Sound Design with Subtractive Synthesis: Create Bass, Lead, and Hoover Sounds

Tutorial | Feb 22, 2022

In this video, I showed how to use subtractive synthesizers to create simple and easy bass, lead, hoover, and kick drum sounds. I started by explaining what a subtractive synthesizer is and how to create a sine wave with one. I then showed how to create a kick drum using one envelope and how to create a lead sound using unison. I also showed how to create a hoover sound using two pulse waves and pulse width modulation. Lastly, I discussed how to create synthwave basses using distortion and the monophonic mode.

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Questions & Answers #

Maybe you dont watch the video, here are some important takeaways:

What is a subtractive synthesizer? #

A subtractive synthesizer is a type of synthesizer that uses subtractive synthesis to create sound. This type of synthesis uses oscillators to produce a range of harmonics, which are then passed through a filter to subtract certain frequencies and shape the sound. The result is a sound that is more focused and with fewer overtones.

What is the difference between additive and subtractive synthesis? #

Additive synthesis is a type of synthesis that uses multiple oscillators to produce sound. These oscillators are stacked together to create complex harmonic structures. Subtractive synthesis is a type of synthesis that uses a single oscillator to produce sound. This oscillator produces a range of harmonics, which are then passed through a filter to subtract certain frequencies and shape the sound.

How does one create a kick drum sound with a subtractive synthesizer? #

To create a kick drum sound with a subtractive synthesizer, you can use the filter envelope to modulate the pitch of the oscillator. You can also add a bit of noise to give it more of a “knock” sound. Additionally, you can use a bit of resonance to give the kick some extra o

Transcription #

This is what im talking about in this video. The text is transcribed by AI, so it might not be perfect. If you find any mistakes, please let me know.
You can also click on the timestamps to jump to the right part of the video, which should be helpful.

[00:00.000] Hey folks, welcome back to another video.
[00:02.000] Today it's about sound design, a full mixed back of sound design, how you can do simple, easy
[00:07.520] bass sounds, lead sounds, uh, Hoover sounds, resounds, uh, kick drums, uh, just with subtractive
[00:14.600] synthesizers.
[00:16.280] And um, it's not Bitwig specific, you just need to subtract a synthesizer, maybe if M
[00:21.040] synthesizer later on for the, uh, mid-range bass sounds.
[00:25.840] And uh, yeah, have some fun and I'll see you at the end of the video.
[00:30.320] Okay, so I'm starting here with the Polysynth, which is a subtractive synthesizer, and
[00:36.920] it's the easiest synthesizer possible because it's, it's easy to get what it does and why
[00:43.080] it's called subtractive, because you have oscillator tapes here, of saw and, um, pulls, which
[00:51.360] produce a lot of overtones, and when I press here key, you can see this in the spectrum.
[00:57.760] You have a fundamental and you have overtones, and it's called subtractive because you
[01:03.440] have a filter and you can subtract the overtones with the filter, until you are left with
[01:12.960] the fundamental kind of, so this is why it's called subtractive synthesizer, we have also
[01:20.760] saw, which also produces a lot of homonics, I'm not sure which one produces the auto-monics
[01:32.280] and which one produces the even homonics, but you can see how it switches between the,
[01:38.280] the homonics here, you can also bring in the two at the same time, so this is, um, yeah,
[01:48.160] good to know, and then people sometimes ask why there is no sign, right, and it makes
[01:54.320] no sense because a Sine-Wave or wave shape doesn't produce any overtones, so there's
[02:02.160] nothing you can subtract from, right, so to produce a sign and a subtractive synthesizer
[02:08.560] you use the filter, you double click in Bitwig here to switch the filter to C3, and then
[02:16.160] you can pull up here the key, filter key tracking, which means the key that you are pressing
[02:21.720] on the keyboard, in my case here, it's C, um, I think it's C3, exactly, uh, now because
[02:30.560] we have the key tracking here active, um, the filter position is exactly at this frequency
[02:36.240] here, right, so when you pull up the resonance here, you create some kind of sign, partial
[02:43.920] or sign, oscillator type, you have some, some homonics here, still in there because the
[02:50.560] filter is not that steep, but it sounds like a sign and you can see it's pretty clean
[03:00.320] here also, um, and then you can play it on the keyboard and it changes the frequency,
[03:07.280] okay, so this is basically how you produce a sign, partial in a sign, oscillator type,
[03:16.880] in a subtractive synthesizer, um, Sine-Wave shapes, you'll find more like in, uh,
[03:24.480] additive synthesizers where you stack sign operators to produce a more complex homonics sound,
[03:30.880] or in FM synthesis where you feed one or frequency modulate one, uh, Sine-Oscillator with the
[03:39.920] other and they're also called operators there, um, not oscillators, um, and, um, we also have an,
[03:50.800] additive synthesizer in there, which is called organ, um, you can switch this here to pure
[03:57.680] and with all these homonics then, or all these partial are completely sign and clean,
[04:03.840] and you can see this also in the spectrum, analyzer, let's switch this here to wide mode, um,
[04:13.840] we have a fundamental frequency as before when we use to the polysynth,
[04:19.360] and then you can dial in here different homonics for yourself,
[04:23.040] it's kind of an additive synthesizer, it's not really an additive synthesizer in that sense
[04:28.800] that you can dial in every partial with the, with your desired frequency, you have like, um,
[04:34.640] um, you can see it's only an octave, the fifth, the fundamental, an octave above, an octave,
[04:43.760] and the fifth, uh, two octaves, so it's like in a different, um, and stepped in a different way,
[04:54.080] right, it's not like, um, the first partial, the second harmonic, the third harmonic, the fourth
[04:59.040] harmonic, on, so on, it's like in a different order, um, just to make it more musically, um,
[05:05.600] but that's why it's called organ and not additive synthesizer, but that's how an additive synthesizer
[05:11.760] works kind of, so just as an excursion, um, to this, so back to the polysynth, um, so we have,
[05:21.200] we have here in, um, pools, and the pools produce a lot of overtones,
[05:26.400] and we can use this to create, for instance, a kick drum, um, a kick drum is basically, um,
[05:42.000] pitch envelope, and we can use the envelope here, this, this one for the filter type,
[05:46.720] and if you have this here at zero, um, this section or this envelope module,
[05:52.080] don't modulate actually the filter here, so you can grab this here with this handle and say,
[05:57.360] I want to modulate you the pitch by 12 semi-tones, which is an octave,
[06:04.320] and pretty fast, and then if you hit the key here,
[06:10.560] you can hear, um, maybe pull up the drive,
[06:13.760] maybe go in octave lower, maybe modulate here, two octaves, 24,
[06:27.680] but it sounds like a kick drum, maybe you want to open up here, the, um,
[06:32.400] the filter bit in the beginning, so we have more like, of an attack,
[06:37.280] or we can also modulate here the, um, yeah, the resonance,
[06:46.560] we can also bring in noise,
[06:50.080] so you can create kick, kick drums this way, so all we need is basically, um,
[07:06.240] modulation of one envelope here, um, you can dial in the amplitude envelope,
[07:14.160] envelope like you want, you need a faster attack here,
[07:16.800] you can also make this a bit longer, and with this envelope you basically modulate the pitch,
[07:39.040] as you can see here, the pitch, the filter, a bit of noise, a bit of resonance, um,
[07:45.360] to change basically the oomph, or the knock, the starting point here, the attack,
[07:51.440] face, the transient, you can shape this a lot, and the rest is basically just a deep sign,
[07:58.960] or, yeah, like a base, a sub base, right, it's all about this knock here in the start,
[08:08.080] of course you can use a kick drum here, the e kick, which basically kind of does the same thing,
[08:14.240] you have a pitch envelope here, you can say I want to, uh, pitch modulate, uh, from two octose
[08:20.560] above, so 24 semi tones, you can change the k time here, you can change the amplitude time,
[08:35.600] so it's basically basically the same thing, just boil down into a small little instrument,
[08:40.000] but at the core, it's basically the same as what we did here with the
[08:44.960] polysensory, you have a bit more options, because you can mix any noise, maybe also change
[08:49.920] here the oscillator type to a saw, let's see how it sounds,
[08:54.160] here we can also modulate your mix,
[09:13.120] so you can experiment with all these things to make it more complex and, you know,
[09:17.600] shape the kick drum like you want, but this is an easy kick drum in a polysensory, okay,
[09:24.560] so let's reset this here, load the polysensory again, and go for some kind of lead sounds,
[09:33.040] and lead sound with the polysensory is super easy, because it's exactly made for that reason,
[09:39.280] with a sound here, like this,
[09:41.920] you can subtract your bit of overtone harmonics, make the release a bit longer, attack a bit longer,
[10:02.880] so this is just a basic pad sound without the reverb,
[10:06.320] also nice if you switch the bandpass for a pad sounds,
[10:22.800] like I said in the beginning here, if you put this to 100%, for each note you press,
[10:27.440] you can press multiple notes like a chord, for each note, the filter opens exactly to the
[10:32.880] frequency of the fundamental of the key you're pressing,
[10:49.280] which is really powerful in my opinion, okay, so now that we have this, we can use
[10:56.880] unison here, which is a feature of this oscillator, of this polysens, and most polysens have a unison
[11:03.440] mode, which only means if you switch this to two, we have now two voices, which means we have
[11:12.160] duplicated this one, this oscillator two times, and because this is here in stereo mode,
[11:19.040] or in stereo width to 100%, we have now one oscillator playing on the left channel,
[11:25.440] and one oscillator playing on the right channel of our speakers, which means you get the nice
[11:32.480] white sound, so let's try this,
[11:41.520] and with the unison knob here you can decide how much you wanted to tune each oscillator from the
[11:46.960] other, the one has a slightly different pitch than the other oscillator, which makes a very wide sound,
[12:02.080] but it's perfect for pads,
[12:19.200] so now we come to the bass, a bass sound can pretty much the same, using the same unison mode here,
[12:41.440] and I put in the exception here at full device, and the two device allows us to remove the stereo
[12:48.000] information here completely, or mix it back to the mono channel, so this is how it sounds before,
[12:56.560] this is with stereo to zero,
[13:05.200] and now we have basically a so-called re-space, which is used by a lot of drum bass tunes,
[13:26.960] let me switch this here to monophonic mode, at the moment we use 12 voices,
[13:31.280] so we can put this in the monophonic mode, which means we can only play one voice,
[14:01.920] you may be heard the sound already in some kind of drum bass productions,
[14:06.000] you need a bit of distortion on that to get a nice dirty sound, but this is how you get a
[14:12.000] re-sound pretty easily, just use two voices here for the unison mode and use a tool in the
[14:18.080] fx section to make it actually mono, and then use the monophonic mode so you can only press one
[14:25.040] key at the same time, so when you press mooties on the keyboard, actually you only play one key,
[14:34.720] so when you put this here in the polyphonic mode and use two voices,
[14:41.120] it still works for pads, but for bass sounds, not so much,
[14:47.600] so this is how we get basically a re-sound, and it doesn't matter how much you detune it here,
[14:55.280] it only adds to the sound, and it depends on what kind of sound you want to produce,
[15:03.520] and there are different re-sounds for different kind of styles where I feel like this
[15:09.280] a future garage sound, I'll put this back here into a monophonic mode,
[15:20.000] make it a bit dirty, bring in a bit of noise,
[15:38.560] you can do these kind of sounds, maybe use it more like not so steep of a filter type here,
[15:54.800] so you can get more harmonics out, instead of this it's more muffled,
[16:10.000] also if you go up the keyboard here and use more iotones, you get these rave sounds,
[16:26.400] you probably need more reverb on this, it's used as a super mess up here,
[16:32.800] and you can also increase here the unison to maybe more voices, 16 voices,
[16:42.160] I don't know, and detune this,
[17:11.200] and when you have a lot of voices actually running then you can use here the filter oscillator FM,
[17:16.400] which modulates basically here the filter cut off,
[17:25.920] and bring in here some envelope to the filter, so slowly open up here to filter,
[17:55.920] we can make these kind of plate runner-ish sounds with the policing,
[18:16.720] so yeah all these sounds are pretty much the same thing, and the reason for that is that
[18:21.840] most of these sounds are invented in the 90s or 80s, and they only had these kind of polysens,
[18:28.400] right, so all you need for these type of sounds is basically a subtractive synthesizer,
[18:35.200] and you can do this, there's just one typical sound I want to show you in the
[18:39.920] polysens, and this is the so-called Hoover sound, I think you need to you know actually for that,
[18:47.360] but you can also use just one, it doesn't sound that great, probably, but you know,
[18:53.360] so you know how it works, we need an LFO here, and you can use any LFO in any subtractive synthesizer,
[19:01.040] and then you modulate here the pulse-wise with of the oscillator 1, also modulate the pulse-worth here
[19:08.480] of the sub, and we switch this here to pulse, and we dial in a bit of the sub here, which is also
[19:16.400] in pulse, we have two pulse waves, basically modulated with the pulse-worth,
[19:25.440] let me need Jonas in here, multiple voices,
[19:36.000] and we like this, and we need some kind of second envelope here,
[19:39.760] which modulates the pitch, maybe two octaves, 24, something like this,
[19:45.680] maybe you need some reverb here also on this one,
[20:16.400] so get this typical 90s rave sound,
[20:21.920] you want this kind of sound right,
[20:37.840] maybe modulate also the filter,
[20:51.920] so this is also something you can do with the Polysynth here, with the pulse-worth modulation,
[20:57.760] and the pulse sine wave type, if you want a better example of the you-know
[21:04.960] who was sound, there is a preset actually called Hoover by myself, and it's called I think
[21:13.360] yeah, Hoover rave, and it's part of the package here from Bitwig, involving sounds and sequences,
[21:19.280] you can download this in the package manager, and you will get this Hoover rave sound for free
[21:26.480] or preset, it's a preset of course for the Polysynth and sounds like this,
[21:39.040] so I enlisted a bit more time into shaping the sound here, and you can analyze that,
[21:44.400] but at the core it's basically just modulating the pulse-worth here of the two oscillators,
[21:50.240] and mixing them a bit together, and you know, a bit of a queuing I think here in the end,
[21:55.280] a bit of reverb, saturation, and so on, so yeah, it's a nice sound to play around with,
[22:01.920] and it's also a classic of course, so let's recap this a bit because I iterated pretty quickly
[22:10.480] through the presets, right, so we started out with a simple Polysynth in its default form,
[22:18.720] where you have like a saw oscillator, only oscillator 1 is active,
[22:26.560] and you can play nice basses with it,
[22:33.120] if you use unison you can make pad sounds,
[22:35.760] you can use the 4.0 oscillator FM,
[22:53.600] get these nice sounds, lush sounds, and also you can use the pulse-worth here and
[23:01.520] pulse-worth modulation, and you can use your two oscillators at the same time,
[23:11.600] so mixing 1 and 2 together,
[23:19.120] they have felt like a saw and a pulse at the same time,
[23:22.000] which brings also nice sound because we have all the homonics in there,
[23:32.560] so it's more like a bell sound, bellish sound,
[23:40.560] oh yeah, this is also a nice tip here, some techno artists use MOOCs in the
[23:49.360] sizes and you have most of the times two oscillators in these MOOCs,
[23:55.600] and they have dialed in your two star waves for each oscillator, mix in these two together,
[24:03.520] or they tune these a bit differently, for instance, if you have a lead sound
[24:08.560] like this, and you tune the second one to seven semitones above this one,
[24:18.240] which means seven semitones are basically a perfect fifth, and you get these,
[24:39.760] this type of sound, they have always the fundamental and the perfect fifth,
[24:58.160] which is basically half an chord, we can also draw this here in the note clip,
[25:07.120] instead of using the second oscillator, we just use one oscillator,
[25:12.480] which uses the root note here, and seven semitones above, which is 1, 2, 3, 4, 5, 6, 7,
[25:21.120] this one, which is half a chord basically,
[25:25.280] so instead of drawing this in, you just use here the second oscillator with seven semitones
[25:31.200] pitched up, and you get the sound, this, um, Defin Baudson sound,
[25:50.560] maybe the tune at a bit here, slightly,
[25:52.560] so this is also important, tuning is actually a pretty powerful way of getting nice sounds,
[26:04.480] you don't need to be that strict with everything, right, everything on point, everything
[26:09.360] precise is boring most of the times, you want to have it slightly off, which brings in a lot of
[26:16.400] life and movement, so just here at this sound you're it's pretty static, and then you bring in
[26:23.520] a bit of the tuning here, the second oscillator, the tune at the bit, so it's not exactly seven,
[26:29.680] you hear how it starts to move,
[26:31.520] I heard something like this,
[26:43.840] and that's what you want, what you also can do is use a random modulator or some LFO,
[26:50.720] it doesn't matter, you can also use an LFO, and modulate this to pitch slightly,
[27:05.920] right, this is too much, but just a, just a tad,
[27:08.640] and brings in so much life into your sounds, just by modulating a small amount of values into some
[27:21.360] of these things here, you can also modulate of course unison, so when you have your unison in there,
[27:27.040] just use a random mod here, and modulate it slightly,
[27:57.840] so this is the, yeah, it's a very important tip, actually, use modulation in Bitwig wherever
[28:09.520] you can, or most of these things, it can really bring out nice little details in the sound and
[28:17.840] make it real, or sound real, actually, you don't want to have the static sound where everything is
[28:26.320] like frozen in time, you want to have it move all the time, at least that's my goal,
[28:32.960] you can also do these kind of synth wave bases, and you need distortion for that, but in the
[28:39.920] polysynth you already have your distortion stage or a shaping stage, and you can dial in near whatever
[28:46.560] you want for distortion, we can use your default and dial this in a bit, and we need for bass,
[28:53.920] we probably want to go monophonic, because bass there's always just one note at a time,
[29:00.800] so we can pull this to monophonic here, pull this down, and increase the resonant,
[29:31.680] we have to find the right amount of distortion,
[29:46.480] and maybe also a little bit on there, just a tad,
[29:50.960] I'll crank this up here a bit so you can hear it better,
[30:20.960] you get this nice S-E-D,
[30:50.960] because by driving this into your wave folder,
[31:21.440] so easy peasy also with this one, and you can drive it basically from acid to
[31:28.400] kind of synth wavey bass sound, where it's a bit more toned down,
[31:33.200] or crank it up, so nice one, so we learned basically that with subtractive synths to have control
[31:56.080] over the harmonics or the overtones, we need the filter, we need some audio effects like
[32:00.960] reverbs distortion, you know, to bring out harmonics, to remove harmonics, and there's no other way
[32:08.160] around it, but there are other forms of synthesis, for instance we have here in between the phase 4,
[32:14.720] which is basically FM synthesizer, it's called phase distortion, because we change the phase
[32:22.400] relationships between these operators here, but at its heart it works exactly like an FM synthesizer,
[32:30.000] and we have only dialed in your one operator, this one, you can see the other operators here are
[32:36.560] doing nothing, they are just quiet, and when you have dialed down the shape here and all these
[32:42.720] modulations at zero, and you have a sine wave shape, you can see this here,
[32:50.560] you can bring in the other operators, which are basically also signs, maybe a different ratio,
[33:03.120] and ratio means to your input key, so when I input C3 and have to see a 2-1, then I play
[33:10.800] basically this one plays C4, so one octave higher, right, so we can divide in ratios, so we can
[33:17.440] double this 3 times, which is not 3 octaves, it's basically 3 times the frequency, and then put
[33:26.000] this here maybe 2-2, we get some kind of microtuning, because it's not landing exactly on a note,
[33:37.040] get real divisions, which is nice for sounds, and you can mix these together, not only by bringing
[33:46.560] the volume here, so mix operator 1 and 2 at the same time, you can modulate with operator B here,
[33:54.160] operator R, and you can do this with these small little knobs here, so you can see modulate the
[34:00.640] frequency of operator R here with operator B, you can see we get a different wave shape here,
[34:12.400] which of course also produces overtones, so it doesn't work like a subtractive synth, it's more
[34:24.640] like an additive synth, but it's yeah called FM synthesis because we modulate the frequency
[34:30.320] of multiple oscillators with different oscillators, and here you can do nice bell sounds with this one,
[34:40.000] so let's say this is our fundamental frequency here,
[34:50.720] this is our fundamental, and we want to bring in some overtones only at the beginning of the sound,
[34:57.280] we use here in filter, on envelope, the filter envelope, which doesn't do anything because we have
[35:05.120] here the filter modulation depth at zero, so this envelope doesn't do anything, so we can
[35:13.520] use here the handle and modulate the modulation depth of this one here,
[35:24.880] so we only mix in at the beginning this operator here, which modulates this operator,
[35:31.200] and then we dial in here some odd ratios,
[35:43.680] sounds more like a bell right,
[35:59.440] and you can do this also with operator M,
[36:04.640] maybe mix this in different ratios of course,
[36:35.200] and now we start to do the same as we did in the polysynth, we kind of detune at a bit,
[36:49.120] and we can do this here with a semi-tones and we can also use frequency,
[36:53.600] the interesting part is here we can switch between mono and stereo offset of the frequencies,
[37:02.000] when we switch to stereo, we basically change the frequency of the left
[37:10.080] oscillator differently from the right oscillator, so we have two oscillators left and right,
[37:14.800] and this gives some kind of stereo effect,
[37:16.640] maybe you can hear this here better from the metal,
[37:46.640] there's no reverb on this, you are coming out of the synthesizer here,
[38:13.760] and so you can shape basically your sound by using this as a fundamental frequency,
[38:21.360] or this is how I do it in my head basically, I only use this here as a fundamental as a root
[38:28.480] as an anchor in my sound, and then I bring in the other operators here, modifying the first
[38:34.640] fundamental, and of course, multiple patches possible, you can modulate with this one, this one,
[38:45.120] and this one, and so you can bring in feedback and a lot of things, but it gets complicated fast,
[38:52.000] so the easiest way to imagine this is leave this as a root here at ratio 11, keep it pretty simple,
[39:00.080] and then bring in the other operators here, and modulate the frequency of the first one,
[39:05.920] and bring them slowly in, maybe use here envelopes, and modulate us to change some of the relationships.
[39:19.520] For instance, we can say we have velocity here on our keyboard, and the velocity changes to shape
[39:24.560] here after root thing, and the harder we press on the keyboard, the more the sound changes,
[39:30.560] we can also maybe dial us here a bit down, use velocity to raise this a bit.
[39:39.600] So now when we play on the keyboard, it's more playful, because the velocity decides how the sound
[39:46.640] changes, and when you put some reverb on this, it's even better, maybe delay also,
[40:47.120] so easy peasy, another sound you can do with pace 4, or what I do most of times is using it
[40:54.640] for bass sounds, of course, so I switch this here also to monophonic mode, so I can only play one
[41:01.360] voice at a time, and of course I need to remove here all the modulations first, we are at the default sound,
[41:11.120] velocity, so we have basically again just the sine wave,
[41:22.640] you can switch of course to saw,
[41:29.520] you can say this is my fundamental frequency for the bass,
[41:32.400] then you mix in here, operator B, maybe with the 2-1 ratio, maybe monophonic here a bit
[41:46.640] tuned, we get this nice sine wave jungle bass,
[42:03.440] you can of course use your LFO for that to modulate this, retrigger,
[42:16.560] and then you play around you with the second operator,
[42:46.640] and maybe use the yellow operator, let's go back here to the first bass like this,
[43:01.280] and instead of putting a lot of distortion on that to get this high fiss here, you can use operator
[43:13.040] Y, and I dial this shortly in here, only operator Y, this is how it sounds, you can
[43:19.840] modulate operator Y with itself by using the yellow thing here, so you modulate the yellow operator
[43:27.760] with the yellow operator, and if you do this at the fullest here, you get only noise back,
[43:36.720] you can also bring this here to stereo, make a stereo noise out of this,
[43:43.040] with this mono stereo,
[43:48.480] right, but you don't want noise, you want the noise only here at the end, so
[43:55.920] we can bring in again our first operator,
[43:58.480] and mix in the noise to operator B, which modulates operator R, so you mix Y into B and B into R,
[44:17.680] and then you can maybe use here the same LFO where you modulate this one, and you can modulate
[44:22.560] this out, but it sounds like it's going through an amp on distortion device, but it's actually not,
[44:38.400] it's just a bit noise on top, but you can fake this pretty nicely with this, and then we have
[44:54.800] here some drive, a drive knob, which is basically an overdrive,
[45:01.600] and the specialty of the phase 4 is that you have a clipping stage here with the voice gain,
[45:10.240] so you see it's becoming red here, so you can drive this into the output into a clipper,
[45:15.760] you can see it's pretty much clipped, it's a hard clip,
[45:45.760] so you can produce these kind of bass-jungly sounds with this pretty easily,
[45:59.840] without using any effect at all, you maybe need here in the FX section that need a cue to cut out
[46:05.440] a bit of the mid-range, clean it up, but you can create nice bass sounds with this one here,
[46:13.200] you don't need a wave table at all, most of the times you can create everything with this one here,
[46:18.720] and then we have here something like here, a 4-man, which sounds like voice sounds we can
[46:39.040] do, look at these screaming sounds,
[46:48.000] again instead of what you like in this, we modulate this now,
[47:18.000] we can go as wild as we want,
[48:48.160] so in bit week you can modulate everything with these modulators here in front,
[48:57.760] so you can imagine that when you put some LFOs and some depth mods here on certain modulations,
[49:06.480] you get nice sounds out of just a phase 4, and I use this all the time for bell sounds,
[49:11.600] for some more digital sounds, for some lines, or lead sounds, keys, and also bass sounds,
[49:19.520] of course, super nice, okay that's it, I want to keep it simple, so I don't dive into the grid,
[49:27.840] maybe I do another tutorial just for the grid and how you can use that for sound design,
[49:33.200] making all kinds of different sounds or classic sounds, but for now I want to concentrate on
[49:38.080] these main synthesizers, subjective synth and FM synthesis, because it's basically the most
[49:47.280] used synth ever, and I want to keep it simple, I want to keep it down to the basics,
[49:54.000] so everyone is on the same page basically. Okay, thanks for watching, please if you like,
[50:01.360] if you like the video, leave a comment, if you have some questions, and I'll see you in the next
[50:04.880] video, thanks for watching, and bye.