 Hey, it's Anfa and you're watching AnfaVlog. Today, I will make another track from scratch using Ardor and ZenutsubFX, namely Zenfusion, the new interface that has been fully open-sourced. So if you are brave, you can build it on your own. I've noticed that a lot of you seem to want to see more raw workflow of an artist working within Ardor because it looks like you still don't believe it can do things. So I'm gonna prove it to you. So by the end of this video, we'll have something that sounds like this. All right, let's get it on. Here's my Ardor session, brand new, nothing's in it, right, yet. So I'm going to right-click, add MIDI tracks. I want to add eight MIDI tracks, call them ZIN and I have my instrument set to ZenutsubFX. I have two on the list. One is Zenfusion, the other one is the old interface, and I want the new one, of course, because why would I want the old one when I have new one? There we are. I think I'm gonna start with an arpeggio. I'm gonna make this track bigger so I can have my sweet piano roll here. Gonna make some space. I'm gonna make sure I see show measure lines, right. Also, I'm gonna tap some tempo first. Funny, I've tapped almost exactly what was there already. And I'm gonna just use the first. I need a grid. Definitely, I need a grid. I'm gonna beat by two. Let's start my Boogie. I want this shorter. I want it actually, you know, yeah, I want it to be beats by four, actually. I'm gonna just truncate this region. Oh, okay, I have no grid for... I'm gonna do this. Oh, I have beats by 20. That's no good. Beats by four. All right, I'm gonna do T for time stretch. I'm just gonna make this two times shorter. Oh yeah, this is the tempo I want. Now I'm gonna hit E to have... No, I'm gonna hit G again to change the length of this. Okay, this is our phrase. Let's duplicate it all to D. I'm gonna do it four times. I think I want to change the second pair so it's gonna be a bit different. Let's see what happens if I just loop this. All right, like this... Let's duplicate the whole thing. This phrase could be kind of an intro. Yeah, we could have this kind of like a complex throw. Maybe? I don't know. I don't really know what complex throw is. Let's add... I'm gonna call this arp. Let's add some tone to this. So I'm just gonna loop the thing in the background. I want to make this a pluck. So let's go make this saw wave. We could actually automate this stuff and make... I think I'm gonna do it. I'm gonna go learn and now I have this thingy here. I can call this attack. And now I just can add Prostate Automation Slot 1 and because I have assigned this to Slot 1, I can make an automation track for this. I can go play. Sweet. I think I... Okay, I had to both points selected. I just want one. And then I just want to jump back to the short one again. Maybe not this one. And then I just want to go back. Sweet. I think I want to maybe distort this a bit. Let's go back to that sense of effects. Insert a distortion. This is the part effects. Lopez filter. Hi-pass filter. And dry wet. I definitely want reverb. I think I'm gonna add a pad underneath to reinforce this ambient feeling because that reverb gives us a nice ambient filler in the background. And I like this. I wouldn't like to add more of that. I think we should do something else maybe to automate more parameters so it's not so simple. We could automate that I guess. Let's do it. Learn. Now I should have this in Slot 2. Yep. Let's do it. Reverb. Whoa. Oh, I pressed home and order got that as a... All right. Reverb. As a comment too. Oh, what can I type R? All right. Shift. R. Okay. Caps Lock. Reverb. Oh, that doesn't really matter. Okay, let's add another automation track. Slot 2. We can also record this. But it's gonna be a bit harder, I guess, to then really... I'm gonna save this session. Ctrl S. That's good. I think I'm gonna... Yeah, I'm gonna do a contrast thing. I'm gonna start with bigger, longer reverb, but shorter sound. And then I'm gonna do the opposite. So it's gonna be like balancing the two with Alt. I can escape the grid. All right. Yeah. So it's... Oh, I think this is too big of a reverb. It's super, super huge. Actually, I'm surprised that our Zenith sub effects handles this dynamic reverb size so well. There's no clicking. Normally, when you try to do something with a plugin, it often clicks because these parameters are not ready to be automated. At least that's experience I had with various plugins. Alrighty, sweetie. I think I would like to counter this again. So it's... I want to make like a burst of reverb, actually, like make it very long for a short period of time and then just cut it off and see what happens. Does it sound good? Let's see. X. Yeah. Same thing I want to do here. Just for one maybe note. Maybe two. I want to make it a long, long thing. Okay, so sure you can't even hear the change. Let's do it like that. All right. Interesting things happening. So this is our ARP. Now, if I want to duplicate this with automation, I'm gonna go with region R. It's clicking R key. I'm gonna select this, then I'm gonna go CTRL and select this and this, and I'm gonna go CTRL C, then I'm gonna put my play head where I want to paste this, and I'm gonna go CTRL V. And it's pasted it where my mouse was, because I had this set to mouse. Okay, I'm gonna go CTRL Z, I'm gonna change this to play head. This is my edit point. So I had to have my play head, my edit point set to play head, so then it's gonna paste where my play head is. Now I have my mouse, whatever, CTRL V, and I have this pasted on my play head. Now I can do this as many times as I want, and this copies the automation, and I can just have everything sounding the same. I love working with synthesizers and keeping all my MIDI data and my automation and just making it editable at any level. I don't really like resampling synthesizers, because to do any change, I would need to change the patch, resample it again, and it's a destructive process, and I would like to avoid destructive processes as much as possible in my workflow, so it's easier to do changes at any level wherever I did this. All right, I wanted a pad. I'm gonna add a pad. I want some chords to do with this, to go with that. So I'm gonna just, yeah, maybe let's try our sweet keyboard to do the pad. Oh, is my MIDI keyboard not detected? Yeah, okay, I had to run my MIDI bridge. Working it is, isn't, all right. I'm gonna first make a very, very simple patch. I'm going to use, maybe use, maybe patsynth, yeah. Let's go with patsynth. I need to apply. Let's go with a saw, or maybe with a square. I can make it lower. Ah, what is this? Oh, anti-pop, interesting. Alrighty, whoa, whoa, whoa, where is my main width? I have finally found it. There it is. It sounds hollow, and that is exactly what square waves do. They sound hollow because they have every other harmonic instead of every single one, like a saw wave, and these sounds are, these waveforms are produced by things like flutes, by, because of complicated processes, physical processes happening inside with the air going back and forth and compressing and doing things. I'm gonna make it, maybe give it a slower attack. I don't know the release. Could be. I really would like to mess up this spectrum. It's a bit dull, interesting. Let's do some crazy stuff to it and see. Okay, interesting. Let's, let's add a bunch of reverb to this. Maybe add some phaser. Let's make it very, very subtle. And then we can also add a chorus. Randomize the LFO. Make it subtle. Okay, see what we can do with that. Oh, I, I think I have it. Using keys three and four, I can, on the numpad, no, sorry, on the Alphanumeric keyboard, I can change between the grid settings so I can, you know, without moving my mouse from the piano roll, I can change these, which is very convenient. Oh, this is too loud. All right, now it's too quiet. I can hear. I will like to go an octave higher for the last. All right, let's duplicate this, Alt D. I'd like to do something like, maybe a band pass filter after this. So I'm going to use cull filter. Yeah, let's use a, no, no, no, I should use a wider band pass, or maybe not. Let's go with 18 decibels by octave and see what we get. I'm going to change the inertia to be small. So I have the sharpest automation responsiveness because I want to use automation for that for the frequency. Let's see what we get. I will probably have a linear scale. So it's going to be a little bit of pain too. Yeah, or maybe not. Let's see. Oh, I think it's logarithmic. I think they are fixed this in the version, in the new version. Okay. Alrighty, let's see. Makes me want to add a octaver or something. Let's see what we can get. I think I got something from guitarics. This is weird. I see very little plugins here. GX. Hello. Show me everything. Guitarics. There was an octaver somewhere, I'm sure. Oh, yeah. No, not detune. Pitch shifter. Yay, guitarics octave. Let's see. Oh, it's not managing. I also think it's trying to add sub-octaves instead of octaves. Alrighty. Okay. I think I can use auto-tune for that or auto-talent because basically has pitch shifting and mix controls. No correction. Pitch shift 0.5. I think it's not what I wanted. All right. It doesn't do what I want. It's strange. Okay. I'm going to give it up for now. Let's see if it's quiet. I need to bump it up. I think I need a kick drum for this that will thicken it up. Add some groove because we have absolutely no percussion right now. Let's see. Oh, that's going to be too sparse. I'm just going to cut this G. All right. I have edit point at playhead, so now I need to move it to mouse so I can cut with my mouse. All right. I'm going to maybe loop this for now. All right. Something badly loops. Let's see. Okay. That's better. Let's make our kick. So first voice. Let's do voice frequency envelope. Amplitude. Amplitude. Global amplitude. Okay. Let's add another voice which is going to be start stop this because there was a bug that crushed the nuts and effects when you enabled modulation during a note playing. I want to make a really messed up sound. So I'm just going to do some pre-random oscillator. Have a pre-random modulating oscillator and modulate the heck out of that. So here's my amplitude. This is the amount of modulation. Sweet. Now I can yeah. As you can just now clamp this with my amplitude envelope and it's a lovely little click for my kick. Maybe it's a bit too loud. Maybe not. Okay. Let's go to effects and put in a distortion because it makes everything better. Sure we don't want so much of it. Parallel distortion is very nice. I'm going to add a resonant hypers filter make it sharper. I think that's enough. Let's maybe add a high shelf filter so I can accentuate the click but not too much. All right. I'm going to just compress this kick quickly to accentuate the attack. It's pretty hard without compression. With compression. Nice. Me likey. Let's see. All right. Let's duplicate it. When I go shift D type 7. So we have all eight. There we go. We need a high head to go in here. Can feel the groove. Age age. I'm going to just duplicate my kick and make it smaller right now. I'm going to go E for edit mode. I'm going to offset this by. Oh. Okay. I need more precision. So I'm going to go three. So I have beats by two because I need to offset this by half a beat. I can also make it shorter. And now it's going to be. Yeah. Now let's make this a high head. Let's loop this. We can also listen to the kick along so we can have an idea how the hi-hat is going to interact with our kick. Or maybe not. Maybe let's maybe let's silence the kick so we can focus on our where is the nuts of effects. Come on guy. All right. So hi-hats are very, very nice. There's a great way to make hi-hats from pulse waves. But you need a lot of them. Can use modulation unison with no vibrato. So we have no change in pitch between these. So this is one. I'm going to copy this. Hopefully I can paste it here. I do. Sweet. Now I'm going to detune the second voice. Does it have the effect I want? Let's. Okay. Because of the a lot of, because we have lots of detune in the unison. It's not so easy to hear the effect. Let's paste it one more time. I'm going to make the fourth one from scratch. Voice, of course. And make it pan. Let's copy this here. Now I am carefully trying to make it as detuned as possible. So it doesn't sound like a note. All right. That's our last voice. Maybe we could use this voice for some noise. I'm going to change this to a white noise. Pan to center. You can also use modulation to make the noise stereo by having two copies of the noise or two independent noise sources. Pan left and right. This is what the spread does. When I do this, they are going to be in the center and you can hear some phasing between them. Now they are left and right. So we have a wide stereo image. And now the magic happens because you might think, what the crap is this dude? Now we go to the global filter. Change it to a high pass. We make the resonance power and we do the amplitude envelope. That's our hi-hat basically. I think I can decrease the amount of detune in the unison for the first three voices. So we're going to have some sharper sound. It's pretty nice. Let's see how it plays on different octaves. That's pretty cool. Let's add a bit of reverb. Make it very high in pitch. By the way, I can maximize this thingy. Oh, sorry. The plugin version change of the scale of the window is not working properly because of the limitations of, I guess, LB2 or some problems with handling plugins. The standalone version beautifully scales to any resolution you want. This is initial delay. So I'm going to decrease that. I also will add a NEQ to make a peak filter so I can accentuate something because I want to accentuate some, maybe not too much because it's going to be painful at some point. And we don't want that, but I want it to be quite prominent. Now I'm going to maybe add another low shelf, make it sharper to cut the lows. All right. Let's listen. Should be good. Let's shift D3. So we have four copies total and listen. All right. I think we could drop a bass right there, maybe. So I don't know, maybe let's just duplicate everything we have and work from there. I'm going to go three, press four. Sorry, four. So I go to beats and then maybe bars. So a snap to bars, which is going to help me. And I can select this. You can see when I drag, it doesn't select the automation tracks. So I need to select them separately on my own. I'm going to go Ctrl C, change this edit point to playhead, put my playhead where I want to paste it. Oh, all right. I have auto return. No, I have auto play enabled. Auto play. Yeah. Because I pressed five. Auto return two. I just pressed around the keys. Yep. Ctrl V. There we go. And I'm going to Ctrl drag the hi-hats. So we have them here as well. I think I'm going to, I don't know, maybe add a bass. Let's see. Okay. Maybe we could put around some markers to know what we're doing where. I'm going to just name each part A, B and C. Oh, yeah. Location markers. This is A. This is kind of an intro. This is going to be this is where the bass comes in, I think. Let's press three. So I have more resolution to the beats. Let's listen. Listen to just the bass and, oh, sweet. I like it. I'm probably going to, oh, okay. Sorry. I have my play, my edit point set to playhead and I still want to cut with my mouse, which is problematic. I'm going to go all to D. Now I'm going to edit this. Change the melody in the second part. All right. Just one note, but it makes a difference. It makes it feel absolutely different, which is just one extra note. You would say, what? It makes a difference. Small things matter. Okay. I'm going to go press just consolidate range. So I have one region instead of two. So it's easier to copy and paste that around. Now I'm going to create some sound design for this bass. Oh, okay. I'm going to press like this. Press the right square bracket. I hit all L to loop around this selection. I'm going to pause it to add modulation to my... Is there a phase offset for this? I don't see it. Maybe it's there. Oh yeah, there it is. I think this place is a bit broken for that. Okay. I think we'll now play around with the depth of the modulation because that always makes it fun. I would also want to make the global filter go. Maybe I will make this global filter a high-pass filter actually, independent from the velocity and frequency. So it's just a static high-pass filter. So we can have a separate sub-bass oscillator. This is going to be it. And our sub-bass oscillator is going to bypass the global filter. It's going to make our sound way fatter and we can mess up the middle and high frequencies on our first voice. This modulation as much as we want without breaking our sub-bass, is important. I'm actually also trying to add some noise. Maybe. Too much, too much. Maybe just on this first thingy. It's a bit silly. Maybe it would work well if we distorted this afterwards. Or if I enable filter. I will leave it in. I'm just going to make it very minute. Okay, I'm going to learn the first voice modulation amplitude, this one. It's going to give us a lot of fun. Learn. Now I have macro learn. Yep, I'm going to call this PM. I pressed space and Ardor claimed this. All right, let's leave it at PM. Automation processors and so if I slot one, this is it. You can actually record this. But maybe not. I will be attempting to make some random, totally random stuff and I just I would like to design some sensible automation so it is musical. Okay, we're going below any sensible level in here. Let's try it. Okay, how about this? Sweetheart. Too much, too much here. Not sounding nice. Sounding edgy and cold digital. Actually, I think we should mute these instruments when the bass comes in because otherwise we're going to have a whole lot of mess of stuff and nowhere to put anything more because it's going to be just too much. So I'm going to just mute these for now. Alt one will add exclamation mark everywhere and that means these regions are no more playing. Ah, we have stuck notes. All right, I duplicate this but no automation because duplicating media regions with alt D or shift D will not copy the automation. We need to do our range selection. So hit R or press here for range mode, select this thingy, then control select automation, control C, make sure you have either snapping to bars and the mouse on and then I can just go here and wish for the best. It's snapped to the bars, it's okay, so it should be fine. Yep, snapping, good. If you do this without snapping or you snap to two little increments and it's offset, be careful because that can just, you know, it might be difficult to actually detect that it broke and yeah, you just, it doesn't sound right. I think we should just slightly maybe, maybe slightly, maybe not, maybe not too much, but distort this thing afterwards together. Maybe add some reverb in the high frequency band. Let's see. High, so we have high pass filter engaged. Maybe small time. Big initial delay, so it's kind of a, kind of an echo, kind of a diffuse echo. We could, I don't know, I don't really want to automate this. I don't think maybe I'm just going to make it smaller because when I distort everything whoa it's gonna for sure make this reverb more audible. Sweet. You want it like this? Actually if we use some asymmetric distortion it's kind of like a second layer of frequency modulation. I will actually automate this. Learn, drive. It's going to be very, very fun. Macro, learn. Let's test it. Yup, slot two is drive. All righty, I'll close it for now and play with the automation of the drive. We'll have to copy and paste it. Oh, all right, I don't put regions here now. Um, I guess a little bit of movement, maybe, you know, kind of a, you know, you know, we have phrases, then we have meta phrases above the phrase, and we have meta phrases above the meta phrases. So it's like, this is a small phrase that is repeated with a different, with a variation here. And this all is also a phrase. So this automation is repeating along this phrase, and this automation is going to repeat among this phrase around, kind of, you know, working on different levels of the structure of the, of the music. Okay, it might work. I think I should make it a little bit more dry wet. Let's make it parallel. Oh, and make it stereo. I will compress this space. Hopefully to even out the loudness. Also make it a little bit less loud. All right, let's listen to the whole thing. I want to make a variation here. So we have something else, something different. That should be pretty sweet. How about changing the automation there to to accentuate the difference? Maybe make something like that. Oh, sweet. That's a lucky accident. There are no mistakes there. Only happy accidents, Bob Ross. Oh, I'm going to remove this point because it's just hanging there with no foreign reason. This one too. You know, save. Kind of a, I don't know, some house-ish thing. Makes me want to bounce. Would work great on a dance. I guess. I think there is a little bit too much high frequencies in this bass track. And it is a little bit too prominent. I know I just made it quite bright and full of frequency content, but it feels like it's too much. Let's just turn it down a bit. The high frequencies. Oh, that's a lovely spectrum. You see our sweet. I'm going to enable. Let's see how our lovely harmonics are dancing because of the quince modulation and the asymmetric distortion. Sweet thing. I also think we should have more hi-hats or other rhythmic percussive elements because we need to build up the groove. And this is just a kick in the hi-hats. It's very, very, very sparse. And I think, I feel like I want to add something to that. So I'm gonna try add another hi-hat. Gonna maybe, I think I'm gonna loop. I'm gonna just, yeah, loop one phrase. Maybe without music anything. Just, yeah, just work on that. Oh, please don't do that again. Oh, oh, we're gonna make something melodic. Not hi-hat this time. Oh, sweet. Let's go make this region consolidate range. Sorry, consolidate range. I want to make something, I don't know. I don't know. Ah, I like it. Excited. All right, so this is not, I'm gonna call this pluck, whatever it's gonna be. Whatever it's gonna be, it's gonna be called pluck. Doesn't matter. All righty. Oh, that's sweet. That's so cool. How about pitching this everything down? I want to make this monophonic because I want the, I want, I don't want the notes to overlap on this one. Okay, I'm gonna add modulation. I want to, I want to mess this up. Mess this up badly. Oh, you see, we have, we have another instance of NetsubFX triggering this for the GUI. It's not actually happening for the engine. I mentioned this bug and Mark McCree is knowing about it. But it makes it harder to set the value you want. Oh, I like this so. There's something. Now, this pitch doesn't work very well. Let's try moving it up, shift alt, up arrow, shifts it one octave up. Oh, doesn't sound better at all. How about making it shorter? Could work. Definitely could work. I'm gonna alt D this maybe. Yeah, let's all, let's copy this. I know what I'm gonna do because we, we shouldn't drop this. We shouldn't drop this is a new element and this is a new element. Look what happens if we just play this. There's too much thing happening at the same time. People should not be overwhelmed and this is overwhelming. So we should in, in, I would introduce the bass, but then introduce this over time. We have a filter course. What else would you want to do? Filter, filter sweep. Ah, let's see what it can do. We can use the internal one. Automation reading from another process, but it's okay. Let's use that. I'm gonna go learn, test it out. Okay, works. Let's call this cut off automation track for the plug-in soft one. Make it play. Play the thing. And we're going to slowly introduce it. Let's see. Whoa. Whoa, whoa, whoa. Wow. Why? It shouldn't start right off. What's going on? Maybe I should, I don't know. Maybe I should, let's try. Okay, that's better. Looks like we have a very, very strange range. That should be good. It will introduce it over time without overwhelming the listener. Control S. I think we're still introducing it too early. I'm gonna move this down. People is gonna be just, whoa, what's going on? Whoa, whoa, whoa. Why so much stuff? I will. Also, I want to distort it. I just want to distort it. Let's go select these maybe. Also, I want to high-pass this thingy. Shouldn't have any low frequencies because that's gonna damage our base. Now it's better. You can see we don't have the low frequency click when the automation snapped back and the filter went all the way down. And naturally it was a very fast move, so it had to generate an impulse. And that impulse had, it impulses our wide frequency, so we have every frequency. And we could hear the bass frequencies there. And we don't want that. Now it doesn't happen when we have filtered out the low frequencies. It's there, but it's very, very silent and quiet. Maybe I should introduce it slightly earlier. Okay, I think we should just duplicate this part and build on it. So I will select the range with bar snapping. Are we good? We are good. Now control, whoa, I changed the mode of this to touch. No, I don't want it. Control, control, control, control, control, click. Yay. Oh, we have these delete disabled. Maybe I don't need to duplicate them. I will, whatever. No big deal. All right, we have everything. Control C, now mouse. We are snapping the bar, so putting my mouse here and pressing control. We should do the thing. It did the thing. Wonderful. Now how about bringing back our sweet little arp? I think we should mark this as part C, just to know where we are. It's like eight bar blocks. Eight bars from B to C, eight bars from A to B, right, two, three, four, six, seven, eight. Can count. One, two, three, four, six, seven, eight. What? One, two, three, four, five, six, seven, eight. But the pads, no, the pads shouldn't go. Or maybe the, I don't know. Oh, looks like, looks like they were unmuted because we copied them weird. We still need a second high, you know. Look at that. Yep. We need something like that. It nicely plays. The, the, the arp comes in and it makes it feel good, feel developing, feel nicey, sweet and full. Alrighty. I want to develop a really rich hi-hat part for this thing. Maybe I'm going to just first do a very basic one, then make my sound design and then go back and, ah, no, no, no, this one. Yeah, I'm just going to make my sweet little hi-hat. Let's go with a different approach. I'm going to use Pat synth this time because Pat synth, oh, do great stuff. I'm going to use a pulse wave. Make it weird. Distort it in a friggin sweet all the way. Ah, man, this, ah, no, I need something else. Oh, yeah. Cool. Make it filtered with sine filter, which is weird, which is good. Now I'm going to make this in harmonic. So let's do, do stuff in harmonic. No, in harmonic. Let's do sine shift. Ah, yeah. So it displaces our harmonics of sine function. That's going to make them nice and in harmonic. I'm going to also, this is the single harmonic profile. So I'm going to introduce some weirdness. Make it more, make more of a stuff and make it, I think I'm missing some, some stuff. Alrighty. Cool. Now let's, um, maybe let's make it wider. I turn this filter into a high pass because it's a low pass by default. We should make the frequency lower. Oh, yeah. And now I could add a amplitude, add a click with strength. Can you hear the click? We have a sweet click. And then we will make this decay. And we can decay slowly. So we can make an open hi-hat sound as well as a closed hi-hat sound. If we just release the note, make it shorter and it will release right there. So it gives us more options. A click might be a bit brutal. Right. I think I could also add a tad of noise. Just add some random harmonics with no fundamental because it's gonna make them sound like a tone. It's like a note and I want that. Make it wider. Make it inharmonic. You. Sweet. Sounds metallic. That's crap. And the same thing applies. We need an envelope that's going to decay but long. And how to make this a bit more delicate. Yeah. It adds another layer of hi-hat-ishness for our hi-hat which will make it more hi-hat-y, which is good. Also always add more hi-hat-ishness if you can. Makes things better if you're making hi-hats, of course. Now let's just add a bit of reverb. Not so much. Yeah. Let's just make it feel like it's in a space. I mean in a room, not just flying in vacuum because vacuum makes no sound. Let's hype as this. And now we can accentuate also some some particular frequencies that we like. Oh that's that's a lot. Or dampen some that we don't like. Like this. Like in it. You see without this single harmonic it feels completely different. Look. I'm going to make this off. Huge difference. Absolutely funny. Like. All right. Now let's make our part. But first I need a little bit of a break. Okay I'm back. Making a second hi-hat. Let's hear the thing. Oh that sounds so sweet. I like it. But I want to fill it up with more stuff. Oh I like the timbre of this hi-hat so much. Wow. I want to make a very very short little. Whoa what did I do? What did I do? Oh C is MIDI channels. MIDI channel chooser. Yay. Okay I can put a note on a different channel. Right now it's a channel two. This one is channel one. Oh sweet. And you have this under the key C on your keyboard which is very convenient. Convenience is also starting with C. Cute. Combustible lemonade. Just discovered something. Trying to teach you stuff I learned also. I think I need to add a longer release because these are feeling so stuttery. I'm doing this to add synth. Add synth is not used in this. Different layers have different release times. It makes it interesting. I think I need to play with velocity because otherwise it's gonna be dull and boring. Gonna make these just with the mouse wheel. I think I also want to make my grid even more. Beats by eight. I want it more. Yeah beats by eight. Gorgeous. Shift D. Make three copies and play it. Just play it. Play it out of it. Yep. I think it is a little bit too loud. However we could equalize it so it is. It has even more emphasis on the high frequencies because they are hard to hear. Even though we already have boosted them but in the mix they disappear. Oh it's so so serene and laid back and oh man so so sweet so so delightful. I want to make a pre-noise like a riser here. I would go with a noise based one. Let's see what we can bake. I am tempted to make a super saw based one but I don't know if it's gonna fit in the style of this track so let's try with the simple noise one. I think I'm gonna enable keyboard input so I can easily try it out without stopping and starting again the transport because that's gonna make it hard to really do the thing I want to do. Let's make this white noise. Make it stereo. Here a difference? If not you're streaming in 270p and that is not how it's supposed to be in 2018. Lad now I'm gonna do a good old filter sweep. Okay what am I doing? All right we also have let's bypass the global filter. Let's do this with automation because I normally do this with envelopes and then just put one note and I'm done but automation is gonna give us way more control. I know it's gonna be a bit more cumbersome but well let's do it. Learn. Wiggle wiggly. Unclicking. Macro learn. Pressing. Testing it out. Works. Sweet. Cut off. Whoa. Not this. Alrighty. Alright. Automation. Slot one. Now we have this here we can do stuff. We can do things. I know we might have trouble getting the right. I'm gonna increase my grid to beats. I don't need beats by four or eight. Let's do this play and listen. Okay. The same thing. We are way too high. Okay I will change the offset and the gain so we have more resolution in the low frequency. Let's see what it is now. Silly. Very much usable. Actually we're starting like right there. Let's try to do this like this. What are we gonna get? Very simple but effective. Pre noise. I will call this could be called a riser or something. I think we need to add some. I don't know. Maybe reverb. Let's try. Or let's mess it up with MA pitch shift because it is a awesome plugin that does very weird things to sounds. But we need to change the routing. I'm going to make this. Yeah. Each instance is gonna get its own output. Let's do it. Let's loop that thing and solve it. I'm going to enable MA pitch shift ratio. It's a pitch shifter that gives you control over various things like the window size. Oh it's going on. Oh we have everything. All right. Somehow I've created automation slots for everything but that's no problem. We're going to make automation that we need and then we're going to remove automation lanes that do not contain any automation. So we will clean this up. Auto pitch shift window. This is like the buffer size for the pitch shifter which makes things very funky if you make it small. Let's just hear it. Yep. This is why I like MA pitch shift. Okay. I think I'm not going to be doing anymore. So let's go. Whoa. What did I did? Whoa. Wow. Where am I? It's happening. G. Okay. Pre-noise. Okay. Right click. Automation. Show. Okay. Hide all automation and then show existing automation. Now we just have a track that actually contain any data. Oh this one doesn't. Why is it here? Let's just clear it and hide it. All righty. It makes it more interesting. It makes it a little bit less generic and simple which I like. So well. Well we want to copy this. We need to copy it with range selection so everything is copied along. Let's listen and think what can we add in this session. Oh yeah. I could make this kick less frequent in the first part. I don't know if it's a good idea. I'm just going to try it out. Shift D3. There you go. Oh no. It doesn't feel well. Let's control Z this thing. Okay. But I want to do something. It's very... I want to automate a LOPUS filter over this kick so it doesn't kick so brightly at the start because it is very, very bright. I don't like that. So let's go A. Automation. Culp. Filter. Frequency. Play. And now I'm going to start with a LOPUS filter at maybe 500 Hertz. Then let's go to all the way. Halfway through I want to be at 1000. Then I want to be at 1000 like this. Yeah. Let's see. Oh much better. But I want to lower this even more and see how that sounds. How about adding some variation to this hi-hat? Can we do this? Oh wow. I pressed C. S for split instead of D. I want a D. My grid is set to beats. I want my grid to be set to beats by 8. Let's try adding some very short notes. Let's see what it does. Oh sweet. I would like to make them... I'm going to press E to edit so I can select with dragging then just make them quieter by using my mouse wheel. I don't like that this note is very short. It's sounding weird. Like it's being... Maybe it just needs to be louder too. Better. I would also want to maybe shorten these notes before. So there is kind of a build up to that break. I don't know if it's gonna sound good. Not super sure but let's try it. And we can also do the same thing there. Very nice. I would like to add a crash symbol I guess. We have eight tracks. I need to add more tracks. Let's add two more. If we need more we're gonna add more. I'm gonna add a crash symbol because there is a need for one here. Definitely. Maybe I'm just gonna enable my keyboard input so I can try it out very very quickly. And well let's just use everything we can which is pad synth. It's great for such stuff. Let's do a similar thing that we used for apps ABS sign. I like this one. Oh we could use discrete. It's gonna make it very very weird. So let's mess up our oscillator because we need it messed up to make good things. Oh that's interesting. Adaptive harmonics. That adds octaves to our sound which could be good. Could be bad. Modulation. I think we have super big amounts of high frequency content which is good because we're gonna turn it into pure gold. I'm gonna go shift L which will shift our oh what what that spectrum is so limited one more. That sounds like a dubstep screaming sound I don't know. Could be. Well something's not right. Oh bandwidth isn't gonna do anything in the discrete mode which only creates pure tones on the harmonic points and no width whatsoever. It's like I think it's like using bandwidth with zero bandwidth even even even more even less bandwidth than that. So let's maybe not go that route. I'm going to try envelopes in the foes. Let's go one octave down and make our filter a high pass. Oh that's bright. Let's make it decay but the amplitude. I want the amplitude to decay. Cool. Sounds like a crash. Could be. Now let's disable force release so I can release the key. It still plays the decay part of the envelope. It's not jumping to the release part. If I have force release it jumps to release stage whenever I release the key which is not what I want here because I just want to trigger this and have it play out the whole thing until at the end. Alrighty we need more layers. Let's do whatever we can to make it as messy and interesting as possible. So make this in harmonic please. Let's go with sign. Make it more bandwidth. Make the filter a high pass. Oh enable it. That sounds like some harm from a pipe. Not exactly what we want. Maybe let's change the octave. This could be better but we need definitely we need the envelope to decay. Let's disable this. It does fill in the spectrum so that's good. We need more. It already sounds kind of like a thingy we want. Let's do crazy amounts of detune on this. I want even more. How can I get more? Voc voice list. Maybe it's not present in this infusion yet. For the record I have found that in the global frequency we have bandwidth and we can use that to scale the unison detune and any other detune options. Way way further apart. So back to the main dish. But it should do the job. I'm just gonna mess up this waveform. Let's go with maybe asymmetric too. We could do modulation. Ring modulation. Who's gonna stop us? Nobody. It is weirdly not doing what I think it would. Is it ringing? Maybe it has velocity sensing. I think I need to detune it. Let's do anything. Let's disable all their voices. Face modulation is doing things. Oh but it's still. Maybe it's the global filter. Let's go with no sensing. And again I forget that to disable the velocity sensing I need to turn it all the way up not all the way down. Here's my mistake. And the voice. No sensing. On the filter. No sensing on the amplitude. Right? Go with ring. Oh it's quiet. Why? Not what I wanted. I should turn it all the way up not down. That's the thing. Okay. It doesn't do much. I expected it to do more. What's going on? Oh this does way more things. All right. I don't know if we can use an envelope. If that's gonna do a good job. Maybe to some degree. I need to have the amplitude envelope decay. Now if we hype as the thing it shouldn't be so bad right? Sounds like a crash. Yeah I know we could dequeue this. I'm gonna enqueue it. Let's go. Maybe add some reverb. First. Oh the secret weapon. The random reverb. I'm gonna go all wet and you can hear what it does. It's amazing. You set the room size to very small and creates random resonances creating like it just simulates a metal part resonating. It's fantastic. The bigger the size the bigger the part. It's super great. Let's add another layer of reverb onto that which is a like a regular reverb and then use EQ to sculpt the thingy. I'm gonna go with high pass first. Cut off some nasty lows. Add a peak. Oh sorry peak. Yeah the upper mids kind of add weight to the thing and make it feel like a real brass cone. Not just like a simulation of one. This is nasty. It's a pity because I need some high stuff. Maybe I can boost this. I think I can. Let's go with that. Alrighty I'm gonna just put a note here. Different pitch different pitch different sound. What note am I playing? I think this one. Okay let's hear it in the context. I think we could compress it to make it last longer. So we will attenuate the first part of the sound that is the loudest one and we will slowly release to make it feel like it's a longer sound. I'm gonna make this one stay on top because I'm gonna be. Oh it didn't work. Okay I'm gonna just do auto return and I'm gonna go. Yeah now I can just stop the playback with space bar and press it again and restart the part and I don't have to click away from my plugin which would hide its window because I'm in the full screen mode. Oh yeah this is exactly what I wanted to do and it does it. Just add some makeup gain. Oh not. Let's not do that. Let's instead just rise this level. Very nice. Very long soothing decay. Okay we are approaching two hour mark. Not really. One third probably when I cut it down. That's all for today. Thanks for watching. I hope you learned something. I hope this shows you how you can make electronic compositions with synthesis inside Ardor because many people think that Ardor is only good for recording music when you have this and it's no good when you just have this synthesizers but it is. It is good. It does have some non-standard ideas in it but it's absolutely usable. It works and I love it. The session will be available for download so if you have Ardor this is version 5.12 working backwards so you can download the demo for free from ardor.org or pitch in $1 a month via PayPal recurring subscription and just download the full version or if you're on Linux you can download it from KX Studio Repositories. I'm gonna maybe link a video where I explain that in the notes. Yeah just play along. Fix and remix this. Make your own version. Build it up. Break it apart. Replace the sounds. Learn from it. Do stuff. If you have any questions or suggestions for future videos please be kind and leave them in the comments. I will also greatly appreciate any feedback on what I should do, what I shouldn't do, what I can improve, what I messed up. I'm trying my best. Also big thanks go to my Patreon supporters who bring in money every month. It's amazing that you guys are there and you want to support this. I have a notion of a mission in the open source musicianship community. I feel like what I'm doing is very much needed and our community needs artists and our community needs to find out what amazing software there is that is open source and everyone can get it and make music, make great music. It's not a toy. This is serious stuff and you can do serious work with it and I want to let the world know. But I need your help because I need to eat. If you think I should continue on this quest consider becoming a Patreon subscriber. So yeah download the session. The link is in the description. Leave your comments. Also spread the word. Let this video be on your Facebook wall or whatever. Tweet it. Let people know. I don't know. Yeah let's make this thing explode. All right one more time. I messed it up.