 Welcome to LMA Madsense and It's a Befects Watch and Learn. My name is Anfa and I'm not going to talk like that for the whole episode. Okay so stop the music. Ha! Long time no see, huh? Sorry for the over compressed vocals, I'm just filling around with stuff if you can take a look, just watch. I'm compressing, de-essing, gaiting and equalizing all that little pfft, thanks to all sorts of cute... Alright! No stupid talk. We're gonna do what they call it, I got a note right there, yeah, chimes. This is it, chimes. We're gonna do chimes. You know these little ding-a-dingies that you've hit your finger on, well it's not exactly what we're gonna do exactly, but something like that. And Zenitsu FX has some fantastic tools for doing this stuff that's unique for any synthesizer I know. I haven't found any other commercial or free synthesizer that is capable of doing this stuff. So, check it out. Alright, the last time we saw we had this, maybe without these two, oh wait I gotta re-route my audio so they simply side-chain, wait, wait, wait, it's like... Alright, I gotta sit up. Back to work! Now, when I talk the music will automatically get quieter, thanks to the awesome SC3 compressor, which is side-chain, so you have free input side-chain, which is controlling the loudness change, left and right input, so it's a stereo signal. The thing that the sound is pushed from LMS is pushed through here to my voice, there's free or sequalized, congregated, DS compressed, it's put to the side-chain input, and then this is pumped to the system output, which is recorded by simple string recorder, and you get this cool radio-like effect, isn't that cool? Shut up already! Okay, we're going chimes. So as usual, let's get another chimey chimes, I mean, isn't it some effects? I will not draw you a picture this time because I don't have my paint installed, I'm on a quite new Linux installation, it's KX Studio 14.04 version FG, yeah, okay, so we're assigned the chimes to channel 12, the signal is so quiet we can't see anything yet, but before we do anything, we need some notes. And for this, I'm going to create an entirely new beat path baseline pattern, and make it double the time, oh, I think I made triple, no, double, okay, it's double. So first thing is we need to input some notes, because, yeah, like, actually the length of them is not important, because we can do them anything, however, I will put the notes in using ALT, like holding key ALT, so I'm not limited by the grid, I'll do something like that, and maybe with SHIFT and ALT, I will shorten the whole sequence a bit. You can use this technique to make a breaking glass sound and stuff, I'm going to probably be doing that too. Okay, so the thing is, chimes are tones, so it's like hitting a triangle, but they are not tuned to any musical pitch, or rather, they are covering a scale of halftone or, you mean, semitone or halftone, so it's not a musical scale, it's sub-musical scale. And the pitch differences are too small to be recognized as a pitch on their own, like a note. I will make it shorter, this one more. Okay, this sounds terrible right now, but we're going to do some things, I will change that. First thing, I'm changing the envelope to a percussive one, we could make this, I'll let it go like this, however, we're going to do this very differently. Because we're not going to model the sound using an oscillator, we're going to model the sound using a filter. So what I want now is just an impulse, kind of like this, even shorter, I hit this because it forced release. Forced release means that when the note ends, the note of message comes, the release is going to be forced, no matter where the value is, so I'm turning this off so the length of the note doesn't have any effect on the sound. It wouldn't whatsoever, but well, now what we have is we have a bunch of notes. And now we're going to use a peak filter, that's going to be some very harsh, I'm going to make it very narrow, actually it can be very, it can be very much overlaid, like too much stages, because it's not going to resonance, right. Now we can make that the frequency of the note is affecting the frequency of the filter. If we turn the panning all the way left, we get random panning, which is very nice for this kind of effect. However, I don't like that we have this low pitched click there still. However, I feel we can get rid of it with a filter, not entirely, okay, so that's one, one way to do this, I don't like the sound of this one, it's very clicky and harsh and not natural at all. So I'm going to dump this one, grab another one and that's the perfect, like this chimes too. Copy the notes, mute this instrument, mute the clip as well, so when we unmute it we still don't hear it. And assign it to channel 12 as well. Okay, now the second take, we're going to do it differently, actually using the oscillator. Well, first what we need is pitch it up, it sounds almost like a breaking glass. I'm reaching the, I'm changing the filter to high pass, and pushing it all the way down so it doesn't actually do anything to the sound. Now this sounds better, cleaner, no so much click. So I'm going to reduce the click with, and we can freely adjust the envelope, it's a little bit better than what we have with filters, just filters, it's a random panning. And last but not least, since the BFX has a very fine feature which changes the tuning of the notes, relative, so we can actually scale, the musical scale, so we can make like five octaves be like five semitones. How the frequency varies according to the keyboard, leftmost for fixed frequency, yeah, this is no variation. I think 64 is exactly the normal behavior, we can also increase the range however that's not the case because the chimes sound in a small range, not that big one. So I would, I guess a little longer, also they frequently start from the highest to the lowest so we should invert this, try to do this with shift almost, yeah, sign kind of like that, not necessarily, shift and alt, nope, ain't working, gotta do it the other way, the hard way. Remember to shift to hold alt and now we're just painting with notes, you can hear that the lower notes have longer envelopes, they're also quite loud and have a lot of attack, I mean a lot of, I also frequently add a few layers, look that we're running out of octaves so I'm going to ctrl a everything select, select everything and then press ctrl down to shift it one octave down, ctrl down again and now we have more room, some random quiet notes just bouncing around on and on, this one could bounce, there one could bounce, the short ones should bounce more frequently, we can also affect the overall loudness over time so the whole system is losing energy, trying to simulate that and the lower, like the lower should already start quieter because the higher ones were first stroke and had more energy, kind of this, what I don't like is that the envelope is stretching very much so I'm going to change the envelope stretch, on lower notes make the envelopes longer, I'm going to change this so it's only very slightly tiny and made it longer, another thing, the attack, yeah, that's more like it and finally we need some reverb, let's listen to it all wet, shorten the time, let go some high frequencies, so I'm changing this low pass filter too, filtering out the lows of a high pass filter, that's a little bit long, no I should filter out the highest, yeah, kind of this, it's quiet, you should pump it up, you can also use some echo, which is delay, to make this effect last a little longer, like we have these bouncing around each other for some time, damping will make the latter more, having less high frequency contents, so the highs are dying out sooner and the low frequencies are resonating longer, and finally let's use some globally cue, see how low does it go, it's pretty high, it's all somewhere below, above 100 kilohertz, this is the wide line, 100 kilohertz, 100 hertz, 10, I mean 1000 hertz, 1 kilohertz, 100 hertz, 10 kilohertz, yeah, gonna use a little peak filter, oh this is a very prominent spot, I'm gonna dump in this a little bit, I mean attenuate it and sweep the frequency range to find some hot spots, okay, I think I can boost the highs generally, oh not too much, can you hear it, yeah, it would get the ugly clicks, not pleasant sounds, all righty, I'd say that's our chimes, so we can have our beat which we'll play for long, and then out of nowhere, yeah, that's totally, totally it, okay, by the way the whole track is very loud, I like for now, so I'm gonna use a fast look-ahead limiter which will prevent any clipping and I will make it by for this both quieter, better, yeah, that's it, thanks for watching, thanks for watching, and if you would like to see more like this you can subscribe to my YouTube channel, if you want to know some particular types of FX sounds you'd like to know how to do you can ask me a question, I have a list, maybe I managed to like make all of them in a few years, maybe not, okay, bye