 Hi, and welcome to LZW, which stands for Linux Multimedia Studio and XenotsubFX Watch and Learn. My name is Anfa and I'm going to share my knowledge and passion about creating electronic music in the show. Yeah, now let me explain the title. LMMS, which is Linux Multimedia Studio, is a free and open-source electronic music creation program in which you can create sounds with synthesizers or samplers, arrange them in songs, apply effects, mix them together and export to one or multiple files for further mixing or just mastering. Now XenotsubFX is the best synthesizer I've ever seen, including the commercial ones, which sometimes are very kick-ass, but this one is the most kick-ass synth you'll ever, ever see. XenotsubFX, yeah. And I'm going to dive into this synth and into this program just by showing you how do I make electronic music with these tools. I want to share my passion with you so you will be able to create your own tracks. If you're watching this, I guess that you have passion for music already and you have some knowledge, you have some hearing, you have some melodies bouncing around or your rhythms. Yeah, I want to help you. Follow me. Oh, and one more thing. If you don't have LMMS already, go to LMMS.SF, like sciencefiction.net, and you'll find there the download page and, you know, just click, click. Yeah. All right, let's begin the first LZW session. I'll start up just by throwing out the stuff I don't need, which is pretty much everything except the empty beat-plus-baseline pattern. I'm going to drop, for instance, XenotsubFX out here and for instance, XenotsubFX out there. These are going to be the percussive instruments and these are going to be the melodic instruments. Now, I've got a gospel drum and bass song bouncing around my head idea for some years, several years, and it sounds like, Lift my spirit to your life, oh Father Lift my spirit to your light, oh Lift my spirit to your light, oh Father Lift my spirit to your life Something like this. I will try to, you know, make the instrumental part of this now in this session. Okay, so let's just start out with naming, right-click, snare, the rhythmic instruments. I had big capital letter, please, and this will be rim. This will be the, so it's like this. So, yeah, let's kick it out, kick it out, start it up, just by, you know, opening the kick instrument, playing the simple pattern, and assigning first, assigning the mixle-channels, yeah. Snare, channel number two, I have channel number three, rim channel number four, and so on. I'm going to name the mixle-channels, double-click, kick, snare, hi, hat, rim. Now, I'm going to start out with these later, and now for the kick, hey, advanced. Okay, so I'm going to just quickly make each snare kick drum. Let's see the waveform. We got oscilloscope kind of stuff. Let's add some liter, a little reverb to this, some distortion. Next, citer, maybe some EQ, you know, to boost some frequencies. No, I don't like this distortion, maybe like this. But I think it's too long. It should be shorter sound, because in the fast beats, and maybe less reverb. Okay, now just turn it down a little bit, so it won't get red. Here's a kick. Now, let's copy this, right-click, paste, mute as a, or not mute, just solo the snare drum, and do the very similar thing, but not this knob, the other one. I will just do high-pass filter instead of low-pass filter to make this one not go to so much bassy frequencies. Add a noise generator. It sounds pretty nice already. We could just, yeah. Now, we could just add some little reverb and some little distortion. We'll gently mix with this original sound, let's turn it down a bit. I think the bandwidth is not so good, because to random, actually we just don't need too much of this. Now, hi-hat, hi-hat, hi-hat is going to be made, not with add-synth, but with sub-synth, which is subtracting sounds, filtering them out from white noise. Sorry about that. Got some random noise. Zero, which means that the first sample is none, is zero, so we don't have a click. You hear the click now? You don't hear it now. Okay, now stretch will go down to zero, because strikes. Hello, are we recording? Still? You're with me? Here you too? Okay, working fine. Looks like we have some for it to finish before we go on. Okay, everything's all right. Yeah, so I'm going just to move this higher. Add some higher, higher, much higher frequencies. Cob this sound a little bit with the noise, and make the envelope have no sustain. Because when it has sustain, it sustains at a little tiny bit of non-zero value, which leaves us with static piece of noise we don't want. Now for the rim. Rim has to be counter sound for the snare, for the hi-hat. I'll just make some... I'm going to sneeze, man. Oh, this is hard. How about this? You like this? Me too. Great. Now, let's kick the tempo up to 180, which is fast. Now, clear all notes, clear all notes, clear all notes, clear all notes. And reset the name, reset the name, reset the name. Okay, I'm going to make the first drum pattern, which is going to be something like... So it's kick. No, first it's snare here and snare here. Kick here, kick here. Maybe inverse this. No. Funny. Maybe do it that way. It's funny. Yeah, almost. Now I'm transposing all the notes played with this instrument, the bass note. When I set the bass note lower, the real notes get higher, you know, relatively. Default is A4. C, D, E, F, G, A. Maybe we should make the rim and the hi-hat more quiet. Yeah. Now let's just hide the piano roll, sub this, duplicate, duplicate. Now just let's make four of these. Leave the last one empty because we're going to use another break, which will be longer. And maybe just track this here. Call this O1A. Call this one O2B, or no, O1B. Yeah. Actually I could call it 1A1B. We're not going to have more than two of these. Yeah, just use to this. Yeah, pretty nice. Feels it like it, yeah? Okay, now let's duplicate this. I'm removing the patterns, the blocks with middle click, adding them with left click. Now I'm going to add here another extra, extra, you know, let's just, oh, maybe we'll replace this. Make another version with even more kicks. And the final one, this would be O2A, O2B, O3, O2, O2C. Yeah. How will it sound? Control, middle click, demute. Try it like this. So we will have, we should have here, now, piano roll, hide piano roll. So it looks like A is more full of stuff than B. Maybe we should, it sounds like it, doesn't it? All right. Now there will be a break. Now I'll just use this very same beat, but we'll add a, you know, it will be a bass drop. So I just, let's make it for now this simple. Maybe change the pattern for here and there. Every now and then. Every now and then make it like this. Da-da-da-da-da-da. Yeah, so now I'm going to add the melodic instrument. First, let's call it bass and make it channel number five. Channel number five. Hmm, hmm, hmm, hmm, hmm, hmm, hmm, hmm. Yeah. And this one will play. Da-da-da-da-da. So this is H or B minor, B flat. Da-da-da-da. Three times. Da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da. I got a, you know, for arranging this for a gospel choir, I think, like it's dum, we love you, dum, we need you, dum, we praise you all day long, all day long. Cool pattern. Doesn't it sound lazy? It does. Yes, it's delete. Control A, Control C. I need to, you know, the... Oh, this one is too much. Da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da. Maybe like this. Da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da. It lacks some, you know, fluently, fluency. oh yeah this is it okay now I will select the longer notes make them a little longer so we will have portamento with this i'm going to show you now let's set the loop markers open the bass instrument play this make this mono portamento limit it's a bit too lazy now let's make a sounds like a case bass case guitar no no case guitar bass guitar square wave is beautiful i'm detuning them let's make this very velocity sensitive see something made that since this note sounds like it like this should strange now how about filtering this and and velocity sensing tell the turn it off here turn it off too and here turn it off too and here too and here too and here so now velocity should only change should only change volume it doesn't fucking work like that oh it says right most to disable so I did just the opposite way I want it just the opposite thing I want it yeah so I have to do just the same thing just the opposite way and the final voice which is the sub sign I think this is a little bit too loud yeah maybe let's just make this pattern does it sound like drone bass oh I think well you know depends uh yeah it does all right so what should I do next what should I do next huh maybe maybe maybe add a sub bass or not actually it works as a sub bass too so maybe I don't know what let's just play around yeah like this brilliant easy quick how would I call this key it goes for channel six well and you know I have an idea for this instrument already I like it but I'm going to make it subsinfish with zero oh my max oh yeah and now for some reverb and maybe some chorus or a flanger it's funny because there's not much harmonics of flange but I'm just control plus drag I'm just duplicating duplicating the patterns uh to fill the space just randomly clicking you know it's starting deleting inserting deleting to the rhythm okay maybe I will add some noise sweep or a raise or raise rise raise that will just go I wanted to track the note to make it longer you know just play this in loop make this one go to channel seven use subsynth also maybe in mono maybe it should go a little bit higher now let's add something phaser look at this I think it should start earlier in the initial area oh let's try it going so long okay hmm funny now are we recording still everything fine nothing broke I'm amazed dude you have no idea how many times I'm making this just for the sake that I don't have breaks and I just you know I don't seem to be to be capable of making this this whole process flawless let's make the something here maybe another bass instrument yeah it will be a frequency modulation bass which will sound more like a bass guitar and we'll use it here now we need some notes for it first 1 2 3 4 lift my spirit to your love oh yes we need some change here lift my spirit to your love oh yeah so we'll duplicate or duplicate I never know these two let's make it this diagram yeah oh this work yeah this work and the third one not finished yeah now let's uh once we have this melody we can just work on the sound of it maybe let's make it a little bit more square wave this one will have to be loud because it's very low of course we love distortion let's make it how about making this da da da you see harmony into your light to your da and then we go now I hear this bass sounds poor how about you need some support how about duplicating this I hear some distortion I'm going to use a fast look head limiter and drop the gain a little bit because if the basses are yeah maybe just loop it forever okay I think that will be it for this episode of LZW just keep it going the key is for the first part they has to be the bonus you gotta wait for them and I also shorten the second coming make it be like oh this is bass sorry a key serve here okay that's all for today thanks for watching I hope this was useful and that you've learned something feel free to comment ask questions or request some music genre or style suggestions are welcome so see you next time where's the button where's the button oh yeah this is it go to lmms.sf.org sorry one more time oh one more thing if you don't have lmms already go to s one more time oh one more thing