 Hey, it's ANFA. You're watching ANFA vlog and today Who is in it sub effects? Okay, so today I'll show you how to make a kick drum a snare drum a hi-hat and a crash symbol All synthesized in Zenit sub effects. It's gonna sound like this So now let's jump to our door. I'm gonna add four MIDI tracks called ZIN and I'm gonna change the instrument to Zenit sub effects. I Want the LV2 version of the VST one Okay, it's loaded actually I Wanted this Yeah, so we can see what we're doing. Oh wait a second. I'm gonna route the bot line So it receives the master output from our door and I also will route It to Sighting compressors, so It's also recorded. Yep, it works So the session is ready. Let's make a kick drum. I'm gonna name this kick The kick I'm gonna hit record so it receives MIDI notes I'm double-clicking here to open up the Zenit sub effects interface first thing I'm gonna do is make this Synthesizer react to the drum pads because right now you can see that there is a MIDI signal, but there's no sound Because the drum pads on my keyboard produce signal on channel 10, which is reserved for drums now We have sound, but it's very very low. So I'm gonna do is compensate and shift this to octaves up And I also want to limit this instrument to just one pad Because I want other pads to use different instruments. I'm gonna press the pad that I want to assign for this instrument and Now it's memorized. So when I recall it with this minimum key and the maximum key, it's set Now this is the range of the keys If I hit another pad Or any other note this patch is not gonna make any sounds, which is cool If you've got your assignment wrong, you can use this little R button Which stands for reset and it will make the whole keyboard available again And again press the pad you want set minimum set maximum and you're set Alright, let's go and I will use add synth Here's our main window The first thing I'm gonna do is change the amplitude envelope To make it shorter Also, I want to disable the force real the forced release because that Will make our notes always the same length no matter if we release the pad earlier Now I can hit it and release it and the note still has the same length It's a little bit long Yeah, that's better. I Also want to open up this Lopez filter that is by default a little bit close So any high pitch sounds that we'll make will go through unadultered Let's open the voice settings Here's the first voice It's a sine wave. I'm gonna enable the frequency envelope By default, it's going from down up, but I want the opposite. I want to go from higher To lower sounds and this is how quick it falls So this is the attack time How long will the envelope? Take To fall to the base pitch Let's see what happens if I shift this one octave down Well, that's deep Okay I'm gonna open up next voice And I'm gonna Use just Pink noise That sounds very old-school. I'm going to enable the amplitude envelope Make it shorter You can hear that the noise itself gets different release times because When the first release is triggered if I hit the note very quickly and release it This long release time kicks in this is actually shortened by the global envelope Which is setting a limit But still I don't want force release. I don't want this. I want just This decay control to control my actual Loudness Lend the sound by the way, it's quiet. I'm gonna turn it up. Oh This is better So this adds a little click to the kick so it has more presence To cut for the mix and I also add another layer of this kind of stuff to this time Make it some weird waveform. Let's use the power wave and add some random Harmonics and so we have a pretty noisy waveform and then I'm going to enable phase modulation And this might be loud. I'm gonna turn it down Yeah, as you can hear Turning the modulation depth up makes this sound like noise But it's you can see that it's Repetitive if I kick if I hit this kick you can see that every notes has the same pattern So it's like sampling noise and That's cool We like that and our cool thing about this is that we can make this Stereophonic very easily using just one voice because with this pink noise or white noise if you would like to use it To make this stereophonic. I would need to pan this one hard left remember that Below one we get random panning every time for every note So keep it at one or two and I will have to use another voice and pan this hard right To get a stereo noise Resetting this back to 64, which is the middle, but with modulation generated noise. I don't need to do this and I can simply Add another unison note here the difference stereo mono So this generates repeatable noise like sound That can be easily made stereophonic, which is cool You can also control the stereo width with this stereo spread All right, I want to make this actually shorter because this is or maybe Give it a short spike with the decay time but then Let it release quietly so you can see Here and here that we still get some noise, but it's Quite interesting. Let's use a band-spice filter So we don't get this noise So boringly uniform All right, this is something more interesting. I'm gonna copy this voice paste it over and I want to use a different band-spice filter and Different time. I'm gonna use actually a high-pice filter because I want to Get some very high Stuff in here Also gonna change the modulating waveform because I don't want the both third and fourth voice to have the same waveform generated and this is a little too loud okay so getting back to the main to the Hudson global things and Let's see what we can do with the envelope It doesn't need tuning and a very neat trick I want to show you is that it's not some effects has something called punch and This is a function that adds volume spike on the beginning of the note and To do this without this special thing you would need a transient mangler or similar kind of effect or you could do this with a compressor But that would also affect the other parts of your sound and this is like very precise and you can do exactly what you want You can insert a spike at the beginning so making the very first few milliseconds of the note Much louder and we have the control over how much louder So this is without And you can hear it starting to clip so I'm going to Turn the whole thing down so you can get a perspective. This is just our punch spike You can hear it's getting it can get very very aggressive There are also some other controls, but I'm not gonna cover them. So what I want to do now is to distort this to make use of the punch But in a to avoid clipping later I want to clip this Intentionally in a controlled manner So let's I've got the distortion and I'm gonna put the drive down. Oh This is hard steel I'm gonna open up the Lopez filter so we get all the highs and I'm gonna make this stereo phonic And you can hear that the width didn't really change because we have this left right control not all the way to the left which is The exact stereo image if it is in the middle on 64 We actually have mono and if it is above in 127 we have the right and left channel swapped and let's play with the derive and Compensate with the level We don't want our eardrums blown another thing I want to do is go back and And make sure that some things are not taking the Note the velocity into account because I want to have quite consistent notes. So I'm gonna make this velocity sensing Smaller much smaller and also I'm going to disable it for this Lopez filter Because it was actually closing down Cutting our highs you can hear it now. I exaggerated the the effect of it. You can hear it. You can see it I'm now hitting very very slightly and now hardly. I Don't want this you might want this it's good to know that it's there Alrighty this distortion is quite hard. I think I'm gonna actually Dial back our punch because it's all the way up. Oh Still very loud. Oh Quite painful actually. Could it be? Let's see how high it gets negative 40 B Okay, that's not bad. All right The last thing I want to do to this kick right now is any cue. I'm doing a very specific trick with you I'm using a resonant hypers filter. So this is HP to and I'm using it to cut down the unneeded low frequencies but also to Emphasize the needed low frequencies the resonance of the kick the body of the drum so You can hear now. It's kind of decapitated Sounds more like a snare It could actually work for a snare and now I'm increasing q so we have a Boost right here on the cutoff frequency And I'm doing it down Now this is too loud and it's distorted. So I'm gonna turn this thing down You can also use this gain knob Compensate and I will also increase the stages to make this filter sharper Which is also making this peak a little bit more rounded because For compensation the q the actual resonance is being Decreased because it would become unstable and at this point We can also think about if we don't need to tune our drum up or down So let's see if I tune it up or down The thing is we need to meet our resonance of the actual bass frequency of our oscillator or a harmonic of this Or it's positioned somewhere not harmonic because we're using a sine wave But it's positioned somewhere on the pitch envelope higher. No, this is too low I'm gonna leave it at this point right now. We can also tune it Layer when we have fresh ears. I want to add some highs to make this kick a Little bit brighter and also see if there isn't anything nasty. I would like to cut out. Do we like this? Okay, I don't actually want to cut out anything. I don't want to get Scooped mids on this kick. That would be weird and ridiculous So this is our kick, let's get to the snare drum So let's make the snare drum. I Have named the track assigned the MIDI input and now I have to just assign the right MIDI channel so the pads will work and Assign the right pad. So I hit it. I'm pressing the M small M for minimum Big M for maximum and we have set the pad. I will also enable record on our kick drums Track so we can play both of them. You can see Both of them receive all the notes, but they filter them by themselves with this thing that we just set up Okay, let's make our snare drum. So I'm also going to disable the forest release and Well, pitch the whole thing up. I could Change the tuning here However, there is a difference Because this is interpreted as Actual changing of the pitch while this is interpreted as actually shifting the keys pressed What's the difference? Well, because it's not sub effects has a feature called L Envelopes stretch that makes the envelopes longer for lower notes So if I don't shift the keys, we're gonna have very long envelopes because this is on by default to some extent So I'm going to shift this two octaves up. This is 24 semitones double arrows and now We have a different pitch which is quite usable and our envelopes are gonna have reasonable sensibility reasonable sensitivity reasonable sensibility So Here's an all Here is our basic oscillator. I want to make something a little less obvious It's not what I do usually let's try this. I'm gonna use a Lopez filter on this wicked I'm gonna also distort this a bit just to make it weird and Then the Lopez filter Okay, I get just a tiny bit of some other harmonic content Most of that is just thrown away either anyway, but we got something less default Okay, this is our frequency and a low I can see some aliasing distortion happening here This is the mirroring effect actually, we could pitch this up because it's a snare drum and Also make it shorter. However, maybe let's leave this one long Because I want to use another voices for different things and some might be Longer than we And then the first one So I don't want to limit myself too much with this envelope making it too short So I'm gonna just add another envelope here set the Sustain to zero disable the force release make it short Tuning the envelopes is a huge deal in synthesizing drums Okay, I'm gonna open up the second voice and I will use the noise modulation trick that I did before So I'm gonna open up The oscillator make it a little bit more interesting enable phase modulation. You can also use frequency modulation. Whoa This is loud and long So let's enable the amplitude envelope turn the sustain Zero disable force released Down this is quiet This is sounding very not likely I'm gonna tune down the Modulation oscillator so they don't have the same so they're not in phase anymore So they will be one will be slightly detuned so they will be not like going up in sync but slightly One in a different phase and another So this noise is less periodic And I also want to disable the velocity sensing and the frequency high frequency dumping Yeah, and maybe pitch up our modulating oscillator To make this more dense and I also want to add a unison voice to make this stereo, of course Don't know if this has any effect actually All right, so this is our noise Let's add a band pass filter actually I'm gonna try a different bank of filters The default one is the analog filters, but there's also state variable folders They sound a little bit different and they also different we behave with transients Okay, let's copy this voice Switch to next voice paste it over and now I'm gonna just pitch Differently our oscillator modulator to create a different noise pattern And also of course Change the band pass filter and give it a different release or decay interesting No, I like this one higher better. I like when the snare actually has the high frequencies last longer than the low ones Okay, I've pasted this one more time. I'm gonna this time Add a few harmonics mess this up Try something narrow now this sounds almost like a reverb. Let's try it this way Okay What I'm gonna do now is of course Add some punch that should cut it and of course disable the velocity sensing for the filter So quiet notes are quiet and not Low-past I also gonna To Turn this up so I have less velocity sensing So hitting the note softly doesn't make as soft notes All righty now for the distortion I'm gonna turn the level down. Let's make it stereo full width let the highs go through and Now the pre and post gain now that's a lot but we can mix this back with the original signal Now I'm gonna make sure that the original and distorted signal have very similar loudness So it's more easy to mix them together while having the same loudness all the way along so it's easier to hear the difference So I'm turning all the way to the dry signal and I'm compensating with the level Which is weird that they get louder in the middle for some reason All righty, this should work. Let's add any cue and one more time just like with the kick a resonant type is filter Two more stages Higher Q This sounds familiar. Oh, this is loud. Sorry. Oh Still loud Let's hear our kick and snare together Yeah, this is a resonance. Okay. I'm lacking the highs I think I'm gonna make the kick drum a little louder and also Maybe I'm lacking the punch in the kick. This is our snare. Let's go to the hi-hat Okay, so let's again assign our drums channel Pick the pad minimum maximum and it's a sign. I'm gonna turn this up two octaves Maybe even three and for hi-hat. I'm going to use pads in so Patson needs to regenerate his samples as you probably know already if you watched my previous videos and what I'm gonna do is Put some weird stuff in here generally instead this idea and Then add some distortion quantization distortion works nicely to even out The spectrum then I hit apply and play it softly because might be loud All right, let's make it a little bit quieter and This is supposed to be a pretty metallic harmonic serious or inharmonic, but it is harmonic But we can make it inharmonic with these thingies like the sine function which Makes the harmonics Shift out of their positions Let's also see what happens if I make this basic thingy Narrower but add a few more and also distort them a bit This is the stretch function. Is it I don't even know the names of these things All right, I think this is nice Let's go to the Envelope cell files and stuff and change the low pass to the high pass. Let's make it a little bit now steeper I'm gonna turn it to three stages Let's make it shorter. So The sustain all the way down first released off and I also want to try to Yeah pitch this down Maybe even lower or high pass filter is affected by the velocity of the notes. Let's play it It's quite long Yeah, this is better We can also play around with trying to make a pitch envelope This will probably sound very unnatural. So make it even extremely short and extremely Delicate or not at all Okay, I want to equalize this hi-hat because I don't really I'm not satisfied with the timber. I'm gonna use another high pass filter. Maybe Make it sharp make it resonant. Yeah, I like this resonance It makes me feel that the hi-hat is more like a physical object than just Some sound floating in space. I also want to try adding some high frequencies Or they're boosting them But this has to be done softly Okay, I think I will add very subtle Reverb I'm gonna switch to random Guess the random when turned down way low with the room size Sounds very very metallic It's gonna disable the damping and you can see and hear how awesome this is for metallic sounds Get back. Okay, use our hi-hat. I think I'm gonna Decrease the velocity sensing which means turning it up And the velocity a bit. It's still loud and piercing and of course I'm gonna turn down the Initial delay and the time or like this make it very subtle. This is without This is with okay Let's get to the crash hitting the pad assigning it Here we go For crash, I will also use pats in and it's amazing capabilities of making rich Inharmonic sounds Let's go for this chirp waveform. Let's add some higher frequency content and then Smash it with distortion. Oh, sorry. This is loud and turning it down Also disable the velocity sensing for the filter right away Turn it up and this sounds very harsh. Well, let's make this narrower Add a few bunch more. I know what I forgot to do I forgot to pitch this up one two three octaves Yes, now it sounds like it should it doesn't necessarily mean that it sounds like we want Let's make this less harmonic. Shall we? Oh, this sounds almost like a tone. It's not an unacceptable Okay, let's see what we can do with this. I'm gonna tune it down. I changed the high the type of filter to high percent. It's all the way up. So it's Actually making it silence. Let's see what we can do with this hypers filter. Let's give it some decay Disable the forced release make it louder No, that's much louder. Well, kinda. Yeah, I like the slower octave more. I'm going to Now do a little trick Which is Okay, first I'm gonna use the reverb The room reverb which pretty nicely simulates Resonances like in a metallic sheets When we're in low room size For some reason it jumps back to the middle sometimes. Let's hear just the reverb. Let's let the highs through Lower the damping. I'm just gonna Make the initial delay shorter, let's mix it back with the original I'm going to copy this reverb Switch to the next slot enable it for port one and paste it it doesn't refresh Right along now the random Reverb has this problem that it's really a random and every time you load this patch is gonna sound differently But it's gonna follow some pattern that you set That's that number one this time not room But free verb type. Let's make it very low room size for some reason it's focusing in the left channel while they are Perfectly in the center. No idea why it's changing the room size Set them back to the middle Okay, and this is the trick I wanted to show you I'm gonna add a dynamic filter This is an effect that do something called auto wah, but it can also do some other things It has an LFO. It can Change the filter cutoff frequency depending on the volume of the signal that it's being fed In our case Can do some nice stuff. I want something that will open up when the from is hit and then Release fall down because the Symbols just happen so to resonate the lower frequency energy for a longer time and they do for the higher This is another little thing that helps to simulate this and it just sounds Good in my opinion Okay, one last thing I'm gonna add an EQ and And I'm gonna use a high pass because there's some low frequency stuff that we don't need I can even cut it rather aggressively because we won't probably hear the lows in The track I Actually wonder if this is not too long. Maybe I should make the river tall tails shorter I want to introduce a little resonance Yeah, somewhere there another one Add some highs Because just made it very dim. Now. I also want to hunt for some nasty resonances that are Okay, I'm gonna go back and make the River tails Shorter, I know this is not very realistic, but it's gonna better work for our track We can also make this longer if we want later So this is it. This is our drum kit And the future episode I'm gonna probably continue this as a track and make basses and Pads and maybe leads and some other sounds maybe even incorporate recording guitars and vocals if you're interested and Because well, I think it's quite natural to show you around all these things While making music because they are not existing just to make kicks and snares They are exists to make music with this Alright, so the whole session for art or five as well as the individual patches will be downloadable the link is in the description and If you have any questions or suggestions about what I should cover next Leave them in the comments. Thanks for watching. I'll see you in the next video