 Seriously, who needs a hairdryer? Hey, it's ANFA, and you're watching ANFA vlog. Today we'll be making some bass sound, but first we need some drum beats. Let's get it on. Alright, so I left you with this arduous session. In the meantime, I upgraded to arduous 5.8 because I was running arduous 5.6 and there were some issues that were resolved. Hooray! As we as you remember, we have a drum track with master midi drum track for our four individual drums and a sub-mix bus. Where we have... Oh, we haven't equalized it. Oh, yeah, we do. And we have a saturator. Well, what happened? I don't remember. Maybe I did this. Yeah. And we have some midi data here, but it's nowhere to be found. You can't see it. Oh, there it is. Let's listen. Oh, the bad timing. Ah, yes, I tried to record some drum bass beats. Okay, but we'll scratch that and do it again. So, first thing is, if you're following, change the tempo to 170. I want to make some drum bass. Here it is. 170. Apply. Oh, crap. Well, that's not right. You need to double-click on this tempo marker and now type 170. Apply. And now we go. You can press 7 on the alphanumeric keyboard and that will enable the metronome. So you can hear how fast you should be playing. Home to go to the beginning of the session. And I may also walk through some other shortcuts like 6, which enables auto-return. And that means if you start a playbook somewhere and you stop, the playhead will automatically return to the place where you started. And that's very useful for re-recording the same passage over and over when you need to go back and try again. So you just hit 6 on your alphanumeric keyboard or click here and it enables auto-return. I also use frequently a shortcut for follow, playhead follow. It's in transport. Oh, follow, playhead, ctrl-F. And then I have my playhead. If you don't have that, it's going to run away and go ctrl-F. And now you have like the playhead is going to, like everything is going to scroll. But you also need to have the stationary playhead enabled because otherwise the screens will just flip. And that depends on what you like. You see, I personally like the stationary playhead where the playhead is in the middle of the screen. And you can see everything is scrolling by. Anyway, let's record some drum beats. So we have the MIDI input, the keyboard. Yeah. And now I'm just going to try and record a simple drum bass beat. So I'm going to press shift space. Yeah. I'm going to press home. I want to enable the metronome or the click. Oh, you can also modify the level with mouse wheel. Wow, that's cool. Check out this. You can change the loudness of that just by, wow, just by using mouse wheel over there. I want to see, I want to make the default like zero divisibles. Okay, let's record. That's very, very simple. I'm going to just split it with the S key. Select with left mouse, shift right click to delete. I'm using also my mouse wheel left and right. Now I'm scrolling. Zoom in. You can see that I can actually scroll back and forth with the horizontal move of my mouse wheel, which is cool. And that's very useful. I'm going to just maybe shift this somewhere in here so it lines up with the grid. And I'm going to just listen. Oh, that's funky. I'm going to hit S, shift right click to delete that part. What I want to do now is quantize this because it's not very on the beat. So I'm going to select it with the left mouse button, press E for edit. Now I'm going to hit Ctrl A and that might be loud because it will play back all the notes. Now right click on one of them and go quantize. And here it's going to go snap. Note start for main grid. What is our main grid? Our main grid is beats by eight. So a beat is this part. See, from this bright line to this bright line, there's a bar. And we have a meter or four, four, so four quarter notes. So a beat is one quarter note. So this is a single beat and we can fit eight parts in that one beat. And this is our grid, but that's too much. I guess we just can get away with beats by two. That should be fine. Let's go quantize. And here we go. Let's listen. You can see that now all our notes lay exactly on the grid. Yeah. That's a very quick way to have a properly time-synced beat when you can't really play it very well. Okay, let's now go G for the grab mode or the, yeah, select move objects. I'm going to just hold this and snap it here. It's a pull display. Yeah, it plays. But you can see only the, yeah. What I'm going to do, I'm just going to slightly delay the whole thing. So when my beginning snaps to the bar, to the beginning of the bar, the whole thing, these notes won't disappear. I'm also going to snap the ending. Why does it snap like this? Because I have the magnetic grid enabled. It might be a nice moment to cover the grids. So here you have the snapping options. You can have no grid. That means whatever you do is completely freeform. There is no relation to the grid. If you select grid, what you do is always restrained to the grid. You see? Now I have beats by three. Actually, it snaps to a beats. Let's see, beats by four. Oh, that's weird. Why does it snap like that? Bars. Okay, now it snaps to bars. And if I go beat, beats by 12, it should. Yeah, now it snaps to beats by 12. I'm going to go just beats. Now I can, like, snap for the beats. But the most useful thing for me is the magnetic, which is it only snaps the grid when you're close enough to a point of a grid. So it can, it snaps when I'm close, but it can just snap out and place it wherever I want. Or I can go close and it's going to snap and help me perfectly align this with the grid. Also, if you are in the grid mode, you can hit alt key anytime to release yourself from the grid. So now I'm holding alt and the grid doesn't take effect. Now I release it, I'm totally bound to the grid. I hit alt, I'm not bound to the grid anymore. Find your workflow. I usually go with magnetic, and when I need it for some, like, slight alignments, I just go with alt to shift this by two pixels on the screen when it would snap. All right, enough grid. We have a simple beat. Now we can program ourselves some bass. Let's get to the bass, man. All right, I'm going to save the session. By the way, there's a great function of snapshots. You can make a snapshot. I'm going to go snapshot and switch to new version. I'm going to call this just append a new number. And yes, I want to override it because I was like making some rehearsals to prepare this video tutorial. Now, well, because this is drums, I want to make sure that the note mode is for percussive. So now I can just see the onsets and not the whole length of the notes. Also, I want to reduce the range of the visible notes on the keyboard because I don't really need all of that. It doesn't help to see all those, these octaves that I don't use. All right, now I can just left click, press right square bracket to select to place the loop markers around the selection and press L to loop playback. I can press seven to disable the click because we don't need it because we already have this aligned to the grid. Now we can get to the bass synthesis. Let's add ourselves midi track. It's some effects, of course. Actually, I'm not sure which one. Let's try this. It's constantly changing. Oh, we have nothing here. No, we have. Hello, selected. Which one is that? Okay, this is this one. I don't like it because it's a, well, it's a, it's a weird, I think it's wrapped from Carla. Okay, I'm going to remove this plugin and I'm going to insert from my favorites another version of this Synapse FX plugin. And this one, I like better. You can see it has a nice frame. And most importantly, it has all these features available for automation like filter cutoff, filter queue, bandwidth, FM gain stuff. So we can automate some stuff, which is going to be cool. Okay, now I think I need some melody. Let's try and just play it on the keyboard, maybe. It's not my usual workflow, but let's try it. I'll just record it to click because I won't make it into one loop. So I'm going to just, oh, I don't want to record on the drum track, just the bass. I'm going to call this bass, by the way, just so it's ready. And now, okay, I'm going to just take the best part and fix all the errors with editing. I'm just going to listen. This is a bad note. This one is also bad. There was some interesting mistake that I really liked, contributing melodically. Oh yeah, I like this part. Da, da, da, da, da. Oh yeah. So I can take this one. Let's maybe remove this. And also use the beginning of this part. Just going to slice with S key, S, right, shift, right click. I'm just going to swap these. And now, let's try to align this to the beat. I'm going to click, control, hit control, and just drag this over. Just make sure it snaps here. So now we have two of these. Let's just maybe, maybe let's just dial in a very, very simple song wave sound. So we can better hear our bass through the whole thing. Oh, I must have input some random harmonics. Let's do clear. Yes, all right, now it's clear. Now it's smooth. Nothing messed up. And let's just open the Lopez filter. Oh, maybe just close it. Yeah, let's do it like that. Oh, it's way too high. You can hear. I'm going to just make it, shift it down to octave zone already. All right, so it's beginning. It shouldn't start on the first beat. That's not what I intended. It should be one, two, three, four, ba, ba, ba. It should start on like one end. One end. Yeah, it should be like here. So let's shift it and see how it sounds now. All right, and the same with the second one. The first note should be on the one end. So the second eight of the... Actually, I want to change this because it's like... Sounds a bit awkward. Not sure about the key of the whole thing. I like this. It has a nice rhythm. Now, I would like to join these two MIDI regions into one, but I'm going to save my session in case I mess up. Because I'm not sure how to do that, actually. There should be a way to just merge these two regions. No, that's working for audio. Oh, that's not good. Oh, we killed all of them. No, we didn't. Yeah, what did it do? Oh, but wait a second. Our MIDI regions are merged. It works. I don't know how. I don't know why. I don't know what. Okay, not sure what I did. It did the job. I should probably edit now here and show you what I exactly did and when did this happen. All right, now you know. Good. So we have this little baseline. I'm going to hit the right square bracket to loop around it. I'm going to... Sorry for interrupting. I'm going to hit E to edit. I'm going to select all the notes with CTRL A and I want to quantize all that stuff too. But this time I want to have some higher resolution. I'm going to go with Beatsball, divide it by four. Oh, I'm afraid this is going to destroy some... Yeah. No, that sounds bad. I'm going to CTRL Z this. I'm going to manually correct the borders. I don't want them to quantize. It's going to sound bad. Hitting Alt to release myself from the grid. Let's listen. I'm going to disable the metronome. I probably... I got used to it so much that I ceased to hear it. But you probably still hear it and it's like, ah, turn off the metronome, dude. It's annoying. Well, you got to get to love metronome. It saves life. My tea is getting cold. I'm actually using synthetic citric acid or something. White powder, easier to store than real lemon and tastes just like lemon in your tea. Oh, we have some stuck notes bad. I don't like this. It's a little bit too early. And this is also too early. Yeah, I don't want to... I like the flow of this. Let's save the session. Cali, now let's just have some fun with the sound design. Make sure it's always about the others. No, actually, I don't want that. I'm just playing around with the filter. I've added some punch to emphasize the note's first part, the transient. So it has more click. And now I'm going to try and maybe make something more interesting than just a saw wave. So I'm going to first just maybe enable it, make it all the way down, re-quiet, enable the second voice. Well, that could be our sub-bass band. But no, let's make it quiet too. Let's go to third voice and that's going to be my main carrier. Let's make this a triangle wave, maybe. Or something like a slightly decapitated triangle wave. Maybe add some quantization distortion. How about we bypass the filter? Oh, that's not very good because... Okay, these harmonics, like, okay, they make our sound... Oh, I like this. Let's see what it can do with modulation. I like this. Now I switch to the external modulation, which is voice 2. I'm going to make the whole thing louder. You can hear that we have very little low end right now. Actually, you might want to see the spectrum as we go. But... Okay, let's pause this. Now we're going to see all of our spectrum, including the drums. And that's going to obscure the view because you want to listen just to the bass. So I'm going to disconnect the main output from the botline input. This program here, that serves as our spectrum viewer. And I'm going to just enable root T output. Other, oh yeah, here. Now, there you go. Let's press L. And you can see we hear the drums and the bass, but we see only the bass here, which is cool. That gives us a clearer view of what we're synthesizing. I'm making a pitch ramp for the modulating voice. Actually, it gives some... You can see that the changing the phase of the relative waveform is already enough to change the sound. I want to make this waveform a little bit more interesting. Maybe let's use clip. Clip actually reflects the waveform on the other side. So you can see that what goes down here actually gets reflected here. What goes up there through the line of the ceiling gets reflected from the floor. And this, of course, affects the amount of pre-gain. This can get some really harsh distortion. This is what you get when you get really, really low. How about we go up with the power? Note that the velocity sensing is enabled and we have different note volume, note velocity. So this affects the sound. Now it doesn't. You can see right most of the sable. Now we have to... Now this can give us some nice expression of the playing. I can also make this a ramp. The cool thing about using external modulator is that you can use also LFO, but you have to make sure that the delay isn't contracting because by default it's on. It looks like there's too much modulation overall. How about we disable it and listen? Okay, so that is what we would get without modulation. I think that the velocity sensing is a bit too much. But the overall amount of modulation now goes up so I need to compensate. I like this sound. It needs some sub-bass because this one is like... We can even hype as this. I'm going to reduce the quality so the filter is less steep. But I want to increase the stages to actually make it more steep. But without the resonance, you know, without the peak on the edge. And you can see right here. And now I just want to enable a nice little sine wave to reinforce the low end. But I'm going to enable a Lopez filter on that. Let me disable the third voice so we can hear just the sub. Because you can hear that the sub-bass... Maybe it's going to be easier if I solo the bass. You can see even on the spectrum that it generates bad clicks. And I really don't like this. So I'm going to have the Lopez filter here. I want to make sure that it tracks the frequency. I'm also going to... Oh, we have forced release. Okay. That was causing the clicks. Now even if the release is very short, it's not as short. Okay. I want to make the cue little so the filter is wide. I want to show you what I want to do. So I'm going to use a saw wave just for demonstration. For some reason there is a random harmonic somewhere added in this version. I'm not sure why. Just take a look at the spectrum. Now we have all of it. Now we're using the... Let's bypass the global filter. We don't need that. Now as I increase the cue... You can see we have a peak. We don't want that. So I want this to be as steep as possible. So I'm going to increase the stages. I want to do this to protect the sound from generating clicks. If I change this to sine wave. Funny, because it still looks quite... Well, you know what's happening? The other voices are also like feeding sound here. And the way to counteract this... You can see that because if I disable this voice. You can see we have something here. Why? Because in this version zero is in zero and this is making sounds. You see? Not only this. This is also making sounds. They are both making sounds. Zero is in zero. But we have to have them enabled in order to use them for modulation. So what you can do is... First, go to the master window. I'm using alt tab. Reduce the master level. And then use the filter gain. To make this much louder. And now we can't really see these. Not that we can hear them anymore. We can bump this up too. The cool thing is that we can also use a band pass filter. On the modulating voices. That can give us some pretty cool motion. Let's make it a constant. A little bit random. How about doing some... End of loop. No. I actually want to also... Make a very, very short attack. I want to open this to demonstrate to you. I don't want this blip at the beginning. Now it's making very loud noises. I don't want that. Making the modulation strength much like ramp up from zero. For some time when the note starts. Let's hear this with the drums. It's way too loud. My mic is feeding back. I'm trying to start this one. I really like starting stuff hard. We're not using any stereo, but we could. I can't really insert any more effects here. Because it's the first slot and I wanted to add some stereo nests. But I could insert some effects. Let's try looking for this. I could insert some effects here. This is the parts insert effects. Well this easy can destroy the whole bass sound. I hope we make just a very, very short reverb. And make just a little clue of it. It's gonna give some life to our sound. I especially like how the distortion that's kicking in afterwards because like the first this sound is mixed from the three parts. Sorry the three synthesis engines. Then they go for the effects in the part slots. Three of them in order. Then that gets here. We could also use our bender for some cool effects like vibrato. So maybe... Let's try automating that. I'm just gonna close it. Okay, so let's close this for now. This audio track isn't needed. Let's get A for Automation Bender Channel 1. I want some vibrato. I like this note. It actually... That's the vibrato on its own because of the... Well, the modulation somehow. I'm gonna go... How do I want this? I would like to... It's not like any other automation track where you can just record it. 8, 1, 92 is the middle. With Shift... Do I have more precision? No. With Alt... With Ctrl... Okay, 8, 1, something. It's gonna be good enough. Shift, right-click on this. Zoom in with middle mouse. Mouse wheel. I'm gonna try and just draw some... I want to end on 8, 1, something. Yeah. Will this have any effect? Here it has. Okay, it's not the note I wanted. 8, 1, something please. Oh yeah, this is what I wanted. Let's make a down... 8, 1, something. Oh, it doesn't actually sound that much bent. Let's make the modulation wheel have more effect because this is here the range of the pitch band control. And it's 200 cents, so it's two semitones. I want to make this one octave. So it's one octave up and one octave down. Let's try it now. Let's maybe let the first pitch settle for a moment and then fall. Okay, now our vibrato is probably bad. Yeah, that's a little bit too much. It's very aggressive. It's here now. I also like to make a little movement from down here to the note pitch. And I want to move two points at once. Yes, this extra note is so good. Maybe the next one. Oh, I inserted some notes for crash. Shift, right click. Yes, nice. I like it. Alright, that would be it for today because this video is already quite long. Editing will be not very easy. Let's just listen one more time. I'm going to upload the whole session file as well as the Zenitsu FX patch. By the way, someone asked, how do you use these files? Well, come on. Here in the File menu you have two options. Save all parameters, which is going to create an XMZ file. That's master settings. And you can load such a file with open parameters. And I'm usually saving my patches as XMZ files because that's master settings. For comparison, there is instrument files only. You can save instrument as XIZ or instrument. And that will only save things related to a single part. So then you can load different parts. You can go to part number three, go instrument, open instrument, load some instrument here, then go to part number one, load something else, etc. Compile your instrument set. But I like to save the master settings and that saves all the instruments, all the effects settings, everything. Now there's some little pitch badness here. We have, yeah, this is better. Okay. I wish it could snap to zero something. Okay. Thanks for watching. I hope you've learned something. If you have any questions or suggestions what I should do next, leave them in the comments. And I will see you in the next video. Bye. Just one more thing I have to do. One more thing. Shift D, sorry, Shift D to duplicate, tapping in number. Now, oh, I have drums track above master track. Control up arrow, please, please. Move this down. Oh, come on. What's happening? All right, never mind. That's nothing. It's nothing. Now I won't like a new track, mister. I have to have some dialogue open. Where is it? Oh, yeah, here it is. Come on, do it. Yeah. Now I just need to disable Carla because it's gonna make everything very difficult to manage. Let's just connect this. Now you can hear me through our door. What is this? I hate you.