom of its modulation range. So, for example, let’s say I were to route LFO. Now, if I curve this up, what I end up doing is kind of swaying it to the top of the range, so now it’s gonna spend more of its time near the top. You see how it’s hangin’ out up here and just shooting down and back up? What if I do the opposite? Now I’ve pushed it down to the bottom.

It’s spending more of its time down at the bottom and just shoots up and down from the top. This curve is also good for the mod wheel, so let’s say I route our mod to cutoff and I’ll do it for resonance, too. So, maybe I wanna be able to move slower through this lower range; like most of my mod wheel work, I kinda want it to be here, and then have the option to shoot up to the top when I need to.

Well, curve to the rescue. Now I can move the mod wheel pretty drastically and the cutoff, you know, it stays in this lower area. But I have that option, once in a while I can grab a high value. And if I do it real extreme, all the way up, now when it’s all the way down, I’m good. All I have to do is barely move it up and it flicks to the top. So, it turns your mod wheel into an on/off switch.

Next, LFO amount. So, there is no LFO amount now, right? There is no modulation amount knobs. The modulation amount is always done on the destination itself, right? So, what we need to do is modulate this amount setting, but you can’t just drag a source to these little knobs. Instead, we go into the matrix, we see our current LFO modulating cutoff setup, we go into this section here, auxiliary source.

Whatever is set as the source here will now control the amount here, so if my mod wheel’s all the way down I have zero amount, no modulation, but as I turn my mod wheel up it’s gonna increase the mod amount up to this point. This is a nice design, ’cause now you can modulate any modulation amount set here by setting your auxiliary source over here.

Now, this curve box over here, it’s the same, but it works on the auxiliary source. Again, this is great for the mod wheel. Let’s say I’ve got a vibrato thing. And I route my mod wheel here, so now well, I can curve it. Maybe I want to just flick it on. Let me give it a little bit more.

Let’s look at an example, an interesting example of this in use, actually, So these two rows right here I find interesting. Our mod wheel’s controlling our LFO amount and this mod wheel’s also controlling this LFO amount, but there are two different destinations; one’s to master tune and one’s to noise level, and they have opposite curves to the mod wheel.

What this means is when I turn my mod wheel up just a little bit, this curve is gonna jump up. So, right away I’m gonna kinda get close to my max noise, and you’re gonna hear the noise kick in. Right around there, you hear the kind of hhhhg But this is curved in the opposite way. So, this small amount will barely create this vibrato, this LFO master tune.

As I push the mod wheel higher, then you’ll start to hear that kick in. So, it’s kind of a multi-layered mod wheel; push it up a little bit for noise, a little bit more for vibrato.

To see the rest of this video and the 54 other Serum videos, you’ll need the Serum Lesson Pack for Syntorial, but again, you can get the first four videos for free if you download the Syntorial demo here and then in Syntorial, go to Download Lesson Packs, and download the Serum Lesson Pack.

Synth Tutorial: Massive Wavetables

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Watch Joe Hanley, the creator of Syntorial, as he guides you through Massive’s Wavetables and their related controls. To find your way through Massive’s huge list of wavetables check out the Massive Wavetable By Attribute tool.

This video is an excerpt from the Massive Lesson Pack for Syntorial, which contains 41 videos, over 2 hours of footage, and covers every inch of Massive. Get 4 more Massive videos for free via the Syntorial demo.

VIDEO TRANSCRIPT

In this video, I’m going to be showing you how the wavetables, wavetable position and intensity work in Massive. And I’m gonna go beyond the manual. Instead of talking about this in a mathematic sense, I’m gonna give it to you in a more musical and pragmatic way. So that you know why you would actually use these things in a musical sense. What is its effect gonna be on your actual sound?

And this video is an excerpt from the Massive Lesson Pack for Syntorial. Syntorial is a synthesizer training app that teaches you how to program synth patches by ear. It does this using video demonstrations and interactive challenges in which you program patches on a built-in soft synth. The massive lesson pack adds 41 videos that show you how to take what you’ve learned in Syntorial and apply it to massive.

And you can get the first four videos free by going to Syntorial.com. Click in the try for free link, downloading this Syntorial demo for Mac PC or iPad. And that demo comes with the first 22 Syntorial lessons, as well as a sample from each lesson pack. You go into this drop down, download lesson packs, and you’ll see here at the top the Native Instruments Massive lesson pack. Download that, and you’ll get the first four videos. We also have lesson packs for Sylenth1, Z3TA+ 2 and the Minimoog Voyager, at the time of the making of this video.

Let’s get started. Massive wavetables, part two. So as you already know, you’ve got a ton of wavetable options here in Massive. And at the end of the day, it really boils down to experimentation, just kinda going through them, getting familiar with them, finding the sound that works for the patch that you’re making. But with this many, it almost starts to feel like you’re working with presets.

You know, it’s hard to know exactly what these are gonna sound like the way we know a saw and a square is going to sound like. So I found that re-categorizing these into sound attributes really helps kinda understand and get your brain kinda wrapped around all the wavetable options that we have here. I find these categories are not particularly helpful. So I’ve made my own. And you can check them out on Syntorial’s website.

You’ll see they’re grouped into nine categories like distorted and metallic and organ. Simply just click a box and it’ll show you the wavetables that have that attribute in Massive. Let’s look at some examples from each of these categories. So the first one was subtractive, which we’ve covered already. That’s our Square-Saw or Sin-Triangle or Sin-PWM.

Next category is Metallic. These are wavetables that have the kind of metallic tone you can get from FM or ring mod like, escalation, or Sonic. Next category is Distorted. These are waveforms that sound like they’ve been put through distortion. First one is these Drives, or a nastier example with Dirty Needle And the position knob just giving a sort of a different tone within that distortion.

Next category is Bitcrushed. If you remember the Bitcrusher down here, it’s a really nasty, almost kinda papery digital kind of distortion, it’s different from the sort of warm distortion that we’re used to. Couple examples are Crusher, or right below it Reducer Next category is Formant. These are wavetables that have a kinda vowel vocalesque sound to them. Let’s check out a couple Gentle Speech, and our position knob changes the vowel. Or right below that Modern Talking This one also has a kind of metallic or distorted sound. So you could put this one in multiple categories.

Next category is String. For these wavetables, they kinda have the texture like a wired string. So like an electric bass or guitar, or Rhodes or a clav. The first two obvious ones will be Guitar Pulse and E-Bass pulse. Just a very string-like texture. Additive mix V, if you turn the position knob all the way down, we get an electric bass tone. Or with Roughmath-I, we get a very clav sound. And with Herbie, we get a Rhodes-like sound. Next category is Organ. You’ve got some wavetables that just sound like organs, like these Flenders.

Next category is Multi. These are wavetables that contain multiple notes. So like Polysaw, and our position knob changes the notes. Or Multiplex. And then the last category is Dissonant. These are just real messed-up sounding wavetables like Camchord. Sounds like a demented old school telephone ring or Cicada. So as you can see, a lot of these wavetables have a lot of personality in them. It’s almost like some of the programming has been done for you. Some are kinda distorted, some are sort of FM sounding. So in some cases you won’t have to do as much programming if you find a wavetable that kind of gives you part of the sound you’re looking for.

Now, we know what this position knob does. Our wavetable has several waveforms in it and the position knob just scans through those wave forms. But what is it really doing to sound? At the end of the day, what is the end result effect on our sound? Well, in some cases, it’s switching between very distinctly different waveforms. like Square-Saw. Or this one Carbon. Several different sounding waveforms within this position. It really changes as you move this knob.

Another example is changing actual pitch. Like we saw with Polysaw. In some cases, we get a harmonic shifting effect. Like when you’re using something like Hard-Sync, it actually moves one of the synced oscillators. Or with Additives, we get the same kind of effect. It’s like we’re changing the pitch of an FM to oscillator. In other cases this position kinda acts like a low-pass filter. Like with the Acid wavetable. We just get a rounding effect. Or with a Formant style wavetable, it just kinda changes our vowel.

Now again, it’s not actually doing these things. It’s simply just scanning through waveforms within the wavetable. So for oscillator sync for example, this HardSync wavetable, it’s not doing any actual oscillator syncing or changing the pitch of an oscillator. They’ve pre-made these sounds, pre-made these waveforms, put them together in a wavetable, and this is simply just scanning through it.

Next we’ll move to the Intensity knob. Now by default, this kinda acts like a low-pass filter. Let’s switch over to just a Plain old saw, Just kinda rounds our sound out. Now you also hear it sort of adds other qualities, almost kind of like an FM-ish quality over here. You hear a little bit of metallicness. But it’s predominant characteristic by default, I find is usually kind of a low pass effect. However, if you change this drop-down up here, it will change what the Intensity knob does.

Now by default, we are in spectrum mode and that’s what gives intensity a low Pass like quality. Now in reality, intensity goes in and it grabs your waveform and it morphs it and changes it in different ways. However, instead of understanding what each intensity mode does to your wave form mathematically, I find it much more helpful to compare each mode to a sound attribute we are already familiar with. So with Spectrum, it’s kinda like a Low Pass filter.

Or for example, let’s look at Formant. This adds a sort of Oscillator Sync sound to any wavetable. It doesn’t matter which one, just grab a different one. So you can apply that sort of harmonic shifting from Oscillator Sync using this Formant Intensity.

And then we’ve got these three different Bend options. Let’s start with the Bend minus plus. For the bend, I find that the most predominant characteristic is that of a kind of Pulse Width changing. If I set this to the middle, it does nothing. So Bend Intensity is totally neutral in the middle. We’re just hearing our wavetable. But as I turn it away from middle, it has the kinda sort of thinning effect that Pulse Width has on our square wave.

Now it has some other effects in the sound, but it primarily has that kind of Pulse Width like effect. And I just find it helpful to compare it to Pulse Width. That way I kinda know what to expect and know when to use Bend Intensity. Now, in this case, our max to the right or our minimum to the left, it’s the same sound. It doesn’t matter which way we go from middle.

But in some wavetables case, it is going to be different. For example, Multiplex. So keep that in mind. If you decide you wanna add this sort of Bend Intensity sound, try both directions. As in some cases you’ll get a different sound. And when it’s different, one way or the other, that’s kinda where this minus or plus option comes in handy. If you just want the plus half, the half up here, you can switch to Bend plus. }

Now when your intensity is all the way down it’s neutral, and turning up gives you the plus range. Vice versa, when it’s Bend minus all the way down is neutral, turning it up, gives you the negative range. Now you may be wondering well, why even bother with the Bend minus Bend plus when we have them combined here? I find that useful for modulation. Maybe I want to modulate this with an LFO, have it moving back and forth. And I just want one of the ranges, I just want the plus sound. It’s easier for me to just set Bend plus, put this wherever I want it and set my LFO up.

Last thing about our Intensity knob, is in two cases, it changes its behavior altogether. So, pulse width modulation, wavetable, it’s an actual pulse width control as we’ve covered. And our sync wavetable, it’s an actual sync knob. So, we’ve looked through our intensity. We’ve looked through our wavetable position, all these different wavetables and we’ve been able to compare the different sounds to things we already know how to do. Like Low Pass filtering or distortion or FM, all those different kinds of things.

So in many ways, this kinda programming is done for us. It’s sort of built into the wavetable. We don’t need to do it in other places. However, where this really comes in handy is with modulation. We can modulate the position or the intensity, and it allows us to sort of morph between these different sound attributes in ways we couldn’t otherwise do.

For example, to see the rest of this video, as well as videos covering every inch of Massive, you’ll need the Massive Lesson Pack for Syntorial. And remember, you can get the first four videos for free by going to syntorial.com, click in the try for free link. Downloading a demo, and then within the demo, go into Download Lesson Packs, and Download the Massive Lesson Pack.

Synth Tutorial: FM on the Minimoog Voyager

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In this synth tutorial, watch Joe Hanley, the creator of Syntorial, as he demonstrates how to use FM on the Minimoog Voyager. This video is an excerpt from the Minimoog Voyager Lesson Pack for Syntorial, which contains 34 videos, totaling 2 hours and 22 minutes, and covers every inch of this analog classic.

VIDEO TRANSCRIPT
In this video, I’ll be showing you how to use FM. Also known as frequency modulation on the Voyager. I’ll be going over how to make different bell tones as well as how to make an aggressive distorted tone.

Now, this following clip is an excerpt from the Minimoog Voyager lesson pack for Syntorial. Which has 34 videos, totaling two hours and 22 minutes, that go over every inch of the Voyager. And it’s free for all registered Syntorial users.

Now, for those who don’t know, Syntorial is video game like training software. That teaches you how to program synth patches by ear. It does this by combining video demonstrations with interactive challenges in which you program patches on a built-in soft synth. And the Minimoog Voyager lesson pack, adds 34 videos that show you how to take the things you’ve learned in Syntorial and do it on the Voyager.

I’ve made a special demo available for you guys to download. Includes 18 lessons and five Voyager videos by clicking the link that’s appearing on your screen now.

Now before we get started, you wanna initialize your synth. This will make programming a lot easier. And I recommend going to the webpage below and following these instructions right here in this box.

Now not only will show you how to use the Voyager’s built-in initialization function, but more importantly, it adds steps that will show you how to change the phase of the synth, so it matches what you hear. Because if you just use the initialization function, the inside of the synth turns into a very simple sound, but the phase of it doesn’t change obviously, which can be kinda confusing particularly for those of you who are a little newer to the Voyager or just newer to programming. So I recommend following these steps before you get started. Here we go.

Voyager FM. The FM is a little trickier to program on the Voyager, compared to Syntorial. The routing is fairly simple, oscillator three is our modulator, oscillator one is our carrier. So we wanna hear the carrier. We don’t wanna hear the modulator. So only oscillator one will be on. And then you simply just turn the FM switch on.

Now with Syntorial we’re doing sine waves. There are no sine waves in the waveform selection. We’ll do the next best thing. We’ll turn both to triangles. Now you’re not getting much yet. So we need to turn this frequency up and I like my favorite spot is around the sixth notch.

Start to hear some of that FM. You can get it in the other values, but it changes the overall pitch. This keeps, C sounding like C. Whatever note you’re playing, sounds like the note you’re playing.

Now I’m gonna increase our AMP release a little bit, just to give us a little bit more of a bell-like quality. Good.

Now, Oscillator three’s waveform knob, in this situation, it’s kinda like Syntorial’s FM knob. As you turn it up, you get a little bit brighter, go towards saw. You can go all way to about this notch here. Compare it to, little rounder. Little brighter. So it’s kinda like Syntorial’s FM knob. Go pass that, it starts to get dissonant.

Now, if I wanna change the overall range of my bells, I can turn both octaves up. And then we can take oscillator three’s octave and move it down. It gets a little dissonant but it’s a little bit more FM-ish. A little bit more metallic. Could even go down one further and it gets pretty aggressive. We’ll go back to four.

Now, one thing you might notice, is as I jumped from note to note, sometimes it takes a second for the pitch to kinda catch up. It kinda sound like… So it’s like the very beginning of your notes sounds sort of out of tune until it kinda comes together.

In some ways, this can be kind of cool, but if you don’t want it, what you can do a sort of mask it with a little bit of glide. So I’m turning the glide on. And now… now, if I’m intentionally bending between the notes, then you won’t really notice that accidental FM bend between the notes. So that’s how you can get your nice sort of bell like metallic tone with FM.

There’s another great use we can get from FM and the Voyager. And that’s really nice, aggressive, distorted tone. To do this, I’m gonna change oscillator one to square, oscillator three to about there a little bit above the saw, right at the saw graphic actually.

We’re gonna bring oscillator one back down to its regular octave, our default octave. And we’re going to bring octave three, one octave below that and then set its frequency back to zero. And here’s what it sounds like. Let’s turn glide off.

Really nice aggressive distorted sound. And you can adjust the wave. And I like it right around the saw. And you could bring oscillator three’s octave one lower to get even nastier. And then we can bring the frequency back up, if you want to add a little bit more of that metallic bellish-like quality to it. Really nice distorted tone.

Lastly, it’s really easy to come across a dissonant tone with FM. Set it to any random frequency, random wave forms, and you could come across as sometimes bizarre sound effects and dissonant sounds. So it’s a great way to create sort of experimental sound effects and things like that.

So your task is to create three new patches, one, a smooth bell tone like we did with the triangles, another, a nice heavy distorted tone. And then lastly, something just bizarre from a random setting of your choice.

All right, Well, thanks for watching. And just so you know, we’ve got a lot of other free videos like this available on Syntorial’s website. All you gotta do is sign up for our newsletter by clicking the link that’s popping up on your screen now, and we’ll send you a link to a page full of videos and articles.