 3, 2, 1 Hey, it's Anfa and you're watching Anfa vlog. Today I want to show you how to make a growl bass with Zanacib FX in Ardor and also do some funky processing Especially multi-band processing using Ardor without creating a bunch of external buses and using some neat internal routing trickery So the basic thing what is a growl bass? I've tried for many years to build a definition in my head what a growl bass is and I can only say two things a growl bass needs to have a wide frequency spectrum So a single sine wave won't do the trick in contrast to a Reese bass For example, which can be very tamed with a Lopez filter and be very narrow in frequency range a growl bass Rather needs to be wide and it has to go into the mids if not even into the highs So that's the first thing we need a wide-band signal and the second thing is A growl bass needs to utilize a vowel like sounds So it kind of tries to imitate human voice in a way But in a twisted robotic fashion and that can be achieved with multiple things It can be achieved with frequency modulation with zero order hold re-sampling So basically decimation it can be achieved with ring modulation vocoding formant filters equalizing and playing with the filter peaks and froths Automating that all bunch of different stuff can be used to achieve this effect and that is why there's a million ways to make a growl bass So today, I'm gonna make an FM growl bass. We're gonna use a single carrier and a single modulator We're gonna make them produce a grandly vowel like tone and then we're gonna do some Multiband processing we're gonna split the signal in multiple paths for low frequencies medium frequencies and high frequencies And I'm gonna we're gonna process all of them separately And then we're going to mix back together all of that to have a stereo signal back then usable for our mix All right, let's kick it in. I think you meant kick it off So here's my outdoor session. I have Bodline here that will provide us with a nice spectrum analysis and I have Zenit sub effects here So this is the interface This is the new interface called Zinfusion Before I'm gonna launch this I'm gonna route my MIDI keyboard Yeah, so I can play it Without moving my mouse around All right So this is the main interface of Zenit sub effects We're in the browser right now. I'm gonna go to the AdSynth Because it's the one that allows us to use frequency modulation Now I'm going to go for the voice one and the voice one is going to be our modulator. So it's going to be Silent you see we have amplitude and The amplitude is going to be zero now if I press a key nothing happens But the voice is on and that's important because we can use it for modulation Now if I go to voice two I can enable that You can hear it makes a sound now if I go to the modulation tab for the voice to can enable phase modulation and In this drop-down menu here, we have normal which is basically the internal mod also modulation oscillator that is Built into that voice or we can use another voice and That gives us more options because we with the internal Modulation oscillator we don't have access to filters LFOs and other weird things or noise sources that we can use in Voice one basically So we have mod one So now voice two is making sounds and is being modulated by voice one the voice one amplitude The Global settings know the voice settings volts amplitude isn't zero voice two is Slower isn't it too quiet of it? Now if I play softly it's gonna make you can see that we have harmonic content change around so I'm going to go To my modulation settings and here we have the amplitude setting. So this is how Deep the modulation is I can move this in real time and we don't want any velocity sensing and Oddly enough we have to turn this all the way up to disable the function of velocity sensing otherwise We still have some velocity sensing we can go to the global and Amplitude maybe no voice no no global Where is it? It's not there bug reported forget it Maybe we have it in the part settings The velocity sensing Yeah, here it is so we have to go to the part settings to disable velocity sensing for the whole Instrument now I could go back to add synth We're at voice to That's got pretty loud All right. So now we have two sine waves working if you watch my previous Introduction to FM synthesis video You know what that means we can do Lots of different sounds, but we want to make a growl bass. So I'm going to go for the oscillator and Make it a triangle wave remember, this is the The wave that is being modulated now if I go to the voice one we have the way that is modulating If I change this We hear a much Bigger change in the sound you can try some other distortion Maybe a Lopez filter or a sine wave filter which is crazy And does some awesome things now if I change the Frequency the pitch of the voice That's our go rally growl It's not perfect yet, but we're gonna sculpt it from here one thing I want to change is go to global filter and Rump up the cutoff you can hear we have much more high frequency content It's much brighter now bites more Because this is by default a little bit closed We could use that creatively, but not right now So let's go back to the voice Now the cool thing because we are using separate voice in that synth for modulation We can use filters. So we have filter we can enable filter for our voice and That makes some pretty crazy as sounds already We have a notch filter now if I press on this tab we can see a graph Showing us the frequency response of our filter Please note that we're not filtering the carrier waveform. That is the sound that is Directly heard. We are filtering the modulator waveform. That's the way from that is influencing our carrier if we apply this filtering to the Carrier waveform, which is what we directly hear the result would be very straightforward And the listener could clearly tell what is happening But because we're doing that to the modulator waveform the modulating voice It's not obvious what's going on because we're shaping the waveform that is then shaping the waveform that we hear so The results are much more interesting that way. This is a little bit too narrow So well, basically we get similar effects as you would with a wavetable oscillator But it's synthesized in real time However, we need a way to control this with automation because a static sound like that Isn't going to do us much good. We need a way to change this during the note to give life to this sound to give motion to the sound and Macro learn comes With a helping hand There's a new feature implemented where you can we have 16 slots from 0 to 15 and you can bind up to four controls and Then in our door When you go to the automation menu Processor automation sense of effects. We have all the 16 slots and we can automate this we can record it If you're performing live you can bind this to me DCC or you can directly learn To me DCC however, I'm not yet sure how that works because I had some trouble So I I went like overriding the internal sense of effects CC me CC learning mechanism and I just binded it with the hub of plug-in host like Carla or Ardor Anyway, that's technical detail. So what do we have to do? Well, there are two modes normal learn Unused slot macro learn active slot. It doesn't matter because we want to learn one control to one slot and We select them by pressing this arrow and whichever one is active. We're gonna learn to Maybe I'm gonna go with macro learn. So we know which slot we're using Then we can name the slot and then we can add an automation track and Control this so let's go for add synth and I'm going to enable the learner mode. Now. I'm going just to wiggle my cutoff That's it. Now if I go to macro learn, I will disable learn because if I touch anything else, it's gonna be assigned Ah, not this and now you can see our slot zero has Param part zero, which is the first instrument kids zero Add synth parameters voice parameters zero voice filter base frequency. So this is the part the name of the control We have this assigned to We can also drag this little bar here and we can test start test out our macro and this is going to move show us The current value when we assigned the automation so you can see we have a little function here now We can define we have the minimum filter cutoff value, which is 31 Hertz and the maximum 32,000 and This is way above 20,000 because the filter can have a long Gentle a roll off. So if you can go way up high You can go so high that the roll off doesn't affect the sound at all and sometimes you want that alright So let's call this I'm gonna type now notch Because this is our filter much filter. All right, let's test this in action so Let's maybe put some notes I'm gonna go to D press D for draw I can draw a region and then I can draw a note inside the region and it will sound So let's just play this I we have a note which is very boring, but it does the job now I'm gonna go for all a sorry automation menu processor automation sense of effects, which is the instrument plug-in Slot one was it which is the slot the automation slot this one We would call it notch, but that name won't be you know, it won't be passed over to to the door unfortunately The names have to be fixed and now we have this I can go with play so we have the Automation read out and you can see that it does indeed have an effect right now. There is an issue that the Cutoff frequency isn't Logarithmic and it should be I already reported that mark said it's a problem and and it should be fixed in some time right now we need to Just adapt our automation curves to to better utilize the the space that we have so and you know Now I can draw your sweet automation curve All right, this is our basic growl base Which is extremely simple. We have we're just playing with the notch filter on the modulating Oscillator on the modulating voice. However, we can do much more we can for example play with the FM modulation, sorry PM modulation depth So the the amount of modulation we apply which we'll do because that's quite fun to do and it can give us some cool Sounds, especially when you combine different parameters and play with automation Amazing things occur and we if we need and when we add some distortion later It can create even more fun sounds and we can also automate the amount of distortion in and out This is fun All righty, so we are in the voice to we're going to modulation Amplitude right now and we want to automate this guy here. So I'm going to Macro learn I'm going to select the second macro Slot enable learn Going back here. I'm now I'm gonna wiggle this This yeah, well, why is it so slow? I don't know Is it learned? voice one Pfm volume. All righty. Yeah learning Q2 disabling this Yep, I think I have oh I have fine enabled why I'm not holding control or anything like that Something got stuck Okay, I'm going to call this one Modulation I could call it mod depth maybe and now let's add another Automation track let's change it to play and Let's create a simple ramp now I would like to be able to verify that this is working So I'm going to switch the first track to manual so this won't be read out and this value will be used instead So we have only one automation track playing so we can verify that it's working as expected Yep, so we can see We're coming from let's take a look at the spectrograph We're coming from no modulation at all which gave us our original triangle wave And then we're slowly getting more and more until it's so much that is basically white noise So there is a certain point that we don't want to cross because it doesn't give us any good It's which is roughly there and also we don't want to go too low because that will make Sound boring and really not very fun So this is the range that we actually want to stay in roughly No can have some fun and draw something Now what if we enable this first automation track right you this I don't like it I think I want to start with a sting Yeah This could be sharp sting, but I want it to be very short Yep, so we have kind of like a noise burst. I'm gonna zoom in on this to think It's a little bit smaller All righty So we can explore this concept add different controls Make more automation and get really crazy with that, but I'm gonna leave it for now There's a whole big world of sound design to explore my dear and Let's go to the effects. So I've gone here the effects tab then insertion effects and We have a list of our effects I'm going to enable the first one by choosing part part one And then I'm going to go for distortion Now I'm going to turn down the output volume. Actually, I'm going to close this window Maybe it will reset the fine parameter Yep, all right. I'm turning down the output value, which is post gain after distortion I'm going to play this in loop Just wanted to make sure it won't blast us away We have a Lopez filter here and the hypers filter this is drive You can filter before distortion or after So we're cutting the highs and the lows off after distortion right now or before which is pre filtering That sounds a little bit like a guitar. I Wonder if we're gonna use that Let's go with the amount which is dry wet no distortion All distortion that's a bit too quiet Yeah Let's enable another one make it quiet. I'm gonna try a different type of distortion this time and This is great in the new interface. You can see the distortion function, which is fantastic because you can tell what is is doing and Before you couldn't really tell sometimes. What is this kind of thing doing? You can see limiter just limits sigmoid It's weird because it's quite like the arctangent. Oh, this is asymmetric Let's try it. All righty This is all fine and dandy, but we are lacking some very important ingredients and that is the format motion How we can introduce that? Okay, we have something kind of format like but because of distortion and the harmonic mayhem that is happening We are kind of losing that so maybe we can introduce more of the formatty quality with a filter Let's try a dynamic filter Well, well, where is it? All right, so it just didn't have the room to display correctly so that's a dynamic filter Let's play this and listen This is dry wet So This is a Vormant filter Which responds to the level of the input level? I wonder if we can This is LFO. I wonder if we can Control it absolutely Manually, this is the amount and this is Slowing out how many filters can we have? This is the length of the sequence. No, I'm lacking a global resonance parameter for the filter Yeah, I think this is not the good a good path to take Okay, so I tried playing with a dynamic format filter Let's ditch that and instead use some modulation Effects, all right, let's ditch that and go with the band separation thing so I made this thing a lot quieter So now I'm going to insert an effect that will go into that will split the signal into multiple frequency bands There are some kind some effects like that like the free band splitter. I'm going to go with calve X over however it is in the Utils utilities Category so if you don't If you don't click that you won't see them. I'm going to use the free band one Let's insert this and this is our crossover Which is going which is just you know splitting the signal at 150 Hertz and 3000 into free bands Now if we play we only hear the lowest band and this is where our doors fantastic Routing capabilities come in you can see these green green thing is right there. These are the pin connections and Now we can configure them. So if I go to pin connections You can see we have one instance of the calve crossover plug-in It accepts one median put and two Audio inputs, which is of course left and right channel. It outputs six audio inputs So left and right for the sub for the base Left and right for the mids and left and right for the highs But we have only two outputs and we need more so I'm going to go with manual config Enabling it here and then I can add audio out one two three and four So we have each one So that we can root out all The audio from this plug-in which is free stereo tracks bass mids and trebles And what it does you can see that our panor control have changed to a surround one Which is not what we actually want and we won't use that And we have all these green audio connections visible here What we can do now is for example add a calve flanger effect By default it inserts Free Okay, I'm going to move it above the fader and you can see that we have three instances of the effect running I'm going to right click go to pin connections and you can see yep We have three instances. We don't want three. We just want one. I'm going to manual config. I'm going to remove two instances And now I want this effect to be applied to high frequencies only so I'm going to root the high left and higher right here and root them out To the outputs, right But this will mean that all the other data is lost. So I will drag this To just maintain the data So the lows and mids will be passed through unaffected and the highs will be passed through the flanger effect How does it sound? right now kind of weird because Well, we don't have the the signal is probably mixed back so we need to fix that and I figure out it's the best way right now is to use a mixer plugin When you type in the mixer, you have various options depending on what plugins you have installed There are for example plugins like stereo to mono mixer, which will have two inputs for every input So that won't do because we need three inputs for every output. However, there is ams mixer for channels But it's mono and there is ams mix stereo mixer for channels that will do Let's use this one I'm going to insert this plugin and we have our mixer control. So we have four inputs And we can pan them left and right Alrighty, let's see. Okay, and this is what we want Because this is still not what we want because it has only four inputs and two outputs and we need six inputs and four outputs All right, let's see actually Okay, we have the ams stereo mixer eighth channels But we can just go with the mono version with four channels with two instances Right inserting that one. Okay, we have four channels Huh All right, we have six instances running. You can see it's crazy. I'm going to pin connections Yeah, let's go with manual config. I'm going to reduce this back to two instances All right Now we have too much audio outputs. We need to get back to stereo. So I'm going to remove The four excessive audio outputs and we have just left and right And now we have left base right base. So I'm going to route it here Left mids. It's there. Okay, right mids. Let's go here Left highs go here And right highs go here Let me stretch the windows so we can see the connections better. So This one Shouldn't go anywhere right clicking it will be disconnected So we have Base left and right split mids left and right split Heights mid left and right split All of these got mixed in two instances and fell back to stereo output I can close it. You can see our panor has got back to stereo And if I play this It works What's happening? Well, it works What's happening we have a phaser Applied only to the high frequency Phaser and with this crossover filter We can We can also listen to just our highs We can also listen to just our highs Or the mids For the bass We need the sub bass for this one for the bass Maybe let's add it right now before we forget about it Let's go here To some of the facts before I forget about it And another neat trick we can activate another voice By middle clicking here it can see that this third voice has a middle clicking here Now if I click it you can see it's on the third voice middle click again It's on now if I click it you can see it's on enable and disable voices and instruments It's with middle clicking right here. So you can by the way, this is something I requested This is an instrument. We remember clicking right here. So we need a sub bass Thanks mark Sub so we need a sub bass. Okay. So I can't hear everything because I have I have disabled all the voices Let's listen to just The sub bass let's disable the first the second voice The sub bass which will leave us all new with the sub oscillator Because this one is modulating this one So the first voice is modulating the second and the third one is completely independent This is going to bar to be our sub oscillator and the third one is and this way too high as you can tell So I'm going to voice oscillator frequency and this way too high as you can tell So I'm going to voice that's sub bass and amplitude That's it needs to be loud and amplitude and You can see that our distortion is taking effect because it's a sine wave oscillator and we already have some Frequency content a lot of it actually And then the distorted signal goes to the phaser and we have all the crazy things happening Now what if we enable our we could also do some fine things like Making this monophonic because right now I can play a chord Which will sound terrible Unless you want to play some very weird Kind of music Let's go with monophonic Now if I press another key it's going to sound But only that sound will will last all the other keys are going to be mute We can also enable portamento However, I would like it very short. Yeah, so we can reduce the time So it's very very minimal All righty, and that's it for sub bass I think we have a decent amount of sub bass frequencies in this all right You've noticed I inserted the mixer after the fader That was delivered because I want to be able to insert new plugins here Without possibly messing up my connections made here So let's just insert a reverb I'm going to go with gx zeta reverb And we have three instances three x one So going to pin connections manual config Just one instance and I want this to operate only on the mids So I'm going to right click on these pins Going to drag in these ones right click here And reroute that to the mid output and then Reconnect the rest so it goes through And we have our Reverb only applied to the mid frequencies And you can see even if I make it as broadband as possible It only goes in the mid frequencies So it will never mess up my sub bass region and it's not going to bleed into my highs I could also Sidechain this possibly with something I'm just going to make it short very very short Very delicate Just a hint a hint of space Because we already have stereo image in the highs created by the flanger Which are alternating you know between left and right channels And now we have some stereo image in the in the mid frequencies by the reverb And the bass is mono the sub frequencies are mono, which is good because that's going to give us the most punch And no problems with mixing this later. Let's listen Pretty sweet One thing we're missing is The cough flanger is not automated. It's going on a free run And there's a new feature implemented that I asked for everyone. Sorry Where you can pause the internal LFO And you have completely manual control over what is happening here, which is fabulous because right now we can do a automation processor automation cough flanger mod depth and play We can make our own We can You can see now the pattern of the flanger is repeatable. So we can do whatever we want And it's gonna stay With the time relation to everything else we put here This is of course too aggressive and it doesn't sound very good But this sounds better awesome Great Now if we want to duplicate this It's a bit tricky Because what I would normally do if I don't have all this automation. I would just go click shift d Enter and I would have it bam, but we don't have the automation Also, there is another kind full hotkey which is called d and it duplicates It once without asking questions. I didn't know that I learned that on sony convention But this doesn't work. So I'm gonna save the session by the way, so We can select all of that when while in the grab mode With accessed with the g key we can do control c then make sure that this guy is set on playhead Set your playhead at the beginning where you want to paste it and then go control v And it will paste it and as you can see it missed some spots it didn't paste the The automation one automation where it should paste it. So that's a problem And now if I delete this, uh, it doesn't follow because it's not bind to This maybe the problem was with this one guy. I don't know. Okay, let's try again Let's go with g or maybe if I go R select a region copy this And then paste this no What if I select a region and then select these tracks and then copy this All right, that seems to work too So we can select a region accessing this Range mode. Sorry range mode. No. Yeah, it's a range not a region a region is is this It's a clip on the timeline A range is something else. It's just a selected part of the timeline And tracks so it's a bit tedious right now, uh, I asked for some help to make it more streamlined, but It works Alrighty So maybe that's like all the key features covered. Uh, I have no more Breakthroughs, so let's just have some fun and program Maybe a little more sophisticated line for this Shift alt up arrow transposes by an octave up shift alt down my octave down And Just shift up and down just by one semitone. I want to go e Edit mode And then shrink them Oh no this Control Z I'm gonna do the same by holding shift So I'm not constrained by the grid because some snapped the grid and some didn't and it went were ugly Ah, no, I don't like this at all. I want some What is it three? Yeah, I learned this Yesterday that keys three and four on the numeric keypad on the on the alphanumeric keypad can basically switch between grid resolutions So you can very quickly, you know dial in more dense grids if you know this I Didn't All righty, we have quite a long release for the whole synth and it blends Between our notes. So I want to go to the add synth global Envelope and this is that this is the release time Now if I reduce this You can hear I wanted to cut off immediately Because that's gonna give me precision Oh still no no go Some I think some note was stuck It's not not stuck anymore. Maybe let's try some different thing here All right, yeah, I'm not very happy with this melody, but the sound is pretty interesting growl okay Thanks for watching. This is all for today This ardor 5 session will be zipped and available for you to download the link is in the video description If you enjoyed it Leave a comment Let me know if you have any questions about this the growl basis ardor open source software At all ask them in the comments If you have any suggestions for what I should cover in the future episodes Also, let me know make sure to check out my new album Which is out on bandcamp right now. It's called suppress and you can buy it for three dollars or you can listen for free A mix will be on youtube sometime In the future But I don't have time to do it yet because I have lots of different things to do and that's not a priority If you want to support me You can buy my album on bandcamp or you can become a patreon for as little as one dollar a month And you will also get a free copy of this album digitally. Thanks to you all for support for Watching and for being a great audience. Keep making music Bye