 Hi, I'm Anfar from Anfimz.com and LZW is back. I know you missed me. It's been a year or more since the first episode of LZW. So a lot of things have changed. I've got notes about everything that changed and I'm gonna try find my notes so I can read you out everything I should. So the thing is, I've totally changed the concept of LZW. The initial concept was that I will be making tracks, recording full footage of how do I do it, explaining every step. But the big mistake was that I tried first to make one big video of every track and throwing everything in. Like I do kick drumming, I do bass, I do sleet synth, I do mixing, I do some other stuff. Everything in one video. That was not a good idea. Because this knowledge is just mixed up and it's hard to find what you really need and you actually have to watch everything which is daunting and just pointless. So first thing to change is that no more long boring videos like 45 minutes of me doing some track, actually going super fast with my VX Nano Logitech mouse. No, instead I'm going to go with short episodes. One topic for each episode, detailily covered. All right, so one episode for making a kick drum, one episode for making snare drum, one episode for making a bass, sound type A, bass sound type B, five of them or pads, etc. All right, so this is the introductionary video. I have actually, can take a look, where's my mouse? Oh yeah, here it is. I have a list of episodes and the numbers and so you have, I have plans for making these videos. There's quite a lot of content, but I think it's going to be easier to make because of the second reason and the second thing that I did wrong last time is that I wanted to go full HD, 60 FPS, multiple super cool stuff like A-Candy, I-Candy animations, cool transitions, like an equals free, cool transition, yeah, that kind of stuff. So I focused too much on making this visually attractive instead of making it just packed with good knowledge. So I regret that, I'm sorry, I'm going to make the second change, which is I'm going 640 by 480, no animations and cool stuff, just a little bit, maybe a jingle at the start. So I can get 30 FPS instead of 15 for the recorded footage and no post-processing editing, which means I spend five hours on making an episode instead of 30 minutes. So I get more motivated to make episodes when it doesn't take five days to accomplish one episode. Okay, let's see what do I have, what should I do next? Okay, less quality, more content, yeah. Short episodes, yeah, yes, okay. So another news, not regarding LZW, which stands for LMMS and Zenit SubFX Watch and Learn. Another news is about LMMS itself. LMMS has got a new version, as you're going to see, LMMS is now in version 1.0.0. So a lot of changes have happened since the beginning of the year. There are a few new synths, there is a totally different look, there are some improvements, some features that we're missing for a long time, like cool automation that can do this type of thing or even this type of thing, or it can actually have a curve with control points, not just discrete automation with samples. All right, so LMMS has got a new version, that's another news. What's more, well, if you don't have it already, get it at lms.sf.net, which stands for SourceForge. Actually, the development of LMMS has moved to GitHub, so if you're interested in helping us out finding bugs, taking screenshots of what's broken and uploading them, go to github.com slash lmms, and there you will find the project, you can find my bug reports as well because I'm involved in developing this program since the beginning of the year. Actually I was one of the persons involved in giving LMMS the new energy to carry on and I decided to just kick these guys in the butt and say, hey, this is awesome, you can't waste this. I mean, this is an amazing program, we just need to do something with it. And they did, and we did all together and it's moving forward really fast and improving on many fields, parts. All right, I'm getting, it's getting long. But anyway, I wanted to pack one more big thing into this initial episode. For those of you who are not familiar with Xenot SubFX interface, I'm going to do a overview and a detailed overview or a review of what is what, what is where and what does what. So you can tame this beast and make some cool sounds out of it, because it's worth it. All right, so let's get it on. I'm going to hide this crappy shitty stuff. Let's just hide it somewhere. Like this. All right, so let's begin with taming LMMS. I'm going to remove the kicker, which is a default instrument right now. And I'm going to input some note. Maybe we will get views of it, maybe not. Let's see. So here's the beginning. We have the plugin tab for the instrument. We have the big button show GUI, which opens up LMMS graphical interface, user interface. We have a few knobs here down below, which are rooted to some global controls of Xenot SubFX. This is port for portamento. So we can control with automation within LMMS the time of portamento effect. We can control all filters and frequencies. So we can just tilt them up or bend them down, reset it, do some automation. We can also have resonance for filters. We can raise the Q value or lower it to make the filters less sharp. We have bandwidth for things like filtering out from a noise. We can actually make this wider so it's more noisy and less tone-like. We have also frequency modulation gain. This affects FM synthesis. So all frequency modulations, actually frequency modulators within this patch are going to be affected and we can just make them gentle or not. We have also resonance center frequency, I don't know what it does, and resonance bandwidth. Nobody knows. Nobody knows the trouble I see. Forward MIDI control changes. I guess this has some use, I don't use it. Anyway, this is all we have to know for the start. So now let's open GUI, we have a window right here. So this is the main Xenot SubFX window and it looks pretty nice, however you may have no idea what this stuff is. I'm gonna show you. It's broken up into several panes, several categories. Of course on the top, on top, we have the main menu. We have file, we can create a new patch, just clearing out everything. We can open some patch, we can save it. Actually Xenot SubFX have two ways of saving and loading patches. One is through many file and it's called Open Parameters and Save All Parameters and this creates a XMZ file. So it's like master settings and we have the same thing in instrument which is open and save instrument which is does X, I, Z which is instrument. So we can save individual instrument or all settings. And why this and what is the difference? Well we have actually Xenot SubFX has a multi timbrel synth and it has 16 parts. So when you click on this panel window button here, we have something that looks very much like a mixer. And it is a mixer. We have 16 channels by default, they are assigned to 16 MIDI channels. So when this round, some of the Xenot SubFX runs as a standalone application, you can just connect 16 keyboards to your laptop, assign each one to a different MIDI channel and perform 16 different instruments at the same time within one instance of Xenot SubFX which is cool. Now why would we need this? Sometimes we run out of mixing capabilities. I mean I made a sound that is heavy, gritty, nice, cool but I need to add some elements to it. I have voices and different synthesizers and joints and stuff. So I just open up another part, assign it to the same first MIDI channel and I have the same thing. You know, we can click edit here or here and it should open us this window. It doesn't. I don't know why, never mind. So we can have 16 different instruments. I'm going to disable it for now. Of course we have volume and pan controls so we can adjust the sounds, the proportions of the sounds. So it's an internal mixer of Xenot SubFX. So every part we'll jump to the lower pane. This is the higher pane. This is all master settings. We have master volume here, which is the last fader before this plug-in output signal. We have master key shift. So we can transpose this by octave up, two octaves up, two octaves down, etc. We can also do this by single keys but I never use that. We have also global find detune, which we can, you know, just differ the tuning. But for some reason we want to detune the whole thing we can do it. And there's a reset detune button, which brings us to 64 in case we can't get it right because it takes some, you know, practice. Oh, one tip. You can manipulate knobs in Xenot SubFX in two ways. You can do it with left mouse button, press and drag it down or up. Dragging left or right doesn't do anything. So you click, drag up or down if you want to change the value up or down, etc. But you can also do this with right mouse button and right mouse button gives you extra precision. So it's like 10 times more precise. You know, here I'm to the bottom of the scale and with right click the screen is not enough to get to the bottom of the scale here. All right. Also this is not useful when you're doing it in LMS but as a standalone application Xenot SubFX also has an audio recorder. You can select from many, record, choose wave file and open dump a file dialogue. You can type anything but not in the user bin. Sorry. Yes, I'm typing tiled, test.vav, hit enter. And now the rec button is enabled. I can press it. It starts recording. You can see that the record has this asterisk now and it's disabled but I can place something on my virtual keyboard or can I? Yes I can. Beautiful harmony. Yeah, and this gets recorded to the file. I can pause it, I can stop it. So the file now should be there. Yes it is. And now we even see the riff, yep, it's a wave file. Okay, so what do we have more? We have a panic button, panic. If you have sounds like you got the keyboard and you press a few keys and then you switch the window and the keys are pressed back there but you can't unclick them. You can just press panic button and it sends off note off. For on all channels, for all notes, it disables all playing sounds. This is useful if you just create a patch that goes insane and totally uncontrollable and you can just kill it. It has a bomb embedded and you can detonate this beast when it's out of control with panic button. Okay, panel window, we already reviewed that. It's the internal mixer, vkey, vk, virtual keyboard. You have this little MIDI controller built in which has a few cool things. First it has a MIDI channel. You can see that the 10th MIDI channel is drum, so I guess it's something for internal velocity. You can set the velocity of the keys because this is, of course, non-pressure sensitive. The vertical mouse position doesn't affect the volume as it does within LMS. As you can see, if I press the key here, it's louder than when I press it here. So this is what LMS does but SenseFX does differently. Okay, we have velocity randomness. So we can have each note a slightly different velocity. It might add some life to our performance if we do it with a mouse or QRT keyboard. Octave shifts the whole thing in frequency. Now we have two blocks, square and ZXCV. Square is the top. Q, W, E, R, T, Y, U, I, O, P. Left bracket, right bracket and backslash. So it's Q is C, W is D, E is A, E is E, actually E is itself, R is F. For example, two is CIS, while three is DIS or D-sharp, C-sharp, D-sharp, etc. Or D-flat and E-flat as you prefer. So this is the top row and we have the bottom row starting with ZSC. So I'm pressing the Z key and it plays a C note lower. S is C-sharp, D is D-sharp. X is D, etc. You figure it out. So we have the two rows and they are controlled independently. So we can shift every row wherever you want. So now under Z I have so sub-basic C that it shakes ground. I'm gonna turn up the whole thing so you can hear it. Listen up. This is the sound of Armageddon, while Q plays much higher note. All right, this is it. Now we have controller. You can filter, no, we can pick what parameter is controlled by this slider right here. It might be filter or it might be portamento, no, panning. So we have a mouse, you can play, perform stuff like this, just like Widdler does. And finally, we have a pitch wheel. I'm gonna play a note and a reset button, very useful thing. So we have a pitch wheel. You can bend this and press reset. All right, close this. Virtual keyboard done. Now we have scales. Now, this is something extremely weird, because you can actually make Zenit sub-FX play in any microtonal system you would ever could ever come up with. By default, it's 12 notes per octave equal temperament. And this is its configuration and you can change this. I highly recommend don't mess with this thing, because unless you're into some microtonal music, I'm not touching this. However, you can also change the tuning, because we have 440 hertz here and you can switch it, shift it to 438, you can just do this. Do 1,000 of a hertz. This is much, much precision and stuff. You can also invert the keyboard, but we'll play higher keys, we'll play lower notes and such. It's weird. You can also import and export. No, just import. Yes, keys from different things. All right, I'm going to disable this, close it, forget about it. Don't you ever touch this thing. OK, so this was the top pane of the main Zenit sub-FX window. Are you still here? Still living? Hey, let me show your face. No, I don't have your face. Never mind. OK, so let's go to the bottom pane. Forget about the middle pane. Right now, I'm going right to the bottom pane, which starts here. So on the very bottom, of course, we have a VU meter, which prints out the volume. OK, we see that we have pan slightly messed up, because we have one decibel difference in left and right channel. And what this does, well, it shows you what is the level, loudness level of the signal output after the main fader. So the basic rule is generally try to not overload it over or zero decibels, but actually it doesn't matter. You can overload it anyway it won't distort unless you have a limiter on the master or you will export a 32-bit floating point WAV file. This box here displays the highest peak ever reached. If you can reset this by clicking with your mouse, and if I actually quickly create some envelope for this, you can see that it really does what it is intended to do. OK. So the blue bars are the digital peaks, whether the yellow bars are RMS values. So this is the perceived loudness for short. If you don't know what RMS and digital peak, go search Wikipedia. OK, I'm going to stop the sound because it doesn't make explaining any easier. Yes, I know it's hard and it's difficult, but if you want to master some of the facts, you have to be strong, man. And really, it's worth it. So stay with it, stay here. OK, so the lower pane, we started with the meter, it's done. Now, in the left corner, we have the part number. So here we can switch up to 16th, all parts. And you can see that they are grayed out because they are disabled. And you can enable them here, et cetera. Also, here is a bar. You can right click it to change the name of the patch of the instrument. So you can say it's thing that now you have this. But only in part one. Part two can be different thing. And no, it should be a different thing. If you left click this, you open up a patch browser, where you have all the categories. Actually, they are doubled. I'll mess somehow doubled them. All the categories of stuff. You can create your new banks. You can save your presets here. But in LMMS, we're not really going to use this. It's a very cool thing if you're doing live stuff or performing with Zines of FX as a native instrument. Not to be confused with native instruments, a company. But if you're using it within LMMS, you probably want to store your presets as LMMS presets, XPF files. So I'm going to close this. And we have a thing and a different thing. I'm going to disable the different thing and stay with the thing. Yeah, right click changes the name. Also, when you have Edit Instrument here, which is a very important button, you have two fields. You can name yourself by an essay essay. Never mind. You can also write something to people who are going to be using your patch, how to use it, why not to use it, et cetera. So this is the Edit Instrument button. And here we have three engines and giants. If you didn't know, Zines of FX has three different synthesis and giants, our engines. Everyone works on a different principle, but they have some similar blocks. I'm going to go and talk about them just in a while, but I'm going to finish the pain first here. All right, so every patch has a volume knob, of course, a pan knob, of course, you know what this does. However, please note that Zines of FX have inverted pan. So when you turn it right, it will actually sound more left. Yes, I haven't swapped the channels. If you hear this in the right speaker, you're wrong. And the meter is also wrong. As you can see that the lower most of the times is displaying the right channel and shows like the right channel is much louder. Well, actually it's the left channel, so they are swapped. So it's like the global output of Zines of FX is swapped left right. So keep this in mind or you will get very confused. It's not actually a problem, but you have to know this. I don't know, maybe they will fix this eventually. All right, so we have pan. We have velocity sensing function. You know what's velocity sensing? The harder you press the key, the louder the note. However, if you turn this all the way up, it doesn't matter how loud is the note. It will always sound the same. You see, we have three notes of completely different volumes and they all sound the same. However, if I turn this down, they are starting to sound different. Also there's a velocity offset. So it's like you have a function that's a straight line. Actually, do I have a mite paint? I have. I'm gonna paint it. So if you have a function, oh my, not this one. Yep. You know what is a function. And we have X. Oh my, no, please. It's gonna be Y and Y. No, X and Y. So we have Y and X. So the function of the volume is that input and output actually. So Y is the input, X is the output. We have a center point somewhere and it's a, you know, you can tilt this thing. If you turn, if you turn the the volume sensitivity knob down, you get this. You mean every level of the input is the same level of the output. And you have the velocity offset, which means you can offset this to this, for example. Or you can have some extra sensitive curve that it's going to be like this and somewhere there, never knows. And you can offset this. It's actually offsetting it vertically, but it looks like you're offsetting it horizontally because this function actually never ends. So it's this type of thing. Yeah, it's controlling a function. So you have velocity sensitivity and velocity offset. This controls the changes of the volume regarding the changing volume, the changing pressure of your keys, of your keystrokes. Sorry for the volume, so water notes, noises. I need to drink. All right, we have key shift. So every patch, every part can be key shifted. 12 is an octave, of course. So this is an octave up, 12, two octaves up, three, et cetera. Also a MIDI channel, which is receiving this part is receiving notes from and in another information. We can set this up in the panel window, of course, as well, here. Now we have the edit instrument button, which is very important, and we have a few more things. First, we have the mode, poly, mono, or legato. Actually, legato could be written mono legato. Do you know how this differ? If you don't know, I'm gonna tell you. Polyphonic Sims can play multiple notes at once. So if you open up a keyboard like this, you can press, oh my God. I have a bug. When I press a keyboard, it's randomly restarting notes. It's wicked. Anyway, I'm gonna do it with this. This is a major chord. A monophonic synth wouldn't be able to play a chord because it would be able to play only one note. As you can hear, it's playing only one note. However, there's also a mono legato thing. So how does the mono legato and mono thing differ? I'm gonna show you. This is mono legato, and this is mono. Now, if you haven't noticed, the mono legato doesn't treat overlapping notes as separate notes unless you release all notes. These are treated like a one note. So all the envelopes are not restarted. They are starting here. Our volume envelope is turning this volume down as the note plays. So it's quieter, it's getting quieter with time. If we turn this to mono, the envelope gets restarted. Every time new note strikes, even though it overlaps with the previous one, so there is no gap. If there was a gap, mono legato would play the same thing as mono. However, with this, they are differ. So this is mono legato. There is also portamento. Portamento, or so glissando or glide, is gentle changing frequency between notes. Simple as that. You can control the key limit of this. So actually there's a limit. We have this set to three. So notes that are apart in frequency, in pitch. More than three keys are not going to be portamented, portamentoed, glided. See? We have one key difference, two key difference, three key difference, four. It's still portamento. Why? I'm not sure. Actually, this is a little bit complicated. It's true. Even I don't know everything about Zenit sub-FX, really. I'm trying to figure it out for years, but it's so amazing that, still, I don't know what some things do. We have portamento controls here. Accessible through the controllers button. So here's the threshold. Minimum or maximum difference of the notes in order to do the portamento. Multiple, 10, 100 cents. By the way, I was mistaken on my life. I thought 100 cents is a whole tone. It's not a whole tone. It's a half tone. 50 cents, it's not a half tone. It's a quarter tone. Amazing, but I'm still learning. All right. So we have time, portamento time. I'm going to loop this. If we turn this down, there's also a thing that stretches this. If we turn this left, the rising portamento is faster than the falling one and the opposite as well. Here we can disable the change the threshold type. Now this is disabled. This is the maximum difference. When it's disabled, this is the minimum. It's a little bit of simulation of how would you play notes on a guitar? When they are far apart, you would actually switch the string. So you wouldn't slide your finger on the same string and you wouldn't produce a glide effect. All right. I'm making this much too long. I shouldn't elaborate so much. Actually, I should leave you the time to discover all this shit. We have pitch wheel range. Now it's a half tone. Half tone up and half of tone down. You can make this much more. Actually, I don't know how much more can be done. How high it can get. 6,064,800. Half tones. 64 half tones. That's 24 tones. That's two octaves. Something like that. Nevermind. Okay. You can figure it out all by yourself. I'm not going to spend the whole day explaining this because we will never get to the kick drum. Okay. What do we have here? Minimum keyboard, maximum keyboard. When you press a key, the SubFX remembers what key you have pressed last. When you press the little M here, it will input here the MIDI note number that was last pressed. If you press the big M, it will do the same for the max. So now our instrument is only listening to the one note. You see, the other note wouldn't play. This is nice because you can split your keyboard across these 16 instruments. And you can play actually 16 different instruments on one keyboard, actually even more because you can have kits and you can actually have thousands of them. And this big nice air button sets them back to zero and 127, which are the maximum values is the whole MIDI keyboard range. As you probably know, a piano keyboard has 88 keys. MIDI supports 127, which is a bit more, which is good. You never can have too many keys. All right. Of course, we have a note on thing. I don't know why it's on because when it's off, the instruments simply won't play anything. It will never start any note. So you better want this on. It's like graphics on and off. All right. Now we have two system effects. What's that? This gives, links us back to the middle pane. Now this pane, oh yes, this one here with the big no effect button. Actually, it's not a button, but it looks like a button. This is the effects rack. We have two types of effects. System effects, which are really, really send effects and insertion effects, which are insertion effects as well, not as well. Really, they are really insertion effects. How do they differ? Well, you can figure it out by yourself, but if you don't know, we can send them out, like rooting the first one to the second one or rooting the first one to the third one, fourth one and so on. You can cascade these. Actually, it's useful if you want a consistent reverb patch, you can just have it. Now this, you can have four effects for all patches available and every part has its two system effects, four knobs. So you can send any patch to any of these four in any amount. This is a reverb patch. Now, how is it different than an insertion effect? Well, system effects are somewhere and you're sending your signal copied, you're sending a copy of your signal to the system to the send effect and you're still playing back the original signal. So we will never get an all wet reverb with this. You will always have the original signal present in the master channel. However, with insertion effects, you actually root the original signal through the effect and you can have it all wet. As you can see with system effects, we have a volume knob here. However, the version of this reverb meant for insertion effects have dry, wet knob here, which means dry is no change, wet is all change and somewhere between is the mix between not processed and processed signal. You can have the same thing with distortion and you can have the same thing with distortion here. And the volume knobs became dry, wet knob when you change this effect to insertion effect. I'm not going to talk about insertion and send effects more because we don't have the time we need to get this done, but you can have eight of insertion effects. You can also copy them, paste them, switch them to any part you want or to master channel. So you can apply them to all after summing them up. I'm actually going to disable these because I don't know what they will do. I don't want them. Yeah, so this is it. I think we have the main window covered. Phew! I don't know how about you but I would take a little break. But no, let's get on. You can always press pause, make a few pushups and get back. All right, so now let's get to the file settings. Now I'm kidding, your system stuff. You can change your keyboard layout here if you're using a different one and it's playing incorrectly, you can change it. You have preset files here, directories and such. Okay, now edit instrument. I'm going to start up with subsynth and I'm not going to make any sounds because we'll be doing this all the way through the course, through the entire series of videos. I'm going just to explain what everything does so we can understand why these windows look like this and what they do so you're not getting lost. As you can see, we have very nicely drawn sections in this window. We have an amplitude section and a bandwidth section, a frequency section and a filter section which is by default disabled and you can enable it. Amplitude, of course, it's loudness. Now we have amplitude pane, amplitude envelope, pane. What is an envelope? Oh, if you don't know what is an envelope, man. This is ADSR. Actually, this is ADSR with sustain on the third point. The volume rises for a given period of time, it falls for a given period of time and stops falling on a given level and then when you release the key, it releases gently to nothing. This is a basic simulation. And it enables you to do many different things but actually, Zines of FX has this cool thing which is free mode so you can actually add as many points as you freaking want and do as wicked envelopes as you want. See, now I'm going to disable this. Let's get back to default. All right, so envelope. You know what's an envelope. Now, we have different envelopes. We have an envelope for bandwidth. We have an envelope for frequency. We have an envelope for filter. Now, you know, every envelope has ATT&CK, ADSR envelope has an ATT&CK value. They are slightly different. Some don't have ATT&CK value because they always start on zero and this is true for amplitude. However, it's not true for bandwidth or filter. You know, a volume, amplitude envelope would always have ATT&CK value to zero. So the note starts from silence and you can change the amount of time it takes to reach a given level. Now, we have decay value. This is slightly different because here, amplitude envelope always reaches the top of the scale. And we have no such thing as decay value. We have sustained value. This is a little bit different, but envelopes are envelopes. So not all envelopes are the same, but they are similar. So envelopes. Now, we have something like a filter. Filter, this is a filter pane. As you can see, they have also different colors. So the envelopes have kind of a blue color while filters have kind of a green color. I'm gonna check and see if this is the same with other things. Yes, yes. Filter panes are always green. However, envelopes and envelopes are always blue. So this is Adson, if I'm not going to talk about Adson soon, not now. I told about making short videos, huh? I hope somebody, some of you will appreciate this because actually no one ever does this. And many of us are lost trying to figure out what Zinus of FX does by themselves and actually giving up, eventually giving up. So I wanted to make some detailed rock solid overview so you can just, if you need it, you can just watch through this and you will know and you will never get lost in this synth. Cool. So we have envelopes. Now we have panes, different panes. Amplitude, of course, is loudness. Bandwidth, it's how much do you pass through. Sub-synth generates white noise and filters out musical frequencies. With zero bandwidth, it sounds almost, it's a little bit quiet, I'm gonna turn it up. We have enabled amplitude envelope, bandwidth envelope. Also there's a frequency and filter. Types of filters, this is an entire different topic. Low pass filter, high pass filter, band pass filter, notch filter, peak filter, low shell filter, high shell filter. Read the abbreviations. Types one are non-resonant, so they are gentle and will never produce a sharp itchy sound. However, types two are resonant and they respond to Q and they create, they can create acidic, painful sounds. Yeah, this is it. Okay, of course, you can change the frequency, you can detune this. There's no reset button, so if you mess with this knob or slider, you just have to find the sweet spot zero. This is in cents. So actually, I'm not even reaching half tone. However, you have detune type and it's L33 cents. It's logarithmic, I guess. And E like equal, maybe not. You have 1200 is actually half an octave, something like that. Actually, you can select a range of the detune here. And the right mouse button makes it easier to make precise changes. The 440 hertz disables listening to notes. So actually, if you enable this, no matter what note is played, the pitch is independent. If this knob is set to a left, I guess 64 is how it behaves when you turn this off. Yes, almost. If we overshoot this, we get like two octaves for one octave, et cetera. We can have scores of set this in octaves using this too. Scores detune is a bit strange. It's not balanced in octaves, and it's using this detune type, but it does what it says. It's detuning, it's not shifting. However, if you do 12 or 24, you can get an octave out of this. If you set this to E 100 cents. Whew, okay. Let's not spend too much time on this. Stereo mono, simple enough. Filter stages, these are the filters we have here. This is the volume, this is the width. So actually you can input here up to 64 harmonics. Harmonics, so it's the fundamental, the first harmonic, the second, third, and so on. Or you can say the first partial, the second partial, the third, fourth, et cetera. So we can modulate, we can actually model any waveform if you know what are the proportions are. However, it's rather used for modeling noise, shaping noise, nice sounds. And you can shift the width just as the tooltip says. However, what the tooltip says, hello. Harmonics, bandwidth, harmonics, magnitude, this is it. You can also set clear, it resets only these settings. So this pane, magnitude type. Linear gives you the less precision. If you get this, the more negative decibels you get, the more precision you have. Actually, it strangely dies out below this level, nevermind. Also there's a random start, zero. Zero means that there is no click at the beginning. What's happening? Hello, yes, zero means there's no click, but also it can produce notes that have fade in, long fade in. Random means the initial level is random. You never know what you can get a click, how loud is the click, et cetera. Max, always start at max. So the waveform, the waveform. The waveform looks like this. So you're getting some initial energy that gives you a click. The zero tries to always start the waveform here. Actually, it does it, but it also makes that the waveform is quieter at the beginning and it also, it's just, you know. And random starts it out here or here or here or here. You never know. So I most of the time use zero or max. Okay, I think we're done. This is the pains. What more? Well, there is AdSynth. I'm not going to make sounds with it, I'm just going to show you the parts. We have amplitude envelopes, of course, amplitude. We have pain, we have new things, which are LFOs. LFOs, low frequency oscillators. They are modulating the sound with a sine wave or a triangle wave or square wave. We're going to do this later. So LFO has frequency, of course. How fast is this going? Is it wah, wah, wah? Or is it wah, wah, wah, wah? Or is it wah? That is how much of the modulation is being done. So is it wah, wah, wah? Or is it wah, wah, wah? Start is the phase. Leftmost is random. So if you turn this all the way along, actually, if it turned it below one, here's the hint. So 0.95 will also be counted as random. I've tried this, trust me. The same is with pan. You have an option to make random pan. Leftmost is random. Actually, not only leftmost. Now, 1.02, or everything below, everything above one will not be random, but everything below one will be random. So keep this in mind. Of course, we have the stereo. Here we can monophonize everything. We have envelopes for filters, filters parameters. LFOs for filters, LFOs for frequency, et cetera. And now this is the main window for add synth. Also, a cool thing is resonance. We have this cool window. We can enable this and draw a frequency response chart. Now we have oct, which is octaves. This is how wide is this. And course frequency is shifting this in frequency. How to read this thing? Can zero, zero it, or we can smooth it. This is cool. There are also three random generators. Random one, random two, random three. We can random three and smooth. Do some manual changes and smooth. Mm. What it does, it tries to create resonances. If you're using oscillators, it will make a little bit more natural sound because everything has a, every acoustic instrument has a resonating box that favorizes some frequencies over some. So it's never, it's never flat. When I was modeling a, the violin sound, I really looked into this chart and I modeled how a real violin body resonates. And this helped me out, make this sound really like a violin. I later did the same with equalizer, but this also can help. There's an option to protect the first fundamental frequency, fundamental frequency. So it's never dampened by this. Anyway, cool stuff, but very, very well. Strange. How to read this chart? By the way, you have 100, which is this big line, you have 500, which is this dot line, which you have 1000, one kilohertz. You have five kilohertz, you have 10 kilohertz. 20 kilohertz is here. So every line is another digit. So this is 100. This is 200 hertz, 300 hertz, 400 hertz. Actually, I have shifted down. It should be a little bit longer, because we should also have like 10 hertz, 50 hertz, it's such. But you get the idea. We're going to get back to this sometime when we're going to talk about equalization. Okay. What do we have here? Show voice list. This is like an internal mixer just for AdSynth. AdSynth has eight voices. You can control the volume, see the waveform, change pan, disable it, detune it, change the vibrato depth. Never use that thing, but anyway. Now we have show voice parameters, and this is the bigger window. Whoops. Give me that window. I don't know if it fits in the screen. Probably not. So this is a little bit similar to the parts we had in the main Zenith SubFX interface. We have here current voice. We have the switch. We can, you know, just go from the first to the eighth. And we have amplitude, filter, frequency, same old stuff. We have oscillator. Oscillators are kickass in Zenith SubFX. Here is the button change, which opens up this dialog, which kicks ass even more. And you can first select a base waveform. We have sine wave, we have triangle wave, we have pulse wave, which can be, you know, changed in the pulse width. And we see the frequency chart, the partials, harmonics areas of this particular waveform. And here we have a composite. Here's the basic waveform, and here is the effect of multiplying this waveform by this chart of harmonics and their phase offsets. As you can see, we're shifting this in phase. So this is the basic one, it's 360. Now, if I turn this off and turn this one on, we have two cycles, and we can shift this also. So we have saw wave. Every wave has parameters. You have a Gaussian wave. I like to frequency modulate with this wave. Makes some nice clicky thing. Square wave that can be rounded to sine. Chirp, which is very cool and very complicated waveform. Chebyshev, which is also a nice strange waveform with very interesting frequency response. And so on. There are tons of things you can do here. You can use this what you have here as a base waveform. And it actually resets these stylers so we can do some extra combinations. Use as base again, and this copies this into this. And we can have another go, you know, like multiplying this waveform again. Again, use as base, et cetera. I wonder how does it sound like? Very nice, probably because of a Lopez filter. If you can't believe it, we have distortion here. You can distort the waveform of oscillator itself. You have, this is the very A10, I don't know if what is the acronym. Quants is quantization. And this actually, you know, works like a decimator a bit. It's decimating in bit depth without, of course, dithering. So it's creating low-fine-ice electronic stuff. There are thousands of things you can do with this. You have a filter. You can filter out just the waveform before you even modulate it with FM or before you apply any filtering. You have also a modulator, modulation, rev, reverse kind of stuff. It's reflecting, don't know what is this strange sign. You know, it's tons of stuff to experiment with. Spatial adjustment, yeah. Base function modulation, oh my God. Okay, I'm gonna leave you some room for experimentation. How we can hear that we have random panning on, yes, here in the global parameters of the instrument. Okay, so that was the oscillator. This synth is amazing. Now, what we can do here, we have also the master phase offset. This is cool if you want just to have a, let's clear this. Clear, clear the harmonic settings, yes. Oh no, sign, convert to sign, yes. What convert to sign does? I'm going to clear, oh my God, how to reset this thing. Oh, clear. Okay, so if you want to just get rid of everything, use convert to sign wave and then clear. Now, what does convert to sign wave does? If we have a pulse wave, you can see this harmonic series here, we can convert this to sign wave. I'm gonna click it, say yes, and you can see that it changed the base function to sign wave, which is just one fundamental frequency. However, it set our faders here, our harmonics levels and phase offsets also if we use a different waveform to model the square wave we had. And if you look at this, this is really how a square wave looks in real life. If you haven't watched a video by Ziv.org titled Digital Show and Tell, I'm going to say, go watch that thing, it's worth it too. You're gonna understand how digital sound works and why it's perfect and why actually, no sound is perfect, even if it looks like it's perfect. Like this looks like a perfect wave, but really our sound system truncates the harmonics with a Lopez filter and we actually get something like this with this ripples here. And this is just what this does, it also has ripples. So everything can be made of pure tones. This is the conclusion, all right, leave it. I can talk for hours about this. Now we have a nice switch, use oscillator internal. If we open up another voice, we can have internal or external one. And this is the first thing. Of course, it emits the phase offset. So here we have this in phase, the first one is a little bit offset. We can, this way, just link it. If we make a change here, it'll change in the second voice as well, cool. Also we can change this to noise. It doesn't display as a wave form because it's just pointless, it's weight noise, white noise. White noise is very useful, but we're going to go for it when I will be talking about snare drum, hi-hat and such stuff. All right, white noise disables quite a lot of things. You can't change the frequency of the white noise. You can't modulate the white noise and you can't do unison with the white noise. However, you can filter it and you can amplitude modulate it. You can use amplitude envelope for noise and envelope for noise. It makes sense. Modulating, a frequency modulating and noise doesn't make sense. And playing in unison doesn't make sense too. Well, it would, but it would be hard to do. What unison does is it duplicates the sound. It makes several instances. This is a little bit loud. I'm going to turn it down. Didn't help. Even more. Oh, I have a second thing here. No unison. I'm going to disable the random panorama. Okay. It duplicates the first voice, changes frequency a bit, depending on the spread and spreads them in stereo. Don't cross 100 cents if you don't want some very detuned stuff. There's also vibrato and vibrato speed. You can also invert some part of these. Half, one-third, one-fourth, one-fifth, or a random figure out why. And we have modulation. So we have the power of the modulation, depth, the velocity sensing. So how much this changes this. Frequency dumping. Actually, I don't know how this works. We have an envelope for power of modulator. And we have its frequency. We can detune the base, the modulating oscillator. We can change this waveform to, just say... If you transpose this low enough, we're actually getting some wicked LFO effects. And this is cool because you can actually you can actually do some stuff that it's impossible to do with LFO. Frequency LFO. I'm now enabling an Enable Envelope. This is not possible to do with LFO, but you can do it with frequency modulation. So this is some R2D2 type of sound. Okay. You can also copy, copy to clipboard, switch to any part, paste. Paste from clipboard. You can duplicate your voices like this. So we can face offset them, detune them a bit, change the pan, change the filtering, and so on. And you get a wider, deeper, better sound. Okay, this concludes my AdSynth overview. I'm going to do a very quick overview of Padsynth. And we will finish this video. Padsynth generates samples. Paul Nazca, who created this synth, have invented a method of generating samples that was also invaded by, invented by someone else. And they call this Fourier synthesis. Some call this, I'm not... I don't know if it's really the same or... Whatever. Just, I'm not into the technical details. However, it creates some nice sounds that are a little bit like what SubSynth does. But you can do this with SubSynth. And also, SubSynth doesn't have any LFOs. Okay, happy exploring. Thanks for watching. I hope you've learned something. Actually quite a lot of things. And well, I hope to see you on this channel. I want to record an episode, like one episode a week. Maybe more, maybe less. We will see. If you want to know, please subscribe to the channel. I'm gonna play some jingle. Yeah. So, thanks for watching. See you again. Bye.