To be fair, it’s the culmination of many products they’ve worked on for years. If I had found a way to effectively combine many of my products into a well-refined, versatile (while still being user-friendly) product I’d pump the shit out of it too. It’s a pretty comprehensive plug-in, especially when it comes to time-based effects
Exactly. Quoting Wikipedia: “Subtractive synthesis is a method of sound synthesis in which partials of an audio signal (often one rich in harmonics) are attenuated by a filter to alter the timbre of the sound.”
Does it make you feel smart commenting this? He made a video, that does not mean he barely discovered it 💀 but I’m sorry, I’ll let you comment “bro just discovered synthesis” so that you can let everyone know how smart you are 😭😭
@@ProdByJacob-_ I think the tone of the Original Comment was not neccessarily condescending. That's why your response comment could be percieved as an escalation, like the other commenter and myself aswell intuitively did. I see that you try to defend an informative video/creator; This is just a disagreement on perception of literary tone. Have a good one
@@HoSza1 roasted himself. Not everyone thinks the same way, or has the same workflow, or the same understanding of synths. This makes it super simple with an easy UI... I for one never even knew this or how to go about it Ableton. Thanks to him, I know.
@@modernalkhemist3169 Nonetheless it's worth a try implementing this technique in python for example, maybe even faster for those who don't use Ableton.
@@LYAR0 wdym? If u do what im saying u can actually use it as an instrument, u can with this too but then u gotta eq out all the specific notes and chords u need for everything, or u just do what i do and play midi. It sound's essentially the same.
There is much more similarities to light/ color and sound. Very interesting, when i studied mediatechnology a decade ago i noticed all these similarities in light and sound spectrum. Photoshop is like ableton. 😂
Most of this channel's tips are useful and worth making note of, especially for beginner/intermediate producers, but even then, this one is pretty cool. Bless up.
Well, technically you are making sure that something materialises outside of noise, so in a sense you areadding information thus being additive synthesis
@@SycoDeathDealer No, additive synthesis is the process of building up a sound by stacking layers of sound. Subtractive synthesis is the process of starting with some signal, usually noise, and subtracting frequencies away using filters.
@@auxchar subtractive synthesis starts with a highly harmonic oscillator, usually sawtooth or square wave. Starting with a tone with harmonics, high or low pass filters are controlled to stop certain harmonics from passing. Noise is different because it has no tone or harmonics. All frequencies play regarless of what note is played. The only way to hear a tone from noise is to use a self oscillating filter or a band pass. And at this point the filter itself is the oscillator, and is adding to the signal. The process shown here uses notch filters turned all the way up to resonance. No noise was subtracted; you can still hear noise along with the filter tone(s). The designer controls the pitch and volume of the tones to shape the sound. The only difference from classical additive synthesis is these tones sound a little noisy and etherial. Otherwise, it's 100% additive.
@@lardavmercy7584 I engaged just to call out how idiotic this is but I guess you are right the only thing that matters is getting the engagement that's why we have so much retarded content.
Cool stuff. Lately I have been using a similar principal using downtuned hihats and snares, adding frequency spikes --- it's amazing the sounds that can be made using filters, eq, and some noise.
Jamie Stewart from the band Xiu Xiu talked about this really briefly in a studio tour a while back!! They used this trick on a kick to turn it into this weird kick/chord thingy it was so sick.
I just really like doing stuff like this because it helps me stay motivated. Rather than repeating the same steps for every sound every time, saw you post this on Instagram a while back and have been messing with it since! It’s really fun to mess with the bass frequencies as well to get some deep washed out Reese style pads, just gotta be real careful in post processing Thank you for opening my eyes to this 🙏🏼
It is no secret, it is basic sound design/synthesis. This particular method can be done with selfoscillating filters, without any whitenoise. There is even a popular modul called spectral mutiband resonator what does the same.
Boosting resonances using an EQ is a common technique on Color Bass, in addition to Resonators, Convolution Reverbs, and Vocoding. This technique has been used by artists like Virtual Riot, SImilar Outskirts, Paper Skyies, and many others in the Color Bass scene.
It's one of the 2 techniques used in old school modular synthesizers from the 1970s and early 1980s . Those things were essentially boxes filled with smaller boxes each doing exactly one of the functions this guy is simulating on his computer . Back then the musician would physically run audio cables fro the noise generator to the eq and the tunable filters, one of which was controlled by the piano keys where she played the melody . The other technique was to start with an oscillator producing a pure sine note instead of white noise .
You can also use this on an EQ connected to a reverb send, and then make the equal and opposite cut on the instrument itself. Gives the instrument a more ethereal quality.
Sorry, I'm interested in what you say here, but I don't quite follow what the outcome is. And also don't quite follow what you mean with equal and opposite cut?
Yeah I'd also appreciate if you could clarify what you meant in more details for we that are less knowledgeable in this topic, this sounds very interesting and I'd love to try it but these instructions are a little too vague for me to follow!
@@-______-______- I see you posted this 6 months ago, so you probably know the answer by now. But just in case you don't, equal and opposite in this case refers to 2 eqs, where one eq boosts a frequency eg, +2db at 500hz and the other, eq 2, cuts it at the same frequency. So in this case, -2db at 500 hz. You can achieve all kinds of phasing and other effects by doing this.
Another "secret sound design trick no-one is talking about"... You can drastically improve your sound design capabilities by removing any blindfold you may be wearing and powering on any instrument you are attempting to use. It's sound design secrets kids! Secret tips the pros would rather you didn't know 🥳
Here's an another tip. Using a plugin called Vital to do the almost same trick because vitals filter actually have keyboard tracking so after you use a comb filter to the white noise. Sometimes it makes saw pads more full.
Welcome to synthesis - you might want to look up information on resonator modules from Moog modulars 40 years ago... this isn't exactly "new". Then again there are new people entering this headspace all the time. Keep it up, but careful on the hyperbole.
@@SomeRandomPerson163 Exactly what I wrote. There are many different ways to synthesize sound and additive is just one. There are only a few hardware additive synths ever made.
@@SomeRandomPerson163 he didnt use any sine at all. But I was just correcting you in saying synthesizers work by stacking sines which is only additive synths which are rare and unless they are resynthesizing things they aren't using fft either.
Fred again talked about this ..... I'm seeing something: There are still so much of music production information that is not available in the internet, in fact they are available on Individuals, I mean in the individual producer's HEAD! 😀
whats with people in the comments by saying "just use a synth!!!"? its not an overcomplicated process if you're aiming to get a specific texture or just wanna do a sound design session. plus this trick isnt limited to white noise, you can use any sample you have for a certain texture. learned this from venus theory. also i wouldnt call this a secret, heehoo
Yeah, it's a nice method. if you wanna push it to the next level use a keytracked filter with midi inputs, like polyverse supermodal. that way you can even let it progress
this is actually what people used to do for drums in early videogames! since samples were too expensive on the memory, the consoles came with a chip designed to make only noise, and said noise would be enveloped to sound like drums.
### Esej o Zvučnom Dizajnu: Od Fundamentalnog Tona do Dinamičkih Tekstura U svetu muzike i zvučnog dizajna, koncept stvaranja zvučnih pejzaža počinje s osnovnim elementima, kao što su sinusni valovi, i razvija se kroz različite tehnike modifikacije i manipulacije. Osnovna ideja je stvoriti bogat i dinamičan zvuk, koji zadržava svoju harmonijsku strukturu, dok istovremeno omogućava istraživanje različitih zvučnih mogućnosti. U ovom eseju istražićemo ključne aspekte zvučnog dizajna, uključujući fundamentalne tonove, timbre, modulaciju pomoću LFO-a, distorziju, kao i važnost ritmičke i prostorne manipulacije. #### 1. Održavanje Fundamentalnog Tona U zvučnom dizajnu, fundamentalni ton predstavlja osnovu svih zvukova. Održavanje ovog ton netaknutim omogućava stvoriti stabilnu bazu koja je usklađena s tonovima ljestvice. Na primer, ako radimo s A-major tonom, fundamentalni ton može biti A na 110 Hz. Ova stabilnost pomaže u očuvanju harmonijske koherencije i omogućava melodijskim elementima da se prirodno uklapaju u strukturu kompozicije. Kroz ovaj pristup, zvučni dizajneri mogu lako kontrolisati harmonije i akorde, dok se istovremeno fokusiraju na kreativne aspekte zvuka. #### 2. Manipulacija Timbrom Timbre se može definisati kao karakteristika zvuka koja ga razlikuje od drugih tonova. U zvučnom dizajnu, timbre se često modifikuje kako bi se stvorili bogati i složeni zvučni slojevi. Korišćenje LFO-a (Low-Frequency Oscillator) za modulaciju timbra na frekvenciji od 1 Hz stvara efekat vibrata, dodajući dinamičnost i živost zvuku. Ova blaga modulacija može učiniti zvuk organičnijim i privlačnijim, dok se istovremeno zadržava blizak osnovnom fundamentalnom tonu. #### 3. Distorzija i Bogate Harmonijske Teksture Distorzija je ključni element u stvaranju zanimljivih zvučnih tekstura. Primena distorzije isključivo na timbre može pojačati određene frekvencije i dodati karakter zvuku. Ovaj pristup može se koristiti za stvaranje snažnih, energičnih zvučnih slojeva koji se često traže u modernim muzičkim žanrovima kao što su elektronska muzika, rock ili hip-hop. Korišćenje distorzije uz pažljivo oblikovanje zvuka može stvoriti bogate harmonijske slojeve, čime se dodatno obogaćuje zvučna slika. #### 4. Panning i Prostorna Manipulacija Panning je tehnika koja se koristi za razdvajanje zvukova u stereo prostoru. Manipulacija panningom može pomoći u održavanju jasnoće miksa i omogućiti svakom elementu da se istakne. U kombinaciji s LFO modulacijom i distorzijom, panning može dodati dodatnu dimenziju pokreta i prostora, čime se stvara složeniji zvučni pejzaž. Na primer, upotreba LFO-a za modulaciju panninga može stvoriti efekat kretanja zvuka kroz prostor, čime se pojačava doživljaj dubine. #### 5. Kombinovanje Efekata Osim LFO-a i distorzije, zvučni dizajneri mogu koristiti i druge efekte kao što su reverb i delay. Ovi efekti doprinose stvaranju osećaja prostora i dimenzionalnosti u miksu. Na primer, dodavanje laganog reverba može stvoriti atmosferu, dok delay može dodati ritmičku dubinu. Uvek je važno slušati kako se efekti mešaju i prilagođavati ih kako bi se postigao idealan balans. #### 6. Prilagodba i Eksperimentisanje Prilagodba parametara, kao što su brzina, dubina i oblik talasa LFO-a, ključna je za postizanje željenih zvučnih efekata. Eksperimentisanje sa različitim postavkama može dovesti do otkrića jedinstvenih zvučnih karakteristika koje odgovaraju muzičkoj estetici. Ovaj proces istraživanja i inovacije u zvučnom dizajnu omogućava umetnicima da stvore originalne i zanimljive zvučne pejzaže. #### Zaključak Zvučni dizajn je kompleksan i kreativan proces koji zahteva pažljivo razmatranje svih aspekata zvuka, od fundamentalnog tona do složenih tekstura. Održavanje stabilnosti fundamentalnog tona, manipulacija timbrom kroz LFO, primena distorzije, kao i prostorna i ritmička manipulacija, ključni su za stvaranje bogatih i dinamičnih zvučnih iskustava. U svetlu stalne inovacije i tehnološkog napretka, zvučni dizajneri imaju neograničene mogućnosti za istraživanje i kreiranje jedinstvenih zvučnih pejzaža, obogaćujući muziku i umetnost na nebrojene načine.
It's not taught enough yeah but it's how most ambient music makers make their drone tracks, which is a firm of sound design so yeah pretty common trick. A very good common trick
My mind is blowing RN! Like I knew about white been all colors but the fact that you can isolate and use each individual sound.... so when you're in a room so quite you can listen to the silence WHERE ARE ALL THAT AMALGAM OF SOUNDS COMING??? sheeeeee I'm happy I'm not doping on anything right now or i'll be already on the "ego dead" part of the trip
tip: for kicks, use pink noise instead (and/or layer it with a clicky white noise), as pink noise are tend to be bass-heavy (maths and shits, go figure), for them T H I C C body
How do you know no-one is talking about it? I've done this quite a few times, it's basically just the opposite of removing problematic frequencies in mixes. I mean, yeah, obviously I'm not talking about it with people. That would be weird.
You can make an 808 / sub out of a kick this way too - I don’t recommend it, but you can. It will layer well with the OG kick, but there are way better ways than that lol. I do sometimes do this method, and second it, but maybe fuck with it in another eq- automated or 50% the verb dry~~or just mb comp- either way, this creates really harsh harmonic pitches, regardless of whether or not they are suited to the track, so they should be tamed even if they don’t seem to need it. Fucking with thin upward eq’s w white noise, or sample loops sometimes can really be cool - even though this lowkey IS talked about, it’s just subtractive synthesis- there’s a lot you can do with white noise (opposed to just being a textural bed) and this here is incredibly useful sometimes- then again, you’d probably want to have a lot written before u mess w the white noise, so you have to dick around a bit to maybe get the desired sound, sure it’ll eventually work, but might just be as good as using any other synth for this sort of thing / halftime w echoboy halftime sapphires, crystallizer and verb, reversed and layered polarized fwd and bckwd to sound reversed and not, gate it and add wtvr the hell, shaperbox or warmverb or nothing, over anything, preset droning sounds, a wavetable synth from scratch, etc I think this tip goes beyond white noise though, everything can make a sick ambient sound if u fuck around enough - but using both white noise uniquely and using this sort of eq’ing experimentally I second
While white noise is designed to have a flat frequency spectrum, meaning it contains equal amounts of energy at all audible frequencies, it's technically impossible to generate a sound that contains infinitely many frequencies. This is because the physical limitations of any sound-producing device or medium would prevent it from generating frequencies beyond a certain point. However, for practical purposes, white noise can be considered to contain a very wide range of frequencies, and this is often sufficient for its intended uses, such as masking unwanted sounds or aiding in relaxation.
You can make an 808 / sub out of a kick this way too - I don’t recommend it, but you can. It will layer well with the OG kick, but there are way better ways than that lol. I do sometimes do this method, and second it, but maybe fuck with it in another eq- automated or 50% the verb dry~~or just mb comp- either way, this creates really harsh harmonic pitches, regardless of whether or not they are suited to the track, so they should be tamed even if they don’t seem to need it. Fucking with thin upward eq’s w white noise, or sample loops sometimes can really be cool - there’s a lot you can do with white noise (opposed to just being a textural bed) that is incredibly helpful as this tip.
No exaggeration that white noise chord trick is the coolest thing I’ve seen in a production short. Awesome.
🙏🙏🙏
There was a VST that was based on this trick, and it sounded way cool. It was buggy though, and the guy making it didn't make a fixed version. Bummer.
It truly is!
on some Aphex shit
Or like, just make the chord.. 😅
i’ve never thought about literally carving a sound out of a block of noise, like a statue. this is sick
"subtractive synthesis" is the keyword and used in quite a few synths
you'll become a sound designer now x)
I just copy and paste parts of the wave. Sound is my bytch
@@OGSurferz ever tried a synth with harmonic editing? just so you get a clean moan from your bytch with your own waves
Bro, you described this so well! Literally what he's doing.
bro they’re milking shaperbox to it’s physical limit😭
Milking!? Mann they show me things I never knew could be done with not just Shaperbox but other sounds in general 🤣
To be fair, it’s the culmination of many products they’ve worked on for years. If I had found a way to effectively combine many of my products into a well-refined, versatile (while still being user-friendly) product I’d pump the shit out of it too. It’s a pretty comprehensive plug-in, especially when it comes to time-based effects
They’re showing how many things you can do with the plug in.
frrrr i feel like i should be paying extra for all the extra functions i get out of shaperbox wit these vids
Difference between milking and using something to its fullest potential
My man just discovered synthesis
😂
Exactly. Quoting Wikipedia: “Subtractive synthesis is a method of sound synthesis in which partials of an audio signal (often one rich in harmonics) are attenuated by a filter to alter the timbre of the sound.”
@@joshcarter-combut i suppose plugins usually modify sine wawe instead of white noise
This is called subtractive synthesis.
ZynAddSubFX :>
@@ChrisD__ Yes.
*ADDITIVE
@@searchiemusic no
@@searchiemusic No. It's subtractive.
Add reverb and drop two octaves and you're Hans Zimmer
jajajajaja
My guy rediscovered subtractive synthesis
Does it make you feel smart commenting this? He made a video, that does not mean he barely discovered it 💀 but I’m sorry, I’ll let you comment “bro just discovered synthesis” so that you can let everyone know how smart you are 😭😭
@@ayezz2811it ain’t that deep bro😭
@@LeninUsername oooh macho man look everyone this guy is so nonchalant he’s chilllll guys look
@@LeninUsernamei mean yeah but why does he gotta seem like a know it all
@@ProdByJacob-_ I think the tone of the Original Comment was not neccessarily condescending. That's why your response comment could be percieved as an escalation, like the other commenter and myself aswell intuitively did. I see that you try to defend an informative video/creator; This is just a disagreement on perception of literary tone. Have a good one
There is an even bigger secret: this is exactly, what synths are for.
haha, roasted them
@@HoSza1 roasted himself. Not everyone thinks the same way, or has the same workflow, or the same understanding of synths. This makes it super simple with an easy UI... I for one never even knew this or how to go about it Ableton. Thanks to him, I know.
@@modernalkhemist3169 Nonetheless it's worth a try implementing this technique in python for example, maybe even faster for those who don't use Ableton.
Yeah but this sort of picks the notes for you and you may end up with something outside your normal wheelhouse.
@@Bconsuegra255 A synth picks the notes / frequencies according to the keys you press.
thats so fucking cool, peaking specific frequencies of white noise to make chords? you can even go microtonal with that
Or just do it for a single frequency and then put it in a sampler so u can play whatever notes u want with it 😂
@@borroni9090 not necessarily because you would be disturbing the “purity” of the surrounding white noise.
@@LYAR0 wdym? If u do what im saying u can actually use it as an instrument, u can with this too but then u gotta eq out all the specific notes and chords u need for everything, or u just do what i do and play midi. It sound's essentially the same.
@@borroni9090 fr lol
@@borroni9090it doesn't sound the same at all. That's his entire point. Both are ways of getting it done, but they do not sound the same.
Wow it's called white noise similar to white light in that they contain the entire spectrum of the medium they emit. I never knew that.
There is much more similarities to light/ color and sound. Very interesting, when i studied mediatechnology a decade ago i noticed all these similarities in light and sound spectrum. Photoshop is like ableton. 😂
Most of this channel's tips are useful and worth making note of, especially for beginner/intermediate producers, but even then, this one is pretty cool.
Bless up.
It's pointless
@@Top10soon??
@@Top10soon its useful
@@Top10soonhow so
This is the definition of subtractive synthesis
Most subtractive synth patches don’t do stuff like this (because of the lack of enough filters, probably)
Well, technically you are making sure that something materialises outside of noise, so in a sense you areadding information thus being additive synthesis
@@SycoDeathDealer No, additive synthesis is the process of building up a sound by stacking layers of sound. Subtractive synthesis is the process of starting with some signal, usually noise, and subtracting frequencies away using filters.
@@auxchar subtractive synthesis starts with a highly harmonic oscillator, usually sawtooth or square wave. Starting with a tone with harmonics, high or low pass filters are controlled to stop certain harmonics from passing. Noise is different because it has no tone or harmonics. All frequencies play regarless of what note is played. The only way to hear a tone from noise is to use a self oscillating filter or a band pass. And at this point the filter itself is the oscillator, and is adding to the signal. The process shown here uses notch filters turned all the way up to resonance. No noise was subtracted; you can still hear noise along with the filter tone(s). The designer controls the pitch and volume of the tones to shape the sound. The only difference from classical additive synthesis is these tones sound a little noisy and etherial. Otherwise, it's 100% additive.
I've used that trick to tune the wind in my game to match the music that plays.
Would love to see this in action! Got a devblog?
What's the game called?
bro turned tv static into ethereal sounds
Dude. I've been listening to and creating drone ambient / noise music for years, but never thought about this specific trick.
Thank you.
Very welcome!
Didn't expect to see a fellow noise music lover here hello!
"tOp sEcReT" L0L that's like the first thing you learn in any sound design course
@@lardavmercy7584 I engaged just to call out how idiotic this is but I guess you are right the only thing that matters is getting the engagement that's why we have so much retarded content.
Bro, ain't no way my mind was blown this easily. And I knew white noise produced tones...I just never put two and two together.
Crazy.
Cool stuff. Lately I have been using a similar principal using downtuned hihats and snares, adding frequency spikes --- it's amazing the sounds that can be made using filters, eq, and some noise.
Jamie Stewart from the band Xiu Xiu talked about this really briefly in a studio tour a while back!! They used this trick on a kick to turn it into this weird kick/chord thingy it was so sick.
I just really like doing stuff like this because it helps me stay motivated. Rather than repeating the same steps for every sound every time, saw you post this on Instagram a while back and have been messing with it since!
It’s really fun to mess with the bass frequencies as well to get some deep washed out Reese style pads, just gotta be real careful in post processing
Thank you for opening my eyes to this 🙏🏼
No one's talking about subtractive synthesis?!? NO ONE??!?
It is no secret, it is basic sound design/synthesis. This particular method can be done with selfoscillating filters, without any whitenoise. There is even a popular modul called spectral mutiband resonator what does the same.
Holy cow this is the best tip I've seen in a short since ever! The white noise chords sound so satisfying
nice this is useful
Boosting resonances using an EQ is a common technique on Color Bass, in addition to Resonators, Convolution Reverbs, and Vocoding.
This technique has been used by artists like Virtual Riot, SImilar Outskirts, Paper Skyies, and many others in the Color Bass scene.
It's one of the 2 techniques used in old school modular synthesizers from the 1970s and early 1980s . Those things were essentially boxes filled with smaller boxes each doing exactly one of the functions this guy is simulating on his computer . Back then the musician would physically run audio cables fro the noise generator to the eq and the tunable filters, one of which was controlled by the piano keys where she played the melody .
The other technique was to start with an oscillator producing a pure sine note instead of white noise .
"a trick that literally nobody is talking about" this is literally taught in schools. Subtractive synthesis is literally the basics
8-bit chip music producers just entered the chat...
wow cool, saw someone do this before but didnt consider that it could be making chords ahahh
I think you could achieve this way easier by playing an Instrument
You can also use this on an EQ connected to a reverb send, and then make the equal and opposite cut on the instrument itself. Gives the instrument a more ethereal quality.
Sorry, I'm interested in what you say here, but I don't quite follow what the outcome is. And also don't quite follow what you mean with equal and opposite cut?
Yeah I'd also appreciate if you could clarify what you meant in more details for we that are less knowledgeable in this topic, this sounds very interesting and I'd love to try it but these instructions are a little too vague for me to follow!
@@-______-______- I see you posted this 6 months ago, so you probably know the answer by now. But just in case you don't, equal and opposite in this case refers to 2 eqs, where one eq boosts a frequency eg, +2db at 500hz and the other, eq 2, cuts it at the same frequency. So in this case, -2db at 500 hz. You can achieve all kinds of phasing and other effects by doing this.
This is just a comb filter. Producer social media is clapped ffs
Yes, this is what youtube shorts is for.
No one is talking about this trick because it's trash lmao
Such a great idea!
Too complicated for my analog tape machine brain to handle 😂😅😅😅
You man are the absolute best, ive stored many of your ideas for inspiration, you are soo creative🔥
Really glad you're getting so much from the tips! 🙌
heres a secret
>uses paid software and addons
nice tutorial my guy try twin
Bruh how have I never done this. Gotta try that out asap.
White noise is used ALL the time in sound design... especially if youre making basses in serum
Was a secret that they didn't want you to find out about..........
Yes… nobody has heard of subtractive synthesis 👀
Everyone is talking about this now ❤
Sick!
damn!!! cableguys are the goat!
Another "secret sound design trick no-one is talking about"... You can drastically improve your sound design capabilities by removing any blindfold you may be wearing and powering on any instrument you are attempting to use. It's sound design secrets kids! Secret tips the pros would rather you didn't know 🥳
i'm gonna try this in Mobile let's wish it works
Here's an another tip. Using a plugin called Vital to do the almost same trick because vitals filter actually have keyboard tracking so after you use a comb filter to the white noise. Sometimes it makes saw pads more full.
heyyyyyyy this trick seems familiar 🐊🐊🐊
Welcome to synthesis - you might want to look up information on resonator modules from Moog modulars 40 years ago... this isn't exactly "new". Then again there are new people entering this headspace all the time. Keep it up, but careful on the hyperbole.
There’s quite a few people who’ve covered this on UA-cam. Polarity is the first that comes to mind. Still cool though!
That's not true, me and my sound design mates have been talking about this trick ALL WEEK!
Bro I was wearing headphones 😭
What program are you using to do that
this sounds like a radiohead song
This is actually pretty clever! I already had this idea, but you're using it way more creatively.
Not sure no one is talking about that
Man described FM synthesis
How toh put this as c note in piano notes
New color bass method???
This is such a cool trick, thx
Bro wtf that’s insane so you can create any sound from white noise 🤔I suppose you can make a whole song from it too
@@SomeRandomPerson163 No thats just how additive synthesis works.
@@SomeRandomPerson163 Exactly what I wrote. There are many different ways to synthesize sound and additive is just one. There are only a few hardware additive synths ever made.
@@SomeRandomPerson163 he didnt use any sine at all. But I was just correcting you in saying synthesizers work by stacking sines which is only additive synths which are rare and unless they are resynthesizing things they aren't using fft either.
Fred again talked about this ..... I'm seeing something:
There are still so much of music production information that is not available in the internet, in fact they are available on Individuals, I mean in the individual producer's HEAD! 😀
Hey man - Do you have the source for the Fred Again interview where he talks about that? Can't seem to find it
@@bogle232the one where him and baldy are couchin
@@drinkinouttacups2665Yes, the apple guy
My channel is literally dedicated to unknown sound design and performance techniques, and I must say.. This is brand new to me! Love it!
Terraria type beat
Sophie stuff
Now I just need to learn how to do that in Caustic 3
BrrrrAHHHHHHHH!!! (^ヮ^)
whats with people in the comments by saying "just use a synth!!!"?
its not an overcomplicated process if you're aiming to get a specific texture or just wanna do a sound design session.
plus this trick isnt limited to white noise, you can use any sample you have for a certain texture. learned this from venus theory.
also i wouldnt call this a secret, heehoo
Yeah, it's a nice method. if you wanna push it to the next level use a keytracked filter with midi inputs, like polyverse supermodal. that way you can even let it progress
this is actually what people used to do for drums in early videogames! since samples were too expensive on the memory, the consoles came with a chip designed to make only noise, and said noise would be enveloped to sound like drums.
### Esej o Zvučnom Dizajnu: Od Fundamentalnog Tona do Dinamičkih Tekstura
U svetu muzike i zvučnog dizajna, koncept stvaranja zvučnih pejzaža počinje s osnovnim elementima, kao što su sinusni valovi, i razvija se kroz različite tehnike modifikacije i manipulacije. Osnovna ideja je stvoriti bogat i dinamičan zvuk, koji zadržava svoju harmonijsku strukturu, dok istovremeno omogućava istraživanje različitih zvučnih mogućnosti. U ovom eseju istražićemo ključne aspekte zvučnog dizajna, uključujući fundamentalne tonove, timbre, modulaciju pomoću LFO-a, distorziju, kao i važnost ritmičke i prostorne manipulacije.
#### 1. Održavanje Fundamentalnog Tona
U zvučnom dizajnu, fundamentalni ton predstavlja osnovu svih zvukova. Održavanje ovog ton netaknutim omogućava stvoriti stabilnu bazu koja je usklađena s tonovima ljestvice. Na primer, ako radimo s A-major tonom, fundamentalni ton može biti A na 110 Hz. Ova stabilnost pomaže u očuvanju harmonijske koherencije i omogućava melodijskim elementima da se prirodno uklapaju u strukturu kompozicije. Kroz ovaj pristup, zvučni dizajneri mogu lako kontrolisati harmonije i akorde, dok se istovremeno fokusiraju na kreativne aspekte zvuka.
#### 2. Manipulacija Timbrom
Timbre se može definisati kao karakteristika zvuka koja ga razlikuje od drugih tonova. U zvučnom dizajnu, timbre se često modifikuje kako bi se stvorili bogati i složeni zvučni slojevi. Korišćenje LFO-a (Low-Frequency Oscillator) za modulaciju timbra na frekvenciji od 1 Hz stvara efekat vibrata, dodajući dinamičnost i živost zvuku. Ova blaga modulacija može učiniti zvuk organičnijim i privlačnijim, dok se istovremeno zadržava blizak osnovnom fundamentalnom tonu.
#### 3. Distorzija i Bogate Harmonijske Teksture
Distorzija je ključni element u stvaranju zanimljivih zvučnih tekstura. Primena distorzije isključivo na timbre može pojačati određene frekvencije i dodati karakter zvuku. Ovaj pristup može se koristiti za stvaranje snažnih, energičnih zvučnih slojeva koji se često traže u modernim muzičkim žanrovima kao što su elektronska muzika, rock ili hip-hop. Korišćenje distorzije uz pažljivo oblikovanje zvuka može stvoriti bogate harmonijske slojeve, čime se dodatno obogaćuje zvučna slika.
#### 4. Panning i Prostorna Manipulacija
Panning je tehnika koja se koristi za razdvajanje zvukova u stereo prostoru. Manipulacija panningom može pomoći u održavanju jasnoće miksa i omogućiti svakom elementu da se istakne. U kombinaciji s LFO modulacijom i distorzijom, panning može dodati dodatnu dimenziju pokreta i prostora, čime se stvara složeniji zvučni pejzaž. Na primer, upotreba LFO-a za modulaciju panninga može stvoriti efekat kretanja zvuka kroz prostor, čime se pojačava doživljaj dubine.
#### 5. Kombinovanje Efekata
Osim LFO-a i distorzije, zvučni dizajneri mogu koristiti i druge efekte kao što su reverb i delay. Ovi efekti doprinose stvaranju osećaja prostora i dimenzionalnosti u miksu. Na primer, dodavanje laganog reverba može stvoriti atmosferu, dok delay može dodati ritmičku dubinu. Uvek je važno slušati kako se efekti mešaju i prilagođavati ih kako bi se postigao idealan balans.
#### 6. Prilagodba i Eksperimentisanje
Prilagodba parametara, kao što su brzina, dubina i oblik talasa LFO-a, ključna je za postizanje željenih zvučnih efekata. Eksperimentisanje sa različitim postavkama može dovesti do otkrića jedinstvenih zvučnih karakteristika koje odgovaraju muzičkoj estetici. Ovaj proces istraživanja i inovacije u zvučnom dizajnu omogućava umetnicima da stvore originalne i zanimljive zvučne pejzaže.
#### Zaključak
Zvučni dizajn je kompleksan i kreativan proces koji zahteva pažljivo razmatranje svih aspekata zvuka, od fundamentalnog tona do složenih tekstura. Održavanje stabilnosti fundamentalnog tona, manipulacija timbrom kroz LFO, primena distorzije, kao i prostorna i ritmička manipulacija, ključni su za stvaranje bogatih i dinamičnih zvučnih iskustava. U svetlu stalne inovacije i tehnološkog napretka, zvučni dizajneri imaju neograničene mogućnosti za istraživanje i kreiranje jedinstvenih zvučnih pejzaža, obogaćujući muziku i umetnost na nebrojene načine.
That sounds terrible lmao, there are so many better ways to get unique sounds that don’t sound like garbage
Shhh… you weren’t supposed to tell them!
Did you know that if you take all the frequencies and boost just some of them, you get just some of the frequencies? 💀
Which software are you using ??
NOONE IS TALKING ABOUT?!?!?!?! isn't this super super basic?? its basically what a synth does
I used a similar tequnique with room tone to create huge sound design pads for this new movie Den Mother Crimson ;)
Nobody is talking about it... Except anyone who's used a synth wont shut up about it.
Is that key-fab-filter free? Is there a free version of keyboard-managed resonance Peaks/filter-Loud-points? (Just developed a new language)
It's not taught enough yeah but it's how most ambient music makers make their drone tracks, which is a firm of sound design so yeah pretty common trick. A very good common trick
you mean the sounddesign trick nobody will shut the fuck up about?
My mind is blowing RN! Like I knew about white been all colors but the fact that you can isolate and use each individual sound.... so when you're in a room so quite you can listen to the silence WHERE ARE ALL THAT AMALGAM OF SOUNDS COMING??? sheeeeee I'm happy I'm not doping on anything right now or i'll be already on the "ego dead" part of the trip
« No one is talking about «
False.
Just type : eq, harmonics, sound design on YT
Man just reinvented physical modeling synthesis. Exciters and resonators, my friend. Cool trick, but it's not brand new!
tip: for kicks, use pink noise instead (and/or layer it with a clicky white noise), as pink noise are tend to be bass-heavy (maths and shits, go figure), for them T H I C C body
How do you know no-one is talking about it? I've done this quite a few times, it's basically just the opposite of removing problematic frequencies in mixes. I mean, yeah, obviously I'm not talking about it with people. That would be weird.
Basic physical modelling, underrated syntheses method. Try using the supermodal VST from polyverse to take this technique even further
God f*cking dammit, why didn't I ever think of that? Right, cause I'm just a noob... almost forgot
You can make an 808 / sub out of a kick this way too - I don’t recommend it, but you can. It will layer well with the OG kick, but there are way better ways than that lol. I do sometimes do this method, and second it, but maybe fuck with it in another eq- automated or 50% the verb dry~~or just mb comp- either way, this creates really harsh harmonic pitches, regardless of whether or not they are suited to the track, so they should be tamed even if they don’t seem to need it.
Fucking with thin upward eq’s w white noise, or sample loops sometimes can really be cool - even though this lowkey IS talked about, it’s just subtractive synthesis- there’s a lot you can do with white noise (opposed to just being a textural bed) and this here is incredibly useful sometimes- then again, you’d probably want to have a lot written before u mess w the white noise, so you have to dick around a bit to maybe get the desired sound, sure it’ll eventually work, but might just be as good as using any other synth for this sort of thing / halftime w echoboy halftime sapphires, crystallizer and verb, reversed and layered polarized fwd and bckwd to sound reversed and not, gate it and add wtvr the hell, shaperbox or warmverb or nothing, over anything, preset droning sounds, a wavetable synth from scratch, etc
I think this tip goes beyond white noise though, everything can make a sick ambient sound if u fuck around enough - but using both white noise uniquely and using this sort of eq’ing experimentally I second
Super cool 🛸❄️
While white noise is designed to have a flat frequency spectrum, meaning it contains equal amounts of energy at all audible frequencies, it's technically impossible to generate a sound that contains infinitely many frequencies. This is because the physical limitations of any sound-producing device or medium would prevent it from generating frequencies beyond a certain point.
However, for practical purposes, white noise can be considered to contain a very wide range of frequencies, and this is often sufficient for its intended uses, such as masking unwanted sounds or aiding in relaxation.
Or, for mobile producers:
Pulse wave synth
EQ out some high end
Add a good bit of noise
You can make an 808 / sub out of a kick this way too - I don’t recommend it, but you can. It will layer well with the OG kick, but there are way better ways than that lol. I do sometimes do this method, and second it, but maybe fuck with it in another eq- automated or 50% the verb dry~~or just mb comp- either way, this creates really harsh harmonic pitches, regardless of whether or not they are suited to the track, so they should be tamed even if they don’t seem to need it.
Fucking with thin upward eq’s w white noise, or sample loops sometimes can really be cool - there’s a lot you can do with white noise (opposed to just being a textural bed) that is incredibly helpful as this tip.
Everyone using proq3 and I'm stuck with this fruity eq bullshit
Call me crazy, but I think this is the trick C418 used at the beginning of his song Alpha (in the Beta album).
so if NO-ONE is talking about this sound design trick, why are YOU talking about it? Or are you NO-ONE?
Hot Sugar has been making music using this for years. You can watch him do it in multiple UA-cam videos and in the documentary Hot Sugar’s Cold World
SECRET? 😂 That is literally how most electro music is build. Secret…. hahaha
No one is talking about this? I've had drummers show me this exact same production technique for the past 15 years.
I've been doing this for years. Try this with a high-hat sample or other percussion. You can get some really useful pitched-but-transient-rich sounds.