 Hey, it's Anfa and you're watching Anfa vlog today. I want to play around with a synthesizer I recently found out about it's called obxd. I know a little bit about it I tried using it just a little bit and I just want to jump in dive in try to learn it as much as I can and Make a simple track with it By the end of this video, we'll have something that sounds like this Yep Okay, so here is my outdoor session. I have botline open so we can have Spectral view and I'm gonna select obxd from the drop-down menu and call this obxd for some reason It's called it's named with lowercase letters. I just want to drop eight instances so I'm never gonna be short on obxd's and Let's tap some tempo maybe 85 I'm gonna type 85 because I like round numbers and Now I'm gonna just zoom in I want to start with making a kick drum Because that's you know, it's a simple thing. Yeah, that's that is one bar So I'm just gonna make this bigger and you can see obxd making sounds I'm gonna Hit G for grab right square bracket to set the loop markers around this region and then hit L All right, this is a little bit fast for a kick You know, I'm gonna hit T for time stretch. This is that too and I'm gonna just Hit it and just try to hit it as close to this bar as possible. So now we should have a four on the floor I'm gonna move this. Okay. I'm gonna select this region right square bracket and I'm gonna enable I'm gonna I enable the metronome to to verify that it hits on the onsets, okay Let's call this one kick and let's just jump right into it. All right. So this is obxd I Think I'm gonna maybe root myself Me the keyboard also so I can hit some keys All right, this is this. This is this the note. I'm hitting Please show me again this interface So here we have the main window and And Just make sure it doesn't disappear I'm gonna just play this note and we'll try to sculpt a kick drum with the synth So the first thing you see by the way, this is a Kind of a software emulation of a real hardware synthesizer called obx by Oberheim It is a little bit different, but mostly it's trying to emulate it sound and feel and look I never worked with the hardware one So I don't care But I played around and it makes some interesting sounds We have two oscillators and noise generator. Here's them are an internal mixer. I'm gonna disable everything but one oscillator. Oh That sounds like a triangle wave That might be good for a kick drum But you will see that we have no way the only envelope we have Is the amplitude envelope and the filter envelope? So we have no means of creating a pitch envelope in the synth So how do you make a kick drum? You need a sine wave that is going from high build pitch to low pitch And the answer is we're gonna use the filter So I'm gonna actually disable the oscillator. I'm gonna enable noise Or maybe even disable that and let's see if we can make the filter to self-oscillate Because that's a feature that some filters have No, it doesn't oscillate. It doesn't self-oscillate So we're gonna need some source material and let's let it be in our noise Now if I make this resonance bigger you can see that we have kind of tone there You can also change this to a steeper filter That also makes it wider for some reason band pass Okay, I don't know why but I like the sound of this filter all right like right off And you will also note that it is uh like the control Is smoothed out you can see that there is no Like my mouse is by no means Doing these moves as smooth like no way The sampling frequency of the mouse motion isn't so so frequent So we would have some sharp corners and clicks and none of that is there It it sounds very analog. It sounds very real Okay, that's very that's very Quiet Or no, I'm gonna make I'm gonna just make this louder on its own. So let's increase the noise level I must say that this Thing like there's a notch filter like coming from up down It it makes some ridiculous the awesome sounds And this synth looks simple, but I'm pretty sure we can get some Very interesting things for stuff like dubstep Or drum and bass All right, so this is what I'm gonna use now. We need an envelope and here is one like This is right now at zero. So we need a sharp attack a short decay And sustain at zero And you hear that it does nothing because we have here And to dial in The amount of the envelope that is used And that is The bass of our kick drum Isn't it wonderful All right, so Well, uh, I'm gonna try making this A little bit more gentle I'm gonna turn up the noise Wow, I like this shape of this envelope Look how smooth it is That's awesome Wow, it like it slows down and slows down and slows down. It's wow. I like these kind of shapes Okay, this is too much That sounds more like it, but still Okay, this is transposition if you double click on the control it resets that to Its original state and if you hold control and drag you have increased precision I also wonder how precise is the filter cutoff control. So I'm going to disable the envelope I'm gonna play a note I'm gonna actually play the sequence in background And I'm gonna hit control and Move this I get the impression that it's That it has high resolution of this like I can't hear any stepping like Uh, if you have a lower resolution control for a synthesizer for exactly especially for a filter because that's a very important thing And you cover you you're covering like 20 20 hertz to 20 kilohertz with one knob So if it doesn't have a big resolution You're gonna hear some steps somewhere like you can jump between two Values but nothing in between and if you can't do anything in between That is a digital digital synthesizer implementation flaw and that will give you some headaches You can also you can try using envelopes or LFOs to like get around that, but If you just do automation, it's gonna cause problems Okay, let's get back to the kick drum There is a high quality mode. I have no idea what it does I guess like some cool stuff could be done with automation With the synth because it responds very well as long as as much as I know So Let's try maybe using the oscillator Okay, let's maybe tune it down And now use the amplifier envelope So you can see that the amplifier envelope is Exactly the same as the filter envelope was at the start But the sustain is all the way up instead of all the way down And that's what you get if you have a zero length ADSR envelope That sounds a little bit like a wooden stick Or even kind of kick snarish all right I think this is Oh, this actually improves it. I think this is our basic kick drum. I have No ideas what we can do better for this patch Let's finish it off with some EQ distortion and compression. What do I do want to do? Let's try some cough saturator. Oh, I should have it as favorite. It's my favorite plugin because nothing makes drums More tasty than some nice distortion. All right, let's just ramp it up And listen how nasty it can sound pretty nasty. Oh, that's nastier interesting Let's go with this No, I've inserted this post fader. I wanted to do it pre fader Now let's do an eq 10 q Okay, let's go stereo We have no real stereo stereo stereo no stereo Nothing in here, but we're gonna go for stereo because it's two channels Because it generates stereo image. Let's enable a real-time analysis and All right, this there's your problem I mean the main amount of energy is about around 200 hertz and that's a little bit too high for a kick drum That's good for a snare drum Let's try using a resonating low pass sorry high pass filter To emphasize the low end Okay, 100 hertz can do We could also try tuning the the bass So the cutoff but it's as low as can be. Let's try using the key and see if we can Do something with a different note I'm gonna turn it on and off and hit a low Note and see if it makes any difference it does okay, so let's enable key and We will pitch shift this Or just transpose so i'm gonna right click midi transpose octaves one two I don't know how many let's try two sounds nice Now it's at c2 the funny thing is That the hits aren't consistent with one another and that is because the old synthesizers Uh especially the analog ones have an oscillator that is working all the time And all it does when you hit a note is sends a signal. Oh Now change the frequency to that And then when with the amplifier block it sends a signal Actually, it sends a signal to an envelope generator that says uh, he's hitting a note Open up this envelope and it starts up and that sends a signal to the amplifier saying okay, man Turn it up. He's hitting out and that just lets through the oscillator sound But the oscillator sound is going on all the time So you're cutting off pieces of this oscillator Just changing its frequency and sometimes you cut it off in the center of a wave On the zero crossing sometimes you hit you cut it off on the positive peak Sometimes on the negative peak sometimes somewhere in between and this is what we hear Just listen Here some of these hits are louder than others because our saw wave Sometimes hits just with the peak and sometimes it hits just when it's at zero So it starts with nothing and also we're using a random pseudo random noise generator So it also starts in different places. So we have no consistency among the hits But that's very natural and that's very analog and that's something That you might like or not But i'm not doing this track to make everything to my liking exactly I'm doing it this track today to discover obxd and to teach myself and you about it and Also show you some tricks All right, so now what we have is um just going with Maybe some more eq let's try emphasizing something higher and see what do we get what we get or attenuating something I like this to get some more crunch Now to the compressor I'm gonna use cough compressor because I like it And now whoa, we already have Okay, let's just ramp down the thresholds very much and ratio up very much so we can hear exactly what we're doing like and too much, okay as you can see now it sounds more like a square wave because This is reacting so fast that it's effectively doing distortion on the low frequencies But it's leaving higher frequencies untouched because it doesn't work so fast so This is actually a low band distortion right now not compression You may like it I actually could use this no I'm gonna make this release longer because I don't like the squareish square wave-ish sound I want to add a little bit of the bite for the transient So you see we're giving enormous amounts of gain reduction like 15 decibels, but we're also giving 11 decibels of makeup gain And that's pretty pretty sharp As sharp as it can get I guess with this synthesizer or with my skills with it. So let's jump to the Hi-hat I'm gonna do hi-hat first I'm gonna Control middle click and drag this so we get a nice note nice bass Actually, no, I'm gonna oh Control z. All right. Uh one thing to remember is go to session properties Misc and then media region copies are independent. I prefer my workflow to be like that Then every time you copy a media region It's an independent file on the disc and if you change something in it It won't affect anything else Otherwise if you duplicate a media region, it will be the same linked file and if you change that all the other ones Will change too. So you might destroy your work if you don't notice And that's a little bit dangerous to have it on by default and not realizing it You have been warned Let's see if it's recording still It is 23 minutes in Let's see how audio is recording. It is okay. We have backup 41 extras not bad The levels are the levels are pretty hot but not bad Okay, all right. Let's get back to it So as you remember these are pretty low notes. Actually, I'm gonna just delete this one and draw something from the Start because I don't want to mess up with the note pitch Actually, I don't know what I'm doing Oh, why this one isn't playing I made a triplet by mistake. I just Looked and I didn't see the grid lines and I was like, what am I clicking? Okay. Let's use this. Why not? Uh, so I'm gonna just switch to this one Enable my midi keyboard input All right, this is that then note. I just gonna be super simple I'm just gonna disable the oscillators enable the noise source Whoa Okay, I didn't turn it all the way down. I was like, I disabled them. Why did they sound still? Oh, yeah That's pretty quiet And you'll notice This is actually pink noise This isn't flat. It's not a white noise and there is Something here to even make it brighter. As you can see when I'm moving this We can hear a little bit of change and a little bit of change we can see also All right, so let's make this a Oh, that's why because we have the low path on All right, that that explains everything. So it is white noise Uh, so let's just use the amplifier envelope Give us a hi-hat-y vibe Let's see what we can do with this multi Make it a band pass I would like to make it high pass I don't know how Can I? I'm not sure how some stuff works in here still How about using some resonance would hurt That might work It also might be annoying Crap So, okay, let's just do this and Actually, let's try to stereo wise it I'm gonna use two voices And pun them hard left and right. Okay. Let's use three And the third one is in the center Actually, it's a little bit too wide. You don't like it so wide All right. Oh, so that's a neat trick You can turn the unison and then all the voices are used for each note and you can pan them as you want This isn't available in the hardware This is only in the software version. I guess the hardware one was monophonic like It wasn't monophonic like it it was meant to play multiple notes So polyphonic synthesis, but monophonic audio output like just one channel Actually, for example, the original Yamaha DX7 also was this monophonic had monophonic audio output I didn't realize it until I played with it And until I use dexed, which is a great emulator. We're gonna make a track with dexed too But not today All right, here's our super basic hi-hat. Let's go with a A little bit of reverb. Let's use tall reverb free Just try it I really like the sound of it It sounds it sounds very smooth on some things and very cheap and cheesy on some other And as you can see, there is some chorus Engaged inside the center because there the things are waving like the spectrum is shifting up and down in frequency There is a chorus inside of this reverb unit And that's not uncommon Let's go all wet So we can easier here Okay, so low cuts all down is actually Engaging the low cut But hi-cut all up Is actually not engaging All right, interesting That's still pretty big I'm gonna use it very minimally just just Tiny tiny bit And then I'm gonna compress it and then I'm gonna gain it Gate it. Okay. So but first I'm gonna EQ it or just filter. I'm gonna use cull filter Switch it to high pass maybe 20 or 24 decibel per octave Because this is the way too much Oh, yeah, I like it better Now let's do a compressor Let's try just crushing this and see what happens Oh Actually, we're softening it out We're so fast The initial attack Is being absorbed And we all only hear Okay, I just wanted to make it slightly more reverb-ish Like glue it with the reverb I think that will do. Let's try gating it I'm not sure how it's gonna work out Whoa pretty sweet on default settings No, I like this better Wow, we don't have anything to tweak here And why is that is because we're right below the threshold So it's opening on the initial peak and then it's immediately starting to close up It does it for 250 milliseconds And that leaves us with a short consistent sound Nice let's listen to these together We could make a bass line I could try playing it actually Before we make a snare All right, I need to disable the Recording because otherwise won't allow me to change the name Oh dear Sorry I'm not sure if it's going to be easier to record it or To just dial it in. Let's try recording in loop Nope Actually, we don't have recorded much So All right, let's try dialing it in maybe or maybe just use a metronome and record it So I'm pressing seven Okay, I have the first part nailed down So let's just cut it off immediately just if we have it we have it All right, let's use the grid and magnetic type And the second part we don't actually need to play it I can just duplicate it Because we just have to change I don't want the grid now All right And this one is gone and this one longer I need to start a little later that should be good. Let's listen It's a little bit sloppy Let's first merge these two into one So I'm selecting a range with this range tool The shortcut is r and then I'm hitting consolidate range and now I have one midi region instead of two Which is great And I need to edit this because it's not perfectly timed Yeah, I think I'm gonna move it here and duplicate our drums shift the One duplicate. Yep. And now I'm gonna whoa Hit g to select two of these hit right square bracket for loop markers to be around the selected one in l Ah, this is this is too early I guess I guess we could try to just quantize it and see what happens It might just get it right Looks like I'm just quantizing it manually anyway Because well, I I don't have much idea about the musical context of this. Let's try it Yeah, that's it. We have our bass line. Let's synthesize it All right, this is the default patch So let's take a look what this default patch is because it is somewhat re-spacey So we have two oscillators one and two both use saw waves and they are slightly detuned between each other And that's it. I don't see anything else engaged here When I play one note we can see these very Very familiar shapes of re-space and if we turn the tune up Let's just use one oscillator and see what happens And pitch it down We sweet sweet saw and that is a triangle I guess or something close to a sine wave that isn't a sine wave And that I don't know what is I just have no idea But we can have fun with bass I'm gonna try using sync because oscillator sync can do some quite interesting things When you change the pitches See what happens now So Now oscillator one is not being heard on its own But whenever oscillator one ends a cycle it forces oscillator two to also restart And that is oscillator sync Got it. So now we have an LFO here, which is called modulation And we can enable it in a sine wave form for oscillator one That is so cool Oh, we have a Lopez filter engaged. I forgot Oh, it sounds so sweet. I love it Oh That's so glorious. Wow, so smooth So warm Man, this sounds so nice. I like it. I like it a lot I think I want to make a wobble with this because it sounds so cool. Okay, but huh To make a wobble I need to automate this because I'm also I'm already using the LFO For the sync that's so And this oscillator sync, dude, that is rad Also, what happens if I use the multiple voices? Okay, that that's so loud. Sorry for that But that is so cool. Let's pan them and see what happens now. My goodness That's ridiculously Interesting sounding Dude that synth is amazing You know what I want to automate all of this let's jump in processor automation obxd All right, we have a long list of stuff We want filter cutoff The field factor probably not I'll slate one page now Filter oh, yeah cutoff. Yep. We have cutoff Next what we want. What do we what do we want? We want this multi filter thingy Multimode this is filter warm I wonder what filter warm is Because that filter sounds super warm already It's disabled Oh, I think I I've lost this window somewhere below. Let's look at above others So what is warm? Is this high quality? Yeah, HQ. This is warm Honestly, I can't hear a difference, but let's leave it on. Why not? All right, so we have the stuff we want now Does it make any sense in the context of our baseline because that baseline was the program for this sound madness I guess not All right, let's remove this. Let's make make this Make make it Okay, let's make it touch So if I touch it it's gonna write if I don't touch it it's gonna read And let's try recording something Oh, yeah, well, let's loop it And now do the same with this multi mode whatever that is I feel like I should Move this melody to a lead instrument Or to a different bass instrument and use this with this with single notes because just the morphing of this is Going to be so interesting that we don't need a melody or It hurts the melody because it's harder to hear the melody because of that modulation of the filters and stuff So having a good melody is is of no use. I don't even know if this is a good melody. Well, it's a melody Okay, let's just mute it. I'm hitting alt one and it inserts an Why is it's play playing? It isn't refresh uh Oh, the problem is that this doesn't move with with that. Oh, maybe it's not a problem. Maybe it's a feature Maybe we want that Let's insert a new region And play with it. I know what I want And now let's try octave lower see what happens So our filters are Let's try Overriding some of these automations. Yeah, we need to open up this filter more I know what I want. I said that already, but I didn't do that. I want A freaking glide mode monophonic Okay, why did I click this VAM? VAM Uh, because I know that it makes like It makes it, um Reuse the same note slot, but I don't know if that makes any sense if we're using unison I'm not sure but Some time when I tried this it didn't work as I expected when I tried to use the glide For glissando or portamento because these are the other names Now it works. What is the spread? Is it the tuning of the unison? Yeah Um Weird madness kind of like it. I'm gonna compress this and then Sidechain compress this with the kick. That's what I want to do now Because I want the volume to be a bit more consistent Yeah Yep That does it It's now like the levels are very consistent right now because before when the filter goes down it was very quiet and I did like that. So I'm going to use a cough sidechain compressor To make it a sidechain compressor Well, that was unexpected How do you use this you go to pin out and then you enable sidechain And then you pick whatever the track you want to drive the sidechain. I want my kick And then you just drag these To connect this sidechain input to the two second inputs of this compressor So it can hear it then we activate the sidechain. So we make use of that inputs and we play it And our kick compresses our bass All right Yeah, that's very weird very weird weird very weird. Uh, we need a snare. We don't have a snare Uh, I moved this track up using control up Let me call this snare snare snare Let's use the kick track control middle click drag and I'm gonna I need to shift this because the notes are lower I'm gonna just hit e to edit and delete using shift right click right mouse click Delete every other I'm gonna delete every other here too. So we alternate between kick and snare But I'm gonna leave this one in case. I just don't want that And I'm gonna mute the bass for now so we can just focus on the drums I'm gonna hit g select one of these hit right square racket and we have looped the first part Snare snare all righty. So snare is gonna be this let's solo it And just I've been and tried doing it Okay, so let's use uh Let's use a noise Of course, of course noise Let's make it short let's Not have this Let's make it longer so we can hear easier what the filler is doing and then Okay, so that's a Notch That's a nice notch Can we have a resonant? Yeah Now let's enable the envelope the envelope On the shortest. Oh, that's snappy. That's super snappy That's like the snappiest filter sweep I've ever heard. Oh, wow Snappy Whoo, I don't think I just need to do anything else. It's just so it's that snare though And then that snare though It just does it Dude just But what if I use unison Ah too loud, sorry uh Now let's use just three voices pan one and two Delicious delicious snare-ishness Fantastic Love this sense. Oh, dude. All right Uh, what else we can do we can Saturate it. That's right We've called saturator Can't be any better Can it be any better? It could be shorter right now because then now it's too loud. That's so sweet So cool filter is rad That's a one good filter. Oh, that's much more snappy Let's maybe Mix it back You can see we have a little notch here There is some phasing going on Let's hype as the lows So we don't lose stuff or we don't mess them up and now let's compensate with an EQ EQ tan Q stereo I keep inserting these post fader. I don't want Let's enable RTA Ah sweet peak around 250 Hertz. Is it 250 is it? No, it's 300 that's lovely That's so sweet. Okay. Let's see what we can do here Anything to boost? Yes, we oh now taste Anything higher? Ah, that's nice too. That's a little bit loud for let's compensate better now And finally let's try some We didn't even use some reverb. Let's try some reverb. Let's try mverb Or let's try tall reverb free and see how it sounds on this I want it smaller Low cut nice metallic interesting Whoa, no pretty late. It's uh, it's very metallic this one would better I'm just gonna channel it to make it very Very very delicate and now compression I actually want to make this tail a little bit a little like Yeah, that's like that's more Scrillexy I'm gonna Do this just 50 dry and wet Is there anything else I can do I should do I have to do I I want to do I want to hype as this also Make it 80 decibels per octave funny It's not consistent like Right, let's let's isn't it with the rest That's pretty nice snare really a snap of that filter sweep is amazing I'm I'm shocked that it sounds so nice You should make a track with tall noise maker also It also has some nice envelopes and filters In it. Alrighty. Well, it's here with the bass That is trippy uh I'm gonna move this away and alt one to mute it And I'm gonna duplicate these two shift D Enter So we have two of them and I'm gonna select control right square bracket l That is weird I know what I want I want to snare I want a double snare there Or even triple and an extra kick. Let's listen Oh, yeah That's so cool I think we're like lacking some sub bass in this. I'm not sure about the low Low levels It doesn't sound too bassy We could add a sub bass synth and I'm gonna do this I'm gonna copy this one Uh to a new track called this Um sub bass Uh, please And paste it here Replace it Wow it copied the automation Ah, so the automation belongs to the plugin not to the MIDI tracks That's information worth keeping in mind I'm gonna go e Select all these Hit delete So I don't want these Or I'm gonna just do Clear right clear and I'm gonna use manual. Okay, so it's not used Um, I'm not gonna use any filter modulation for the sub bass Funny thing is I could use the playlist Of the bass. Oh, no I can't for some reason I should be able to all right. Never mind. We're gonna copy this control middle click drag And now I'm gonna just solve this one Because we have exactly the same patch and now what I want use oscillator one It's And disabled sync. What else do we have? Oh, we have the pitch oscillator Whoa, that gives some harsh clicks It's Softened out the envelope and disabled unison and make this Pan in the center. Oh Okay, let's make it one voice Because it was using consequent voices Wow, so we can like pan one left one right and then every other note will go to left and right That's a nice trick Interesting All right, so this is it but I'm not sure really how low it goes. So I'm gonna use headphones because My monitors are eight inches, but oh, yeah, that's proper But they don't like make it as As big see if we can low pass this a little bit. Oh, why is it? Ah, because we're having this multi Now that's some basses Subabacious that sounds weird. Hey, we have resonance. We don't need it Also We still have clicks. I would like to Get rid of them if we can I guess the only way to do that is to Use a low pass filter And I'm gonna do this call filter. Okay, let's go 36 decibels. Uh, not high pass low pass Okay around 100 thirds. It's gonna be enough for our sub bass. Now let's listen together Uh, uh on the speakers I hear like we would need more sub bass And I'm not sure you should check on this headphones because I might be mistaken No This snare this snare is amazing I'm absolutely in love with this snare And with this synth because of that snare That's ridiculous. Okay, let's save this project in case something crashes because it sometimes does and that's A good practice rule number one if you have autosave Enable it Rule number two save your work often and save new versions If you mess up you will have something to rescue yourself from if not you're screwed What should we do next? I'm gonna use I'm gonna I want to do some lead Or pad Let's pad it up Uh Okay, let's make some MIDI sequence Maybe stretch it up. We will need some notes. Okay, let's maybe use this one note And no and program some patch Cool thing is we get immediate response From the synth And like in zennets of fx For many things refresh after you play in next note And here everything refreshes right When you do it I guess this is a saw plus square Let's do some pulse width modulation That's some nice jitter I also use the filler that's interesting That is like a randomized sine wave Like it Let's make a pluck out of this Ah, I want to make a pad. Sorry Not change my mind I'm gonna make a pluck. I need to make some other notes if I want this to be a pluck because It's gonna take a long time to show Okay, let's call it pluck Sorry, no pad right now What if we make this manual? I think I need to modify my automation for the bass I'm gonna do this now Sorry for changing Directions and ideas in the middle, but that's what happens when you do music I'm gonna make it touch and I'm gonna touch it Yeah, simple and effective now that the second one Let's go with touch again Very simple and very effective Let's do this again with all others all of the other instruments Something's not right here with this pluck And I can hear I can hear some delay happening after this And because this doesn't have one I'm gonna input in my own call vintage delay I think this is the delay I use the most Everywhere Sync BPM Well, it's sync we have 85 All right Because just dial it in Roughly Nice rpg rich sound I want to make it die off quicker Much quicker and also I'm not sure if I like this shuffled time Let's try make it simple. That's very rigid and boring. Let's try it that way. All right. Let's go with this And for sure we need more reverb. We don't have any so we need more. Oh, sweet Sweet sweet Make it brighter with this band. So this is actually a Lopez filter on the reverb Could be called Lopez not band band width I really like and like the amount of the reverb. That's a lot Let's use compressor to glue this with the reverb tail By the way, uh by default cough compressors have six decibels of makeup gain When you just put them in and that results in some Sometimes in an unexpected jumps in volume like you put in a compressor and it's six decibels louder hits you in the head Knocks you over So I contacted the developers and asked them to make this zero by default So when you dial it in by yourself, it's gonna be there. So It's on the way. It's in the git versions So if you're using the git package for cough plugins git, then you have zero decibels probably already But if you don't use the if use the stable ones, then you have six decibels here I'm gonna just turn it down Really quiet for you All right, we have a little bit of compression Very subtle could be more aggressive Yeah, like I'm not compressing this to get Something very specific done. I just wanted to sound compressed. Maybe that's what I want I think the notes for our bass Don't really fit this right now So I'm gonna copy them over Oh, this is the sub bass. So you can see we have another I'm just gonna make a new New sequence for our bass line I need more bigger notes Actually that oscillator sync is cool, but it makes the notes very hard too I appreciate let's try it without Something's detuned here. I feel like maybe we don't need the sub bass when we have this Let's listen the headphones Without this is what the sub bass. Well, they're playing different notes right now. So it's hard to tell Let's for now go without the sub bass and Finish this part So I will check if I can just transport this one octave up Yep, let's see How about the This guy is detuned Something's not something is not right Is tuning right? Is the oscillator tune right? Something is wrong. Something's not good. Maybe just turn this oh This is stepped That's nice helps a lot Uh How about just repeating the same phrase twice shift the d enter I want to change the notes d or draw Oh Oh, what why should remove the overlapping notes? I guess the automation right here Caused me some unexpected change in timber Timber Why isn't this moving? I think I'm gonna have to copy this Everywhere with this like that's might be a problematic Ah, okay, I want to loop both of these I know the sub bass is gonna play a different note Let's just delete delete that Uh, I want to merge this into one consolidated region I'm just gonna copy this To my sub bassy sub bass It's hard to program it I think I think I need to Make this somewhere else on a different patch because I can't hear the notes Let's use headphones Uh, maybe let's try it here The problem is I made perceive the pitches differently when they're so low And they're so little harmonic content So I made program something and then it's gonna be bad So let's just do it here Let's lead everything else okay key for edit now I can Oh dear, okay, that's not the same note. This note is right. This note is wrong Probably I have to transpose this because it's not gonna be audible. Yeah All right, just these two notes Everything else deleted. Just move this to the sub bass and move it right here So the lines with the rest were awesome I'm gonna listen to the headphones to hear the sub bass Because that's not obvious It is a little bit quiet The sub bass let's make it a little louder So let's check our bass for For the actual content harmonic content Oh, yeah Listen if we could give it some Yep I'm gonna save this As a new version because we have some stuff that we was deleted Snapshot and switch the new version zero one Zero two Let's call it Yeah, this is like track zero one version zero two All right, that's it for today. We just used one two three four five six instances of obxd Thanks for watching. I hope you've learned something if you have some questions or suggestions for this video or the future ones Leave them in the comments The session will be available for download the link will be in the description I'm using google drive for now for this if you want to host the files for me Or something. I don't know if you're rich Uh, you can contact me and you will help everyone. Okay. That's it Uh, I will see you in the next video. Bye