Synthesis & Sound Design Masterclass TUTORiAL

Week 1
Course Overview: A quick rundown of what we’re doing and why, along with a breakdown of what we'll be covering when.
Modular programming and subtractive

The Modular Approach: A quick touch on the conceptual difference between modular and contained methods of working, along with notes on how to approach work in Ableton.
Series and Parallel: One of the most important things to grasp, we’ll go through how routing options make your sounds come alive, and how you can get the most of of what you have.
Distortion and Feedback: Drive stages are an important way of shaping sound. We’re going to look at what the differences are between certain placements, and what happens when you create feedback loops.
Analog Style Oscillators and Noise: Even though they might seem “vanilla” there’s often more to these classic waveforms than meets the eye, and we’re going to touch on a few useful things to know.
Stompy Bass: Our first practical video, the Stompy Bass is a big funky analog style bass tone that uses all that we’ve talked about up until now, including some cool routings and macro controls.
Layering and Tuning: We’re going to go beyond simple detuning here and look at chord creation, along with some modulations and important aspects of creating big sounds.
The Hoover: A total classic sound, the Hoover is a great combination of cool tuning modulations and some effects to make it pop. This is a great starting point sound for unlimited options.
The Prog Chord: In this vid we’re going to check out how to make a phat “prog chord,” the kind of sound that builds to a crescendo as the filter opens and is full of emotive tone and complexity.
Oscillator Sync: Oscillator sync is a common function on subtractive synths, and a great source of complex harmonic tones. We’ll look at how it works and why.
Monster Sync Lead: Using oscillator sync, we’re going to make a huge sounding bass/ lead reminiscent of daft punk, electro-rock and funk.

Week 2
Exotic modules, modulations and filter FM

Ring Modulation: An overview of ring modulation as an effect both onboard synthesizers and in Ableton, along with historical notes.
Destructo Bass: A heavy gritty bass tone in Massive that makes use of LFO mappings to Sample and hold and Ring mod.
Modulating a Modulator: The modular approach allows us to engage in meta-programming... we can use mod sources to control mod sources to control mod sources, and the results can be amazing.
Wobble Monster: A super modulated complex bass tone that shows off what you get with multiple routings on routings.
Advanced Envelope Functions: Looping and envelope curves are two ways of making a simple function do a lot more for you. We’ll look at some uses of each.
Wonky Bass: A morphing bass that uses envelope looping instead of an LFO to give us a complex wobble effect.
Step and Mod Sequencers: Step sequencers are still useful within a DAW, as they change your work flow. Within a synth, these sequencers can often be one of the most valuable sources of modulation at your disposal.
Moroder Bass: Using a step sequencer and a mod sequencer, we’ll create a poly rhythmic series of modulations on a rolling bass.
Self Oscillating Filter: If you have a self oscillating filter, you always have a sine wave. We’ll look at the filter as a source of sub bass, effects sounds, rising tones and electronic blips.
808 Bass Drum: An oldie but goodie, we’ll use a self oscillating filter to create a booming 808 style bass drum.
Spaced Out Riser: Using a few mod sources and a self oscillating filter, we’re going to create a big rising effect, then morph it into a dropper.
Introduction to Audio Rate: Why does a low frequency oscillator behave the way it does and what happens when you apply it at a high frequency? Before we look at filter FM and FM synthesis, we’re going to define some terms and look at how audio rate modulation can be implemented.
Filter FM: One of my absolute favorite effects, the application of the audio rate modulation of an oscillator to a filters cutoff imparts the character of that oscillator to the sound in a unique and ear-grabbing way. We’ll look at why.
Talking Bass: FXpansions synth squad allows for some great analog style madness, and the filter FM is one of the prime sources of funk.

Week 3
FM intensive, resampling

Exotic Sound Sources - Beyond V/A: Besides virtual analog oscillators, there are many options in the sound creation department - heres an overview of the ones we’ll examine.
Introduction to FM: An overview of FM synthesis, as distinct from Filter FM and audio rate modulation for effect, and a demystification of the approach. Historical overview and implications for sound design as well as limitations and areas of ideal use will be explored.
Modulators, Carriers, Ratio: A focused look at the interplay between oscillators in FM synthesis. There will be little to no modulation and we’ll be looking at harmonic relationships.
Metallic Bass: A big nasty FM tone, this metallic bass / lead will show off some of the interplay between oscillators in an FM synth.
Timbre Control: FM uses a different approach to sound design, controlling the timbre with envelopes and feedback.
The Bass Growl: By employing volume envelopes, we can shape the timbre of a bass sound, and we can push it even further with some feedback.
The Donk: Analog and digital are a great combo - in this case we’re going to use Operator for a gritty top tone and analog for girth.
Impractical FM: An examination of atonal results of inharmonic FM adjustments and their uses in percussion sound design.
FM Percussion Sequence: Playing with a mod sequencer and some envelopes, we’ll create a great complex percussion sequence using Cypher.
Notes on Resampling (Back to The Ring Mod): We’re going to look at re-enlisting one of the earlier sound design techniques (ring modulation) to demonstrate resampling as a means of taming inharmonic oscillator relationships.
Kalimbic Bass: In this case we’re going to dial things back in our aggression, making an organic sounding bass that still slams.

Week 4
Wavetable, Granular and Additive

Notes on Wavetable: Wavetable synthesis is a beast, and we’re going to have a quick look at what a wavetable is, what its limits are, and why certain sounds can be created in wavetable synthesis that can’t be created in other means.
The Scanner Bass: Morphing through our wavetable with an envelope, we’re going to create an industrial bass tone that moves with the track.
Notes on Granular: Granular synthesis is an old approach that’s gaining lots of attention in recent years. Here we’ll look at why, what it can do for you, what its best at and how to easily integrate it.
Granular Bass: A gritty, industrial bass tone with lots of modulation.
Granular style effects in Sampler: Sampler has some looping options under the hood that can give us easy to use, granular style results.
Found Sound Bass: A look at creating a bass tone using looped tones in sampler, in particular looking at looping and tuning.
Space Pad: A combination of granular synthesis and virtual analog to make a beautiful complex pad.
Mangler Bass: Creating industrial overtones using home made samples and then layering them with a huge distorted bass.
Notes on Additive: As with FM, Additive invokes some fear in novice synthesists (and many experienced ones). We’ll break it down with a look at the first additives, and why you don’t need a degree to use it.
Brainworm: A heavily modulated additive bass / lead with lots of punch and grit, this sound will benefit from lots of macro control.
Recap of the Exotics: Summarizing our exotic oscillator/synthesis types, we can look at the strengths and weaknesses of each and brainstorm some uses.
Recap: A quick look back at our course, with a recap of the modular approach and why its important.