 Hi, I'm Anfa from AnfaMusic.com. In the last episode of LZW we made a kick drum and today we're gonna be making snare drum. Yup. So this is the next episode of LZW Serious focusing on making one sound per episode. So well, let's just kick it off. So we'll just minimize this facey face, we don't need it so big, yeah, tiny like that we'll make, we'll do. I could actually take off my mask so you can hear me better. I'm in the middle of a makeover, not a makeover, they call it renovation, renovation, yeah. Okay, so I'm ready, just hide this guy, oh no, alright, so in the last episode we made a kick drum that sounded like this. As you can see it's not perfectly balanced in pan, but we're going to be taking care of that later. For now I'm going to just mute this track, you know what I don't like? This mic that is jumping around and making noises I don't like. So I'll just pack it somehow. Now maybe here, pick up the hard drive. How about this? Yeah, this will make. Okay, so I'm dragging another instance of the NetsubFX, shedding this pane, I'm going to right click here, press copy, right click clear, press paste and I have exactly the same pattern with the name copied. When the name of the pattern is the same as the name of the track, it's not displayed. So here when I press right click change name, you can see I have kick and it's the default, you know, it's the name of the pattern and name of the track. If they match, the name of the pattern is not displayed, if they don't match it is displayed. I'm going to press reset name so it's now going to be NetsubFX, let's make it snare because this will be snare 2. Also I'm going to route it to channel number 2 in the FX mixer, name it snare. And now when I press, okay, so we look to strain, snare, never heard of a certain rain sound. You can see the green meter is displaying, we're having signal on the channel, we want it. Okay, so I'm going to open FX interface, open edit instrument, we're going to make this using AdSynth just like we did with the kick drum, it's going to be a bit similar, a bit alike, very much alike. So I'm going to press play, switch to the AdSynth main window. And first thing I'm going to do is play with the amplitude envelope. I'm going to open this window so we can see what we do. And I'm first changing the sustain value to zero. And also I'm going to enter to free mode so I can remove the sustain point, moving it left to zero, now it's disabled. If you don't know why I do this, watch the first episode, the previous one about the kick drum. I explained this there, I have explained it. Okay, let's open the voice, we have a nice sine wave. However people frequently use a triangle wave, as you can see we can use more of this triangle wave from a square wave to triangle wave. I could square it a little bit to make it more interesting. No, sorry, excuse me. Okay, now I'm going to shut down, maybe not. I wanted to filter this wave a little bit with a lopus filter so we can have less harmonics, less bright tone, because it sounds very synthetic, not very realistic. But we have a filter section here, so we can lopus filter or lopus too. They work kind of different, maybe I'll use the first one. It works much more smooth. Yeah, it's not a sine wave now, but it's not a triangle wave either. Okay, so what I'm going to do is now play with the frequency envelope, just like we did with kick drum. I'm going to edit it, I mean open the edit window. The first thing of course is to reduce the release, release? No, I didn't know what I'm doing. Let's do it in free mode. Sustain to zero, which disables it. Now the envelope has to have at least three points. You see, right here it's very short, so short that it's not even affecting the sound. Something like this. Now we can coarsely pitch it up or down. Actually, we could, something like this. As you can see, lopus filters in general, in this case by default are lopus filter type 2, which is resonant, and they are not entirely opened, they are closing somewhere. So when you're doing a patch, you're making some very bright sounds, but it doesn't sound very bright. Let's go back here and turn this knob up, because it's actually making your sound different. Okay, we have the very base of the snare. Now let's add the most important thing, which is noise. What I do is I take this white noise, enable filter, I change it to bypass filter, then I move the band up and down until I find something that I like, then I widen the frequency band a little bit, dampen the sound, and add its own envelope, so it's going to be shorter. I can do this again with another noise, most of the times I leave it just one, but we can do two and see what we can do. The higher the cue, the narrower the band, as you can see, or here rather, we can make it almost pure tone. If we even increase the stages, ouch, that hurts, no, I think it will do, no I won't use the fourth one. So one thing we can do to make this sound snap here is to add a punch, and what punch does, it increases the loudness of the sound for a very short period right at the beginning of the note, so it's an additional transient. So we have few parameters, we have punch strength, so how much the punch will be louder, I'm going to make this snare a little bit slower playing, as you can hear, we are reaching distortion. Punch time, how long is the period that is made louder, if you turn it down too much, you won't hear any effect, if you overdo it, it's turning to some rather punch stretch. This is how the punch length changes in relation to pitch, and punch velocity sensing is how the punch strength changes with note velocity, because this is more of a sensitivity and this is less. So we want it somewhat here, and this punch is too strong, no punch with punch, okay this is cool. So another thing I can do to make this sound wider is add a subsinf layer, first let's play with the envelope, make it louder so we can hear what we're doing, remove the sustain, now increase the frequency, now remove stretch and increase the bandwidth, we can even lower the filter stages, these are the filters here, so we have even wider signal, I'm going to change start to max, so we have a clicky start, which is not audible because of the other layer, but it will be consistent, more consistent. And finally let's make a filter, band pass filter, maybe this one should be louder, I mean longer, this is nice, okay. Now I'm going to add a reverb to part one, make it all wet, so we can hear exactly what the reverb is, turn down the initial delay, turn down the time, and I will try to make it less metallic, maybe dampening it a bit, hi-pass filter, low-pass filter, room size, it's just a tiny bit of it, without, with, without, okay. Now I want to distort this in stereo, maybe turn down the dam, the level, output level, use a hi-pass filter, what can we do with this, this is too long, maybe different type, oh, this is interesting, it sounds like amplitude modulation, let's now have a equalizer, use a hi-pass filter first, change it to low-pass, so we can hear just the bottom end, there is something, it's very subtle, we don't even need to cut it out, I think, we could change this to band-pass, I mean peak filter, we can remove this manually, snare shouldn't have this, but should have something higher, this, I like this frequency, it makes it sound more powerful, more supported, here we have 500 hertz, what if we remove this, this is radical, but interesting, we could do it, now maybe something with a higher frequency band, something hurts here, I'm going to attenuate this frequency band, this one hurts too, a little bit of sand here, yeah, now we could just add a little bit of reverb, very subtle, without, and with, yeah, now let's maybe change the pattern a bit, so we can hear how does it work with our kick drum, pretty nice, I think the kick drum has too much reverb, but it's not about the kick drums, about the snare drum, what we could do to make this snare better, because, well, you always can make it sound better, you just sometimes run out of ideas, so maybe it's not very practical, but I'll show you how do I work with snare, if I want to make it better, sometimes it's good to layer a few sounds, so I'm going to go for another part, change its listening channel, MIDI channel to one, because otherwise it won't play, and I'm going to do something similar, and again we have a sine wave, we can hear our two parts playing, I'm going to mute the first part, so we can hear just the second one, and first of course amplitude, make it louder, remove the sustain, shorten the release, increase the attic value, so it started with a higher frequency, you could go for something more extreme, less natural this time, and see what it does, add some punch, release the high frequencies, add another oscillator, and this time I'm going to simulate the springs of the snare with a complicated oscillator, let's use maybe this, and just mess around with it, change the phases a bit, then distort it, then make some other modifications, and pitch it down, now if we do frequency modulation, we have something that sounds much like noise, but it's not exactly noise, and if we turn down the modulation power, it sounds more like we can just do the same thing, make some asymmetric weirdos later, this will do, we turn it down, okay now I will filter this with a hypers filter, shorten it, and add a unison with four voices, maximum stereo width, this one could have just, no it's not a good idea, the sound is bouncing around and we have unequal energy levels here and there, once it's left, once it's in the right, it's not wider, it's just harder to maintain, but you could do another thing, never sign a wave, this one, change it to a triangle wave, and use a unison, which is make half of these inverted, turn down the vibrato, maybe turn down to the detuning, add a filter, hypers filter, or bad band pass filter, twice, and add another envelope, shorten the sound, that was a rather subtle thing now, okay now let's go for the effects, and here use part two, add some distortion, now we should pitch it down, we can do this right here, in stereo full width, add some reverb, make it more subtle, add some equalization, hypers filter, peak filter, I'm going to sweep for the frequencies to see, here's something that could be potentially painful, this band here, let's turn it down a bit, okay so now we have actually two snare sounds, we have one more slot for effects and we can do this, we can use it for mixing the sounds, now we have both of them, the first one is a little bit too low, together they sound better, what can I do, let's listen again, how does this play with kicker, let's make some subtle changes just to have it more interesting, as you can see the quieter notes sound very different from what we have on the louder notes, this is because the filters here have velocity sensing um, so we need to turn this knob down, v sends a, this is functions, this is how it's made, and this is how much it's made, so for quieter notes the filter turns down, so when we have low pass it does kind of this, when we play a quieter note, and we don't want this, we want it all very sharp and bright, this is disabled for the filters in the voices, so we don't have to care about this, substantive has this too, velocity sensing amount all the way down, now for the second voice again, v sends a all the way down, now it should sound different, yeah you can hear that the quiet notes are much more loud now, they're much more consistent with uh, okay this is some beginning of the track, I could now just take a look at the spectrogram I have on the master channel, so our snare has most energy in this 160, 70 band, and about three kilohertz, three, three and a half, so we have here are the springs, here is the drum, it's nice, and our kick, our kick is somewhere below the one hundred, it's about 100, 120 maybe, together the snare is nicely present here and above the kick drum, but so they are on their places, the snare drum generally shouldn't play lower than the kick drum, it wouldn't be unnatural, because the kick drum is a bigger drum, and if I just launch my paint because I like it, I can draw you some pictures, hey would you want to see some pictures, I can draw your picture, so we have a kick drum, which is nice and big, oh my, this doesn't look very, and you know there has the pedal, pedal to the metal, somewhere like this, it's huge, and the snare drum is a little bit smaller, so sometimes it's very, not too high, not too deep, so actually it's the radius that plays the most, it's R, and here is our R of the kick drum, so let's make it R, K, R, S, and R, K is bigger than R, S, so the frequency, overall frequency of the kick drum is, no, it's completely opposite, the higher the radius, the lower the frequency, frequency of the snare, see it, this is why a hi-hat plays higher sounds than a crash or some or ride symbol, etc, and that you know, every, it's a, it's a overall low in the nature, bigger objects resonate at lower frequencies, because lower frequencies have bigger wavelengths, and bigger wavelengths resonate in bigger objects, better. Okay, this is all for today, thanks for watching and keep your YouTube account tuned, because next week I'm gonna be doing this hi-hat, see you then, anything can just, if I can just, if I can just play this one more time, yeah, bye!