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.
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[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 bitwix 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.