50 Tips & Tricks For Vital VST - Noob To Pro - Happy Birthday Vital!

what's up youtube so if i get this video edited and out in time today should hopefully be vital's birthday so it's been one year since the release of this epic vst plugin which ironically has become pretty vital in my workflow or sound design toolbox and i'm sure for a lot of you guys who follow my channel too so anyway it's been one year since the release of vital and i figured it's only appropriate to do an absolutely mammoth video going over something like 50 tips for vital spanning from the very beginner stuff that i get asked about a lot in my streams and my videos to the more advanced sound design weird techniques so this is the 50 tips that you need to know for vital from beginner to pro let's dive in and have a look [Music] so first and foremost the thing that confuses a lot of people when they first get into vital is the fact that vital doesn't have an octave switch um for those who don't know much about music theory and octave is the same as 12 semitones so most of the time to switch an octave you would just switch the oscillator up or down by 12 semitones there is in fact a shortcut to do this if you hold shift and you scroll your mouse wheel or if you hold shift and you move the parameter it does it in increments of 12. so this is how you negate the need for an octave switch like in serum or some other plugins that have octave parameters where you don't actually need it you can just hold shift and either mouse wheel or use the parameter as regular so tip number two is how vital handles folders in the interface so a lot of people still don't know this that um the vitals folder system is it uses a kind of nested folder system which is really really cool so say for example i've got my user folder of lfo shapes over here um i can just jump over to this and i've got a separate folder within this of like euclidean rhythms which have a bunch of like rhythms built in so it's it's really cool that you kind of have the ability to you know nest things within folders and this isn't just with the lfo shapes it's with the actual wave tables as well they're all nested within folders within folders so you can actually get really deep with it and that's why i think this interface is so good specifically for keeping big libraries of wave tables and that kind of thing because you can keep them very methodically inside folders and that kind of thing so that's one thing that i still get asked about quite a bit is this whole kind of folder system tip number three is the semitone hertz view on filters and effects and that kind of thing so let's say for example if we open up a filter over here the cool thing about vital is you can tune filters specifically to semitones and by default it actually shows you uh what the exact semitone is so if we key track this filter key track to 100 then this cutoff is always going to be at the root note of what we trigger we can set it to exactly one octave up by pressing 12 semitones etc etc this might not work for some people although this might work for some people depending you know some people prefer having an actual hertz readout some people prefer having a semitones thankfully in vital you can actually choose which one suits you best over here in the advanced menu down here at the bottom you can choose frequency units in semitones or hertz so if you set it over to hertz and you jump back over to the filter you'll see that it gives us the actual hertz value so this is helpful if you're copying patches over from something like serum and you want to get the exact sound then you're able to actually punch in the exact frequency in hertz whereas you know vital is a little bit of an outlier in the fact that it shows the semitones readout not many plugins have done that in the past and personally i like it because most of the time when i'm sound designing i want stuff to be coherent to a certain pitch or to the root note or something so i think that's particularly helpful just being able to choose is very cool so tip number four is the copy paste functions so what this allows you to do is copy lfos so let's say copy and paste or let's say for example choose something a bit more strange like this and we can copy this and paste it onto another oscillator and this is particularly helpful say for example if you're creating like weird stacks of stuff and you're not sure where you kind of what your next move is you can kind of let's say for example just warp this a little bit you can copy this paste it onto this oscillator mute this play around with this one a little bit more and now you've kind of got a point which you can kind of jump back to from the original does that make sense so now you've got like two variations of that original kind of thing but just copy pasting so that's pretty cool one thing though that i wish um we could do in vital is copy and then paste oscillators to lfos and lfos to oscillators but it's not quite there yet i mean that could be a cool future feature okay so tip number five is quantizing of the pitch so there's various ways you can do this if you're using a lead that's kind of triggered with a midi and we want to for example jump using randoms to kind of jump between octaves the best way to do this would be to use a transpose snap and set just the c on and what this is going to do is it's only going to allow variation octave variations of the root note to be modulated on the pitch so if we set a random to modulate the pitch it's always going to snap to an octave of the melody which we're sending in check this out and the other way to use this would be in the context of something like a sequence so what i'm going to do is i'm just going to create a new instance of vital here and i'm just going to draw in one long midi note and then here for example what we want to do is set a random to modulate the pitch and let's set it to a sample and hold 1 over 16 and now we can draw in a custom scale that we want like let's say for example just c c a d sharp and a g so now it's going to randomly generate notes that are snapped to that chord um within the randoms and it's all going to be relevant to this root note [Music] okay so tip number six is a simple one but it could be very helpful for you guys so this little zoom icon at the top here you can use this to kind of zoom into like view your envelopes a little bit better within vital so you may or may not know this but if you double click it it basically maximizes the view of your envelopes so if we say for example put in a really snappy decay double click it's going to give us the exact you know it will it gives us a little bit extra of viewing time but it kind of snaps to exactly the um the view okay well it's it's got a minimum point here but it just makes things a little bit easier you know so instead of having to try and like scroll to find the best point you just double click or if you like really zoomed in here to get your attack like um curvy like this then you can just double click to zoom out again so this is particularly handy for a quick workflow so i just kind of had to throw it into this list so another thing that's eluded quite a lot of people is the phase retrigger in vital so by default phase retrigger is on so what that means is every time the note is retriggered it's going to generate a new phase start point so what that means is but in vital by default the init saw waves phase three trigger is at the top of the ramp it's over here so in serum it's a little bit different the phase retrigger is halfway through so to get a snappier face people by default set the phase on serum to default but in vital phase at 180 is the same as serums in its saw phase at zero just so you guys know but anyway um phase three trigger is over here so by by setting it to zero you're going to maintain the exact same phase start point every time the note is retriggered so for cytron's bass lines or any kind of punchy repetitive sound you're going to want to set your phasory trigger to zero okay so tip number eight is vital stereo modulation so this is one of the massive massive huge features that i think vinyl has that kind of deficit from almost everything else on the market it's the ability to modulate any parameter within the plugin in stereo so what that means is say for example if we've got a lead here and we want different filter positions on the left and right like say for example we want the left going up while the right goes down and you want this kind of wavy filter movement how we do this is on this on the lfo let's just initialize this lfo real quick here set it to sign and let's apply a i'm going to turn this filter off and we're just going to apply a new filter over here set the oscillator 1 so that it roots through it i'm going to get to the rooting a little bit later and let's apply this to the filter and let's listen to what's happening [Music] so it's a very monocentric sound obviously the delays and stuff are adding some of that kind of stereo movement that you're hearing but now let's say for example we want to flip it so that the left and right have different movements happening how it works with the lfo is it offsets the phase point of the left and the right so by setting the stereo to 100 your left will be at 50 percent when your right will be at 100 through the modulation so knowing this you can actually create some really tricky kind of like uh sample and hold type of shapes to get like exact panning movements and stuff but it's also just a quick way to quickly create stereo filters or any type of stereo modulation in the patch [Music] and then obviously the other way around would just flip which modulation is at 50 phase when the other one is 100 if that makes sense [Music] [Music] [Music] me [Music] [Music] so this works with the randomization as well um with these random say for example if you've got like stuff happening here like lfo2 frequency you can set this into stereo and then this sets the modulation of the speeds of the lfo into stereo which then further get modulated in stereo so you're creating these incredibly wide sound design patches by just thinking about how to root the stereo modulation without having to get too technical about stacking oscillators and all sorts of things so this is one of the huge things in vital you know to do this type of thing in other synthesizers you really have to have quite a big oscillator count okay so this one might be a little bit difficult to wrap your head around if you don't understand if you've never made rises and stuff in a plug-in before but one of the things about how the lfos generally function is that if you're creating a riser effect and it reaches the end of the cycle it snaps back down to the zero let me explain how this works let's just create a saw up what i'm actually going to do is just initialize the sound or we can jump over to this example sound that we created here let's just create like a white noise riser here set a shape like this and modulate the level and let's modulate the pitch as well and we can do various other things like maybe put some effects on here so now if we put this in our project and we just have like a single riser instance what's going to happen is it's going to snap back down to zero at the end and the delay tails and the reverb tails aren't going to kind of like fade out however if we set this into this lfo into envelope mode the last node it sticks on that node and that's what the value that it kind of sticks at so that's how we get the ability to kind of let those delays and reverb tails fade out [Music] okay so tip number 10 i want to talk about some of the more obscure lfo modes so most of the time we end up just using trigger and sync and maybe envelope mode with the lfos but vital has three other modes which are pretty obscure loop point and loophold maybe not so obscure but sustain envelope are going to get you lost okay so loop point and loop hold allow you to create loop points in the envelope to do various things with so for this example i'm going to put a harmonic stretch let's just hit this lfo to adjust the harmonic stretch maybe the pitch and the level as well and i'll show you how these loop points work so i believe loop point works where it will play the lfo through the cycle and then loop indefinitely as long as you hold the note it will loop indefinitely from this phase position check this out this is cool for creating weird bouncy ball effects by let's say for example modulating this phase parameter and then loop hold is basically the other way so it loops the beginning part really really okay so in this sustain envelope this one is pretty weird so what it does is when it reaches the sustain point of the envelope it freezes the position that you select here on the lfo check this out okay so the last thing i want to discuss about the lfos uh for point number 10 is that you can punch in the exact values over here so let's say for example we want to put this like one quarter through the cycle we would say 0.25 and it'll put it exactly one quarter through the cycle and then we can say enter point value and let's say 0.5 um and it will point at exactly the correct like mathematically correct point so this is a really nice way of putting in like really complex stuff and putting in the exact values that you want so you could for example like snap things to much higher than what you actually allowed to snap to with these lines by putting in the exact values and getting extremely technical with it so yeah that's another cool thing about that do [Music] [Music] okay tip number 11 is the ability to freeze the lfos so you can do particularly interesting things with this let's say for example i'm just going to initialize this patch and here you can just set this frequency all the way down until it says freeze and what this allows you to do is let's say for example draw in like a sample and hold type of pattern and let's say for example send this to like a filter i'm modulating this point over here which i'm going to get to a little bit later um you can create these kind of like randomized things that aren't so random you kind of like choose the shape and randomly kind of select at which point it's choosing that value [Music] this is actually also a cool technique for being able to smooth a random parameter say for example you want to randomize something but you want it a little bit smoother than the random is like snapping those values too then you can just draw in a kind of like sample and hold like shape on the lfo and then just give it some smooth while you modulate this parameter okay so tip number 12 is the unison modes in vital so most people know what unison is it's just being able to like stack up voices in a synth to create a wider sound [Music] most people don't realize that vital actually has these advanced unison modes over here and this allows you to do various like pretty interesting things like create chords and all sorts of stuff like that so here you can also change various parameters how the voices are either the tables are being the wave table is being positioned is being modulated the warp modes and that kind of thing different for each voice in the unison which is pretty interesting but here is is my favorite thing in the the advanced unison modes is this stack setting over here so you can create power chords and what you want to do is turn this detune range to zero though and vital will generate you power chords so this is a nice interesting way of creating like guitar like old-school like video game like theme tune type music [Music] [Applause] so you're obviously not just limited to power chords there are various other things like major minor chords that's how you kind of like guitarize almost any type of sound you just unison stack put on one of those advanced unison modes and it kind of makes anything sound like a digital kind of guitar it just fattens up any sound um so for the theory behind it obviously the octaves is just stacking up those octaves four times because there's four units and voices power chord is basically just adding a fifth so for those who don't understand where the fifth is it's just a plus seven semitones so um because of perfect fifth theory and all sorts of things that'll just always work with the power chord which is pretty interesting major and minor generally only work on the root notes and then the other stuff is kind of a little bit more experimental okay tip number 13 i want to talk a little bit about the lfo delay and smooth and how that works so the delay is essentially the time the amount of time it takes for the lfo to fully kick in and then the smooth basically just smooths that parameter out so it's not like exact values what i'm going to do is apply an lfo shape like this to a filter [Music] [Music] another quick one i just want to throw in here so legato what that means is when you re-trigger a note while you're holding another note it doesn't reset the envelopes and lfos [Music] so notice as soon as i press that key the the movement of that lfo starts let's actually just turn this up in speed a little bit so it's going to be a little bit more apparent so if we turn the delay up it's going to offset it by the amount of seconds that you see here 2.6 seconds until the delay until that lfo is in full swing [Music] oh [Music] so by modulating the smooth and giving it some delay you can create these really organic sounding lfos which i think is really really cool okay so tip number 14 is audio rate lfos so i think this is one of the most powerful things in vital i mean faceplant has this as well but the fact that you can key track your lfos by clicking this button over here key track this turns the lfo into another oscillator granted you can't hear the oscillator but it saves you from using your audible oscillators as fm sources because you can just use your lfos as fm sources for those who don't know what fm is it's that kind of grindy tone that you get when you go like fm from b or fm osk2 whichever synth you're using it's generally created by modulating the phase of a oscillator that's how they create the fm sound so if we just set this phase randomization to zero and phase of the oscillator to zero and get an lfo to modulate the phase and then key track it we're getting fm so what we want to do is just set the smooth down that's so cool so we're not limited to only using this for fm we could use this to create audio rate modulation of the filters which is how you create like really really kind of croaky sounds is by audio rate modulating a filter okay the next thing i want to talk about is mod remap so this might be a little bit difficult to understand at first but yeah i've done another couple of episodes on mod remap so definitely check out my channel on those and they'll definitely help you understand a little bit so this is just gonna be a quick run through of what the mod remap system is so let's say for example initialize the preset let's set a lfo to the pitch so this is just gonna be a little bit noisy but this is more to outline exactly what's going on with the sound so if we just listen to what the sound is as the lfo proceeds through the lfo shape it modulates the pitch in a orderly fashion so if we jump over to the matrix every single slot in your mod matrix system has a mod remap and what this allows you to do is change the logarithmic or exponential value or whatever you change it to change the function value from input to output depending on the shape that you draw in so if you give it a curve like this it's going to be more exponential and if you give it a curve like this it's going to be more logarithmic however we're not just limited to curves you can do anything here you can create like square shape so that it's a 50 50 offset so when it's at the top uh it sends out a pitch when it's at the bottom it sends out a pitch like this and you can do various things in between like create like semi random type sounds from just a regular lfo shape so this is a nice way of being able to create one lfo that that does tons of different patterns within the patch so say for example we've got like a filter and we want to modulate this filter as well with the same lfo but a different shape and then we can just jump in here and for example set a curve and then we can bear in mind this is completely experimental so this is probably going to sound horrible but i'm just going to go a little bit wild here set this lfo to modulate a harmonic stretch um and then we can say for example like invert this like this way do a curve and then here semi randoms you could go completely wild with it [Music] [Applause] anyway there are much more sensical musical ways of using this um like i said you can check out my channel there's various ways of creating uh random gates i'm going to get into that a little bit later on in this video in fact um but various other ways of using this very creatively to create regimented types of random in your patch using the mod remaps okay tip number 16 is key tracking of the oscillators which you can turn on or off in the advanced panel over here so here's the little option that allows you to turn no tracking on off on the oscillators so this is particularly handy for situations where you have a kick and you don't want to change the pitch of your transient but you want to change the pitch of the fundamental of the kick so what am i talking about here i've got a basic kick patch that i'm creating let me just show you what happens when we change the key of the pitch you'll hear the transient kind of gets a bit weird [Music] i want to create a patch where the transient stays the same depending on no matter what we trigger and the fundamental can be tuned so this is really easy i mean here i've set up oscillator 1 as the transient we can just jump in and turn no tracking off on our sata one and leave no tracking on on oscillator 2 which is which has what i've created as the kind of like fundamental layer now what we're gonna have to do is actually go in here and tune this to the particular frequency that we think sounds the best [Music] so now we can tune our kicks with the fundamental changes but the transient of the kick stays the same okay so tip number 17 is quite a simple one is the fact that you can shift drag these curves over here to drag them all at the same time so this is particularly handy for creating like rhythms where you want to create like a couple of accented notes in the rhythm uh like something like let's say all of them go down like this and then just a few of them will change the curves a little bit like this and we can create these like almost organic moving patterns foreign okay so tip number 18 and 19 is kind of like a two in one it's the fact that you can access all of your modulations in the patch and be able to change the stereo-ness of the modulation so you can turn stereo on and off from within the mod matrix by just using this lr like this but you can also set any modulations within vital to bipolar so what that means is as you can hear here this lfo is adjusting this frequency of this filter but only above the parameter that is on the filter bipolar means that it goes above and below so through zero um and we can enable that over here so now because we put stereo on it kind of flip-flops where the the center point is the parameter but if we turn bipolar off the center point will be between the parameter and the highest point of the modulation [Music] so [Music] [Music] okay so tip number 20 is less of a tip and more of a kind of little mini tutorial i kind of just want to run through how the routing in vital works so generally speaking the routing in vital works on a top-down fashion for the audio components so what that means is all of these oscillators feed downwards into the filters you can choose the routing of these different components using these selector switches over here and then in the effects it runs downwards so basically you have the ability to run uh an oscillator either through the filter section or you can bypass it and run it directly to the effects using this little drop down over here or you can send it direct out so this direct out is handy in situations where you want a sub oscillator that potentially doesn't have like stuff like reverbs and that kind of stuff on it so let's say for example set this to a basic shapes and we've got a sub oscillator and here for example let's set up a i saw wave and let's set this through the effects and here we can put on stuff like chorus delays reverbs the kind of things that we wouldn't potentially usually have on our sub oscillator and this is a nice way of being able to like fatten up the sound but then you still maintain a nice solid sub tone [Music] cool so you can also choose which of the oscillators gets sent through to which filters so you can kind of get a stereo filter thing going on with less stereo but you can create like a parallel filter let's say for example run oscillator 2 through both of these filters filter 1 and filter 2. the first one we can set to a low pass filter and the second one we can set to a high pass filter this way creating a sort of notch filter um in the parallel movement of the sound so you could just create a notch filter i mean you can do that they are not filter types in vital but it's cool to be able to the versatility to create your own kind of custom filters and stuff is really cool so let's say for example set all of these down to like let's set the low pass down to minimum and high pass something like this and then let's macro control both of these and now we've created a filter sweep that kind of sweeps both of those on a single oscillator source while the sub oscillator gets fed directly to the outputs [Music] so here's where the difference of parallel and serial filters come into ha come in handy to know about like what they are as you can hear because we're splitting the saw wave into two separate lanes lane one is just allowing the low frequency through and lane two is just allowing the high frequency through but then they're kind of combining again at the output so you kind of get this almost phase like sound if we take off the oscillator 2's input and set this to filter 1 what it does is it sends the output from this then into the second oscillator or we can do it vice versa by doing it this way sending the output out of filter two and then into filter one so these switches over here select what input is being sent to the filter so here we're kind of creating a custom band pass filter i'm actually going to turn off the sub we can turn the volume up on this a little bit and we can distort it so we can really hear what's going on here [Music] [Applause] and you can get really experimental with this you know you could for example have like one oscillator that's sent to just this filter here so it kind of bypasses the first filter in this chain of filters that you've created and let's say for example set something experimental here like something from side tables so [Music] [Music] okay so the next few tips will be diving into the wave table editor and how you get there in vital is using this little pencil icon on the oscillator so the first thing i want to discuss is changing the phase from within the wave table so actually what i want to do is let's just select something a little bit more complex over here maybe something like a fm sweep from the data side tables v3 and here what we can do is add a wavetable modifier and click this phase shift so what this allows us to do is actually shift the phase on a wave table level so per each frame in the wave table we can create different phasing so this is particularly cool if say for example we have certain frames where we want a different phase and we want to be able to like sweep it with like a modulation of the wave table position we can you know we've got free control over like sweeping the phase here which is pretty pretty insane so now if we look at it like this we've actually you can see the wave moving backwards and forwards in the window over here which is pretty crazy okay so tip number 22 is creating custom filters within the wave table editor so how we do this let's just remove this one over here and how we do this is we add what's called the frequency filter and this allows us various different controls we can create low pass bandpass high pass and comb filters from directly within the wave table editor [Music] [Music] and the coolest thing about this technique is you can create sweeps so we could sweep this shape up as the wave table sweeps [Music] and you're not limited to just one you can stack these up so we could say for example have like a band pass filter on top of this and you can use this little viewfinder over here to actually see like what what the band pass would actually look like you know you got resonance and cut off like this so let's say for example create a sweep where it sweeps the frequencies up like that and maybe the resonance goes down a little bit [Music] [Music] [Music] um [Music] so you've noticed that i've added some distortion in this patch over here and you don't necessarily need to add distortion this is another really cool thing about the wave table editor is you've got these kind of distortion modes as well here they call them wave warp so what this allows you to do is you know actually warp the wave and as you see the more you turn y warp downwards it distorts the signal and it creates like a sign kind of or more of a square but it's a natural kind of distortion it doesn't clip the sound and then you've got y and then you've got x warp which i guess is more of like a fm like a shape that you can do so you can kind of like fm the sound and distort it from within the wave table editor itself which is particularly cool check this out oh yeah you can actually sweep this as well so we can for example turn the distortion down over time into more of a pure tone [Applause] and the coolest thing here is this is non-destructive so you can move any of these points up or down to kind of like fine-tune the sound say for example you want the distortion before the filter this comb filter that we created or any of these filters you can kind of swap them around or you could like phase shift it afterwards to like really perfect the sound so i mean you technically don't need any filters or distortions or anything in vital just the wave table editor itself is enough of a synth voice [Music] [Applause] [Music] so the other two wavetable uh modes that you get are wave folder and slew limiter so wavefolder is another kind of distortion type of sound what it does is it basically folds the sound over on itself as you can see um let me see if we can find like a less complex yeah something like this it kind of distorts the sound to the point where it hits maximum and then it folds over on itself so this is a great way of kind of adding harmonics to the sound and again that's kind of what distortions are doing so we can use this to kind of create a custom distortion sound where we can kind of sweep it in over time and get like really interesting with it [Music] and then a slew limiter basically just like make stuff less complex by slowing the rate of change at which these uh the kind of stuff can move so in this sense it's kind of like uh i guess when it's this complex all it's doing is kind of just like digitizing the sound like quantizing it to certain steps but it's yeah not far from like a bit crushed kind of distortiony type of effect that you can get from the slew limiter okay tip number 25 is phase of the lfo and that is exactly what this parameter is over here so i did say start point earlier but it is actually the phase of the lfo and this is particularly handy in various contexts let's say for example if we're doing that fm thing that we were doing earlier so now we can actually sweep the kind of phase of the fm source and that's creating like different tones so you can get slight tones there uh by changing the phase of the lfo uh by changing the phase of the fm source but also say for example in a situation where we've got this doing a rhythm on unlike the level of the oscillator we can use the phase to modulate you know where this kind of like sequence is either starting or where it's playing from so you know for more basic kind of like idea of how this works let's say for example set a macro to control the phase and for exact start points that are always lined up on the points of the sequence we're going to want to jump into the mod remaps this is what i discussed a little bit earlier and set this up to an 8x8 grid and then draw in steps like this so what i've done is i've actually set up a preset i think i've called it eight step um i've set up a preset to do this because i use this so often to be able to like jump to different start points in a sequence and you can see as i turn the macro on the lfo it's only jumping to those nodes which are on the grid check this out so this is really cool in a situation where we can for example randomize this macro and let's say for example set this to sample and hold and one over 16. and then what happens is it's going to jump and choose random points in the sequence so essentially getting a random gate sequence [Music] do [Music] so by using this theory we can deduce that we can use an lfo as an extra macro say for example we run out of macros what i'm going to do here is i'm just going to jump over to my other example that i've prepared here for us so say for example um i haven't but in this example say for example we've used up all of these macros and i want to create a macro that another macro that can do various things within the patch so if we just use an lfo that's like a ramp shape like this and we set it to freeze what we can do is we can assign this to various parameters in the patch so let's say for example i'm going to put on a harmonic stretch over here as well and let's assign this to you know up the mix of the delay and the reverb as well so we created a macro now and if we sweep the lfo phase over here on the frozen lfo this creates a macro check this out [Music] [Music] [Applause] [Music] [Applause] [Music] insane i absolutely love that because you can stack this as many times as you want you can create a bunch of different lfos one macro that does like various different movements of those lfos depending on your mod remaps and stuff wow you can get you can create some real amazing transition type of macros using stacking these up like this okay tip number 27 i basically just want to talk a little bit about the basic filter types so if you're coming from serum the latter style filters are going to be closest to serums mg style filters except here you've got various other ones notch blend notch spread and then the diode is going to be closest to 303 style filters but you've also got various other ones which you can choose analog dirty digital each one has various different things that come into play they sound slightly different they have different intricacies and stuff like that and most importantly the drive characteristic sounds different which i'm gonna get into the formant filter this is obviously closest to what you get from like the dalai lama vocal type of sound it's meant to uh emulate like a throat sound so you can run sounds through it and it sounds like a voice comb filter these are a little bit more experimental i'm going to get to a little bit later on in the video creating resonators and stuff using comb filters um and then the phaser filter this is really really cool it's basically a frozen it's basically a phaser effect that's in freeze mode and allows you to actually change the phaser live i'm sure you guys are familiar with the phaser effect tip number 28 i want to talk a little bit about the drive characteristics and how this differs from most other vst plugins most vst plugins when you turn up the drive you expect it to be louder in vital it's not like that it's almost in a sense uh gain matching the sound but it's not all it's doing is it's imparting the characteristics of which the drive of that filter type would impart it doesn't add any volume or anything like that which i think is actually particularly cool because a lot of people use the drive in serum to turn up the volume of the oscillators before the filter but in turn that changes the sound of the filter because obviously it's now overdriving it and there's various different characteristics of the overdriven filter different types having different filter types etc you may like that sound you may like it louder or not it depends in terms of gain staging it's actually cool to be able to hear the difference of drive without any volume being imparted on it because you can actually hear what the drive characteristics sound like without being biased to the fact that it's louder anyway let me give you a couple of examples here so let's go to the diode mode and let's create like a kind of resonant plucky filter sound [Music] [Music] [Music] you [Music] so knowing this knowing the fact that the the volume doesn't change the sound gives you freedom to just drive it up all the way and listen to the kind of like tone that it creates you know when generally sound designing when you're going to drive something to the point where it's like at maximum distortion you're going to have to then apply something afterwards to turn the volume down and all sorts of things that are going to change your gain staging i think it's particularly interesting or particularly cool that they've set the drive as a kind of mix amount or whatever it is that it's kind of gain matched on the output so you can really hear the tonal difference of these different filter types and their drive characteristics as opposed to just oh it's louder it sounds better you guys know what i mean [Music] okay so tip number 29 arguably one of the coolest features in vital is the resample preset to wave table so what this allows you to do is resample the exact preset you have to the wave table so what i like to do is create a bit of a sweep so let's just say initialize this lfo and sweep the fm over here just so that there's variation in the wave table so it'll like sweep over time and then just click on one of the blank oscillators in the patch and say resynthesize presets to wave table and it records the audio output and it records it back in as a wave table so let's just disable all of the effects and everything so we've recreated that sound as a single wave table and we can sweep through the different positions of that sound to get the tonal differences that we created with that sweep [Music] so then if i like the wave table that i've created i'll generally right click and say save to wave tables just call it whatever and then i can use it in another patch so we can say for example initialize patch search for what we called it demo lead 14 and now we've got this as a starting point for a new patch what i really like to do is when i buy a new vital preset pack or something like that i just run through all the sounds synthesize preset to wave table and just see what that wave table sounds like and just start saving them and i've created a whole new bank of wait tables that i can create my own sounds with that brings me to tip number 30 on the list and that is how to manipulate the audio in the vital wave table editor so how it works is you've got the start point and the end point and you can adjust the window size so let's say for example it's automatically detected the window size because of the pitch which is pretty cool but we can go in and enter like custom window sizes so like allow less uh sample in the actual sound or whatever it is um so we can say 2056 and it'll be a more complex wave table a random number 5000 and it's allowed more cycles into the single wave table so in serum when you import the wave table you can choose the window size and you've got a choice of four different sizes so in vital you can import the sound and you can change that window size variably over time which is pretty cool and you're not just limited to those four choices um it does sound better in my opinion when it automatically generates the window size but i mean you're not limited to that which is pretty cool so how we change where we want to sweep say for example we just want to sweep this end part here and not like right at the end like just this part here okay so what we want to do is we want to click on this which is the start point and then move the window over here to like here and then let's click on the end point and move this little purple window to here and that's how we adjust what sweep we want to allow through from that audio file into the wave table so now we've got less audio file being sweeped here so you can kind of get a little bit better resolution in the sweep so you hear there's a bit of a wobbly thing happening in the middle i want to avoid that so let's move this a little bit backwards and then let's move this a little bit this way beyond the wobbly thing so this is another really really cool thing about vital is that it's non-destructive you can kind of fine-tune it over time to get your like your best sounding wave table that you can get [Music] [Music] do [Music] so tip number 31 is being able to stack stuff in vitals wavetable editor check this out so this is a pretty weird method that you know i don't use too often but you know just like i said knowing all the capabilities of vital is going to make you a better sound designer in the plugin what we can do is we can add another wave source here and let's say for example draw in another saw wave and let's add another one and now we have three saw waves that are stacked on top of each other if we jump in and add a phase shift onto each one and offset it ever so slightly we're essentially creating something that's not too far off from the shape of a unison saw wave so this is pretty interesting because you can create your kind of custom stacks this way and you're not limited to just using a wave source you can put filters on and all sorts of things so you can get really really interesting uh you know kind of building these sounds up from the ground up like i said we can jump in and on each one we could for example wave warp one of them to distort one of the waves and let's maybe add a wave folder to another one so you can create these like really complex unique shapes like really on a kind of molecular level using this technique it's almost kind of i don't want to say additive because it's not but yeah you get like a really kind of molecular approach to creating uh your wave shapes so tip number 32 is something that not a lot of people talk about including myself because i don't know too much about music theory and i'm not going to show you an example because i'll probably mess it up completely but anyway vital allows for the import of micro tonal files so what those are are basically files that allow you to tune notes different to what we know from the western music scale so this website here ceviche.com has various you know tuning files which you can download and load into vital there's also a scale workshop which is like a tool that allows you to actually create your own micro tonal files which is pretty interesting so like i said you know that's a little bit too advanced for me but in vital you click on your hamburger icon menu like this and click load tuning file and it allows you to load up any tuning files of the format.scl.kbn.tun tune so any files in that format you can load it up and it basically detunes ac by a certain amount of semi uh by a certain amount of hertz uh into different kind of like micro tonal scales and things uh yeah a little bit too high it's a little bit higher than my kind of pay grade in music theory but i'm sure for those who know about it uh it'll be interesting for them to know that vital does allow that so tip number 33 in vital is key tracked eq so a few people like to use this on bass lines to remove specific harmonics and that kind of thing although in a synthesizer which allows for additive control over your wave tables it is a little bit pointless that being said is the ability to do it in vital is pretty cool because say for example you've added a distortion and that kind of thing and you kind of want to keep track something anyway i'm just going to show you guys how to do it um and you could use it if you want to okay so we've got an initialize or wave with the phase random set to zero and let's add an eq effect on here so let's say for example we want to cut a specific node what i want to do is i want to set this cutoff over here to a specific semitones that's correspondent to an octave so that's 0 12 24 36 48 etc and that would be dependent on which harmonic you're wanting to remove we're gonna play around with this a little bit but let's say for example set it to 24 and then if we set the note to key track this uh you want to set the modulation all the way up to 128 and then what we can do is we want to set the semitones to values we want to set this cut off here to let's say for example like 12 [Music] and notice how that notch jumps depending on where we pla punch the no it's always equidistant from the fundamental which means that we've created a key tract eq and we can use resonance to kind of tune it down a bit we don't have to do a full notch we can gain it as much as we want like this so let's say for example we want to remove like the third harmonic then we would punch in 36 you can actually do this with vitals notch filters as well so if we open up a filter and click notch spread and we go like this what we can do is we can actually tune the filter to key track and then punch in a specific semitone value over here and it'll do a very similar thing [Music] so i know for those cytrons uh guys out there a lot of you use keep track uh eqs on your bases just being able to do it within vital is very cool but again like i said being able to just remove the harmonics when you need them on a on the source in my opinion is a better idea but you know being able to just knowing all these little tricks is going to make you better like i said okay so tip number 34 is being able to load a single cycle waveform in the noise oscillator and this kind of turns the noise oscillator into an extra oscillator so to get this functioning correctly we're going to want to actually open up vitals user directory and copy a single cycle waveform something from one of your other wave tables or something just cut out from the zero crossing to the next zero crossing in your daw and render that out into your uh samples folder in vital what i've done is i've actually taken uh there's a pack of wave tables called the data side tables v3 there's also a v2 and a v1 they're all amazing wave tables for cytrons um or for a couple of different genres of course um but there's a couple of single cycle waveforms in that pack which are really good like fm sounds and stuff so i just copied some of those into my samples folder so that i can load them up as a noise oscillator so here what we can do is just click on this is the one of those fm things that i'm talking about fm4scw that stands for single cycle waveform and in vital if we click this little icon over here it key tracks the noise oscillator so now we've got the noise is basically creating an fm sound check this out are you [Music] so that becomes particularly handy if you've got already like a full patch and you're using all three oscillators and you just want to add a little extra fm tone load it up as a single cycle waveform in your noise oscillator so tip number 35 is similar to this but it's with instead of adding single cycle waveforms we're adding audio loops so that we can either take advantage of the effects in vital or we can manipulate the loops in various different ways i recently made a video on how to create cytrons like uplifters and transitions using this technique but you're not limited to just that there's various things you can do for kind of more experimental stuff so what i want to do quickly is i'm just going to find a loop in my samples drive and i'm going to load it up into vital [Music] [Music] we can get really experimental if we start modulating the pitch of the sample so what that does is it it changes the time so this can get a little bit kind of like weird and glitchy but yeah i just usually play around with like a sample and whole type of shape on lfo to kind of like lock in a rhythm this way [Music] [Music] okay so tip number 36 might seem simple for those who do understand it but it's quite an advanced idea when in the greatest scheme of things so this idea is removing the fundamental so what this allows us to do is stack oscillators and do various things like detuning a sub to fit a like detuning the sub to fit the kick drum while the kind of like mids and harmonics are nice and present in the mix or widening the mids and harmonics while your sub is a dead center and that kind of thing so first and foremost uh an example where this might be handy is say for example we're creating like a drum and bass style rhys lead and we want a nice wide sound but we want our subs to be mono and present what we can do is let's say for example create a second oscillator set it to basic shapes i'm just going to set the phase randomization of the sub oscillator to zero so it re-triggers the same every single time and what i want to do is set the phase of this to zero so that it starts on the upcycle and not the down cycle here with the saw waves what we can do is we can just add some unison which will traditionally detune it and make it sound wider which should kind of add a kind of faziness to the subs i can actually show you guys what this looks like in a scope real quick [Music] do you see that fundamental dancing around the stereo spectrum left and right there so here what we can do is jump into the wave table editor and literally just turn down this first bar like this and what that's done is it's removed the first fundamental of the tone so for those who don't know a saw wave is made up of a bunch of different sine waves stacked up in octaves and fifths on top of each other and by removing the first one we now have a no movement happening on that first fundamental because it doesn't exist anymore [Music] so you see that kind of like stereo movement only starts happening above the 100 hertz range so here what we can do is add that sub in and now we get the full sound again the sub will be complete mono while the top of the sound will have that stereo movement this is also great in examples where say for example you want to distort the mid-range and stuff but you want a clean sign coming through again what we can do here is let's say for example set this sign to direct out and then we can jump into the effects and add like distortion compression and all sorts of things uh to the top of the sound like a reverb and that kind of thing but that sine wave is still going to be clean so tip number 37 is the fact that vital banks are actually in winzip format just renamed uh let me show you quickly how to really easily create vital banks i feel like this is a little bit easier than the actual bank creator within vital i just prefer the kind of like workflow folders and that kind of thing within windows browser uh maybe it's just me anyway i'm almost done with my uh glitch sightron's essentials volume three preset pack for vital uh little plug shameless self-promotion over there anyway once this prac once this pack is done the easiest way to turn this into a vital bank is to literally just right click and add to archive and make sure that you know if you're using winrar make sure that you choose zip format over here and then what you can do is just change the file name so that the last so that the suffix of the file is vital bank and not dot zip and you'll see here that we've created a glitch cytron's essentials volume 3 vital bank now if we jump into vital we can go import bank so tip number 38 is creating switches using macros and moderate maps so now we're getting into the territory of combining a bunch of the other stuff that i've talked about in the rest of this video combining them in interesting ways to create like uh interesting macros and all sorts of things so this one we using the mod remaps so here what we want to do is let's say for example i want to create a macro that can switch between these four different oscillators so it's going to switch it's not going to kind of fade between them it's going to be either or one or the others so how we set this up is we're going to want all the oscillators on to begin with and we want to turn all the levels down so here what we want to do is we want to go into we want to set a macro to control the first oscillator's level then we jump into the mod remap or into the mod matrix and we check at the bottom here we have a look at the mod remaps at the bottom here so if you don't understand the moderate maps reverse a little bit and check out the section where i spoke about those in a little bit more detail but for this what we want to do is because we've got four different choices on the switch we want to set this to four and draw a bar like this and three bars downwards so it's important on the first one to set this first node up to the top and now if we go back to the voice selection we'll see that you know while this macro is in the first 25 of its value the first oscillator is on and as we sweep upwards as it goes above 25 that oscillator turns off so we can use this technique to apply to the second oscillator and then here on this one's mod remap we're setting it to something like this so from 25 to 50 the second oscillator is going to be on and now we just expand this to the third and the fourth as well or the noise oscillator and let's just jump in and on each one draw in the corresponding shape for the moderate map and on the sample let's do the fourth bar so now i'm just going to turn the volume down just in case it's a little bit loud now we've created a switch that can change these different oscillator types [Music] so it's a little bit noisy and might not seem very musical at first but if we set something like a note on random onto this macro what's going to happen is every time we trigger a note it's going to basically choose a different one of those oscillators and we can then run all of those through to a filter and then apply a kind of global envelope to all of those to kind of create into more of a synthy sound [Music] so [Music] up [Music] [Music] so tip number 39 is being able to create random gate sequences using uh obviously the random generator and mod remaps so how this works is let's turn this level down to zero and what i want to do is create let's say for example a one over 16 envelope on the level of this okay so now every single sixteenth note it's going to retrigger i'm just going to choose this long note and let this play so i'm just going to quickly create like a fm tone by adding a second oscillator detuning it and saying fm from ask2 and turning the level down so now to make it a random you know so that it only triggers every now and then at a random uh percentage that we set what we can do is we can use this random modulator and let's drag this onto the center point you see just before we let go this green dot appears in the middle so what that is is the side chain modulation of this macro of this modulation that's being sent so this random parameter controls the amount of modulation that's now being sent here so then on this random let's set this to sample and hold and let's set this to 1 over 16. so now if we play it it's going to randomly adjust the velocity at which the sound plays so we don't want that we don't want a random velocity we want it to be always at 100 velocity but we want the probability to be randomized and we can do that in the moderate maps so over here let's jump in and set this random to modulation one amount and let's adjust this moderate map at the bottom here and what we can do is we can choose a grid size of 10 and what this represents now is each of these bars represents a percent at 10 percent and then here if we put these two bars at the top this means that or three bars or four bars means like 20 30 or 40 percent probability that the random is going to trigger this gate check this out [Music] [Laughter] [Music] so okay we are on the home stretch now guys tip number 40 is advanced chaining of sequences to create much longer melodic like evolving sequences so how we do this is we use several lfos to kind of create a melodic pattern and then we use a macro switch like i showed you earlier to switch between which of those lfo patterns is controlling the pitch at which time and then you use a further lfo to control that macro switch so this is a little bit tricky things are going to get a little bit complex here from this point onwards so this is a little bit tricky but follow along this is a such a cool technique specifically for dance music because once you have control of that macro you could instead of just using for example like a lfo to control that macro you could modulate it over time to kind of jump between these sequences and move it at your own pace so yeah let's initialize this patch and we're going to start diving into complex advanced chaining of sequences for those who don't know you can punch in these grid sizes here in vital and what this allows you to do is um for example we can say like 16 over 12 and then this gives us the ability to draw in arpeggiate arpeggiators that can kind of snap to a grid size of 16 beats or 16 steps in the bar and 12 semitones up or down so what i want to do is i actually want to set this to 24 so that we can go up and down in the sequence and then we're going to find the middle point so actually what i'm going to do first is set this to two uh like this and then we can go like this sit just initialize the thing to the middle point and then let's uh smash wheel up to 24. so now what we can do is we can go up in the sequence but we can also go down in the sequence so now what we want to do is we want to set this to control the pitch of the oscillator if we hold ctrl before we drag it the modulation automatically gets applied in bipolar look here right however we don't want it full 96 range we want it of 24 so that it's 12 up and 12 down so actually what i want to do because there's going to be several sequences controlling the single pitch it's it becomes a little bit easier to instead of making this each one individually control the pitch we make one single kind of master pitch macro so let's control drag this on there set this to a range of 24 and then we get the lfos to control this macro instead and if we drag all of these four lfos on here and then we just jump into the matrix and we just make sure that these three are off for now we'll get back to that just now and then we can actually go in and edit one each of them individually for the fourth one i actually want to create a bit of an envelope type of motion on a 1 over 16 so we can put a filter on here and let this apply to the filter [Music] okay so now the trick is to go into each of these lfos and to draw in a individual like a different sequence but using a similar kind of set of notes so here we can jump into the second one and we can punch in 16 by 24 again [Music] [Music] [Music] [Music] okay cool we got four cool sequences here so now the trick is to do the macro switch like i explained to you guys a little bit earlier so here we can do that with the second macro over here so let's just disable all of these sequence macros and then let's apply first one and then set this to this four switches so set this to four do this do this set these bars downwards set this to the second macro like this second one these bars downwards set this to the third macro like this so on and so forth and now we've created a switch that can switch between those different sequences and now we can actually sequence that switch with a very long saw ramp check this out [Music] so [Music] [Music] do do [Music] so [Music] okay so tip number 41 is less of a tip and more of kind of like a bug fix i guess because i see a lot of people criticizing vital saying that uh it's envelopes are sloppy and that kind of thing but i think they're just not understanding how things work within the the fundamentals of the plugin um or maybe what i've picked up is just on my system maybe i'm just one of the lucky ones that doesn't have this issue um but a lot of people say that when they're using the envelopes they're uh specifically on something like a very fast envelope on something like a filter on a saw wave you can actually see it change over time and in my tests i could only really replicate this under one very specific condition which can be replaced with other tools inside vital so let's talk about this real quick here is a very very fast decay a very fast release on the cutoff of a filter which is on a saw wave you can see that that waveform is dead static there's no editing happening here right now that is a dead static waveform however when you add a little bit of hold which some people like to do um it's a weird thing i think with sound design people have different ways of achieving different tasks i think a lot of people like to use hold and then turn the curve down this way as opposed to that way and the hold parameter in vital seems to approximate a number of samples as opposed to sample accurate response and this is where the problem comes into play check this out so those who are criticizing vitals envelopes it's not sloppy it's just the hold parameter which is sloppy in my opinion but you don't even need the envelopes in vital you could just potentially use lfos to do all of that stuff anyway and something that you may have picked up from my sound design techniques is i generally use lfos for envelopes all the time because you've got more points you've got way more control over creating your sound so here if we set this onto the cut off over here and we draw in an envelope shape like a curve like this let's set this over to seconds so we've got more of a kind of accurate response and let's set this to envelope so we can potentially just recreate that whole parameter by just drawing in the envelope how we want to and punching in the exact amount of seconds that we want the cycle to take place in i mean if you want i could let this loop for days but i mean that is sample accurate it is as sample accurate as you can get there's nothing wrong with vitals envelopes number 42 is to quickly create another phaser filter by just freezing the speed of the phaser so if we enable the phaser you can turn this frequency all the way down to zero to the point where it's frozen so this automatically creates a kind of stereo phase filter we can turn the stereo off by using this offset parameter like this and then this parameter becomes the frequency of the phaser filter so one of my favorite things to do is to use a random on the frequency of a phaser filter and in fact i'm going to use a note on random and then we can just tweak these parameters a little bit so you can actually freeze most of these effects in vital that have a time basis you can freeze like the chorus the flanger any of these you can freeze and you can do some really interesting things with which i'm going to get to shortly okay tip number 43 let's talk about mpe in vital so what is mpe polyphonic midi what that means is you can trigger chords and each note in the chord can hold individual midi data whether that's pitch bend or a filter sweep that's up to you so in this example i'm not going to do pitch bends because that gets a little bit weird and complex i'm going to do filter sweeps which is actually a really really cool trick for creating chords that kind of like sweep and move and all sorts of things like that so yeah what i want to do is just create one long [Music] so just a quick cubase setup thing to get mpe working in cubase you got to set this midi channels here to any and then you've got to give each of these notes in the sequence an individual midi channel so one two three four five and then six we can jump into vital over here and then in the advanced tab we wanna select this mpe enabled so what this does this allows us to make use of this pressure parameter over here and this is particularly interesting when you apply it to for example a filter let's just turn this filter all the way down and put the pressure parameter on this so now if we jump back to our actual midi over here we can jump over to the poly pressure enable it and then when we double click on and when we double click on a note it opens up this menu over here and now this allows us to draw in a filter sweep for each of those notes [Music] [Applause] [Music] [Applause] [Music] you can also get it to control like the tremolo of that sound so each of these notes has its own individual tremolo you can get these really wide expressive sounds [Music] using just very simple chords like the c and then the g so we also have control over the actual pitch of the sound so this might get a little bit experimental here what we're doing so let's just draw in one long note at the top here let's just set this to midi channel like the last one it doesn't matter and here instead of the poly pressure well we're going to have to give it some poly pressure just so it's audible then this one we can click here pitch bend enable and then double click on it again and then we have the ability to actually draw in pitch of the note independently so we can get like weird pitch sweepy things here [Music] okay tip number 44 have you ever thought damn i wish vital had an extra note on a random well you can actually create one using these randoms so if you just set the random down to freeze it actually creates a note on random in the particular style of that random so purlin the note would like randomize each time but like with a bit of a curve uh sample and hold will be like a traditional note on random so check this out let me just load up a random wave table over here and apply this random to this so once it's frozen check i'm just going to hit notes randomly [Music] [Music] [Music] okay tip number 45 is creating custom reverb like tones using the chorus and modulating these time parameters ever so slightly with randoms so by default this these parameters are when this is not frozen these parameters are modulated by like a sine lfo type of movement but that's not very kind of natural in terms of like the acoustic response of us an actual space we want to go for something a little bit more randomized so if we apply just a tiny bit of random like i'm talking like 0.5 i mean 0.0 like between 0 and 0.05 like somewhere around there different type of random on each one of these parameters very very tiny increments you can create these like custom reverb like tones check this out [Music] [Music] [Applause] [Music] you [Applause] [Music] tip number 46 is creating glitchy sounds by modulating the delay times within vital so what i want to do is i want to pop open that loop that we had earlier so the trick here is to turn this to seconds and then here to turn this down really low and listen to what happens when we like modulate this delay time at very low increments here [Music] so the trick is to find like the lower extent of the time that you want to use and then add a lfo shape to modulate upwards from there [Music] and now here what we want to do is we want to set in some steps to modulate these delay times [Music] so [Music] [Music] so so so [Music] [Music] [Applause] [Music] okay tip number 47 is being able to extend the range of parameters outside of the bounds of what they visually show on the screen using stuff like macros or frozen lfo and that kind of thing so how does this work let's say for example we've got a formant filter over here and you'll notice that when you get to the bottom here you can't sweep any further than this kind of peak frequency however if you set a macro onto this and let it modulate backwards the more you turn up the macro the more that filter goes down and you can kind of stack this up almost indefinitely to go like further and further and further down and this is particularly interesting in situations like with flanges and that kind of thing where the more you go down the more it turns into a delay effect and you can do all sorts of weird resonator type things which are my next few tips but for this this is just particularly interesting for being able to like extend the range of stuff within the so like i said this works with phases flanges like any of the actual effects as well but particularly interesting is the comb filters so here if we set this up and this up like this and we can then get this kind of cut off range to go further outside of the bounds of what it's kind of allowed to go within the interface and this kind of creates an echo or delay effect check this out [Music] so tip number 48 is being able to create resonators with the flanger effect in vital so what i'm going to do is just turn off this filter and i'm going to leave this like percussive thing that i've got here on this envelope it just kind of like lets that first little bit of the sound through here let's jump into the effects and let's enable a flanger here what we're going to want to do is turn the frequency to freeze and then turn the offset down so that the left and the right are playing the same thing here the center parameter what we want to do is we want to set this to a semitone according to a semitone that's according to like the root note for example like 0 0 12 24 etc let's go with 12. then what we can do is we can set this note parameter to modulate the center let's just make sure it's going all the way to 128. [Music] so that sound you're hearing is being generated by the flanger the pluck is just triggering the flanger to begin and it's this kind of like self resonating feedback effect that happens when you tune a flanger to specific note frequencies that's pretty interesting it's the same thing as like a delay and all sorts of things when you're creating a resonator effect or coupler strong type of synthesis um i'm going to be doing a video on like a kind of deep dive onto why everything is actually a delay um but in the meantime everything is actually a delay so we could use this theory to our advantage to create like a resonator effect from almost any type of effect by just tuning that kind of frequency of that feedback [Music] okay to prove my theory to you that the sound is being generated by the flanger here i'm going to change this oscillator here to a noise source and then set this to pluck this level here of the noise [Music] only changes the kind of tone of that transient ever so slightly so tip number 49 is doing the same thing but with comb filters so like i said everything is delays comb filters are basically delays so if we turn on this filter over here we turn on comb and we resonate it a little bit with this resonance just shift this up to give it some high frequencies and we key track it this key track automatically does all of that kind of like uh key tracking the stuff for us and then here we've got various different kind of like com filter modes that we can choose from that have different resonator styles the trick here is to set it to something like uh that's relevant to like again the root note like 0 12 24 or minus 12. [Applause] [Music] [Music] [Applause] remember the sound is being created solely by the filter itself let's turn off the filter and listen to what we're hearing just the transient very very interesting so [Music] so tip number 50 we are going to use a bunch of the tips that we've spoken about in previous episodes to make a massive multi-layered patch which we can trigger with just a single midi file that can create a kind of layered like almost a full track that we can kind of just add kick base percussion to and call it a day that's the goal here so first and foremost what i want to do is do a single cycle fm waveform in the noise and then we can create like a random gate to trigger that so here let's turn this level down let's create an lfo to modulate the level let's set it to 1 over 16. let's do a shape something like this then let's set a random to modulate the side chain of that parameter that's going through to the level and then let's set this to a sample and hold at 1 over 16 and then we can jump into the mod remaps and just set this to a 50 50 square like this so now what i want to do is i want to set a filter to just the sample oscillator and we can set this to a band pass and set it to a 24 db and then let's set a the same random to modulate the cut off value i want to edit this mod remap just so that it's not linear to what the input is so that we're getting a bit more of a random on this cutoff [Music] so now what we can do is we can use the inverse of this random to trigger another oscillator so that it kind of flip-flops between the two so what i want to do is let's just enable oscillator three i'm going to save oscillator one and two for more of a main led type thing and what i want to do is i want to use a key tracked oscillator here to create like a fake fm let's set this to modulate the phase set this down modulation all the way up phase retrigger to random to zero okay so here we want to set the lfo one which is our kind of like envelope thing to modulate the level of the oscillator three and then let's set the random to modulate that side chain of that modulation then let's jump in here and here we want to set it so that the bottom half triggers and not the top and then this first node needs to be up so this modulation is like this so every time the random is above 50 it triggers the sample and every time the random is below 50 it triggers the oscillator and what we can do is just to give it some gap in between we can say anything below 30 triggers and anything above 70 triggers so we've got this kind of dead space in the middle for a bit of extra groove so what i want to do is i want this sound to be able to uh i want to process the sound as like a wave table so i'm going to turn the level up all the way i'm going to turn the delay off i'm going to resample this preset to wavetable um so so here we've created the filter inside the wave table editor for the oscillator 3 and then we have this filter created being this filter is changing the sound of this sample so this leaves a filter over here open for oscillator 2 for example and then with like oscillator 1 we can send this one like directly through to the output or however we want to do it yeah we can keep stacking and keep stacking with this idea you know in oscillator 2 we could even create the filter in the oscillator itself or we could use the filter that's in one of these modes like low pass this distortion mode over here as one of the filters check this out [Music] so here let's draw in a sequence let's say sync let's say 2 over 1 16 and let's go 32 24 actually put it in the middle first this up to 24 here then let's set this to modulate this hold ctrl so it's bipolar right click and enter the value see what is it 48 into value to 24. [Music] my [Music] so [Music] [Music] oh that sounds great so now on this one let's maybe create like a power chord and we can create maybe like a pad type of sound on this layer let's send this one through to filter number two let's enable this let's maybe give this a high pass filter let's turn the unison modes up let's jump into the advanced and let's hit this unison to power chords and let's turn the detune range down [Music] so [Music] foreign [Music] so [Music] so i really so i really like creating patches like this because it's almost like an instant inspiration to start a track you know when you've got something like this you can kind of jump in you know create uh say kind of any pitch that you want change it to kind of like any tempo that you want and it's really like a basis to start working from you could always you know remove some of the layers and adjust it to suit your specific needs but i think having these kind of instant inspiration multi-layer patches is particularly powerful so learning to create them is definitely a good idea awesome that is about it yes oh my gosh i actually got through that list can you believe it all 50 tips for vital and if you skipped through the beginning of the video and you didn't catch the first little bit it is vital's birthday hopefully today if i get this video done in time which which has been quite a mammoth task so far but anyway let me know what you guys think in the comments if you like this kind of more crazy in-depth long uh 50 kind of tips videos then let me know um or if you like the shorter things also let me know um i always like to hear your guys feedback anyway if you haven't yet consider hitting that subscribe button hitting that like button all the little things i'm going to be posting links to a bunch of other youtube creators in the description below i'm sure a bunch of these tips and ideas came from them one in particular is data broth i'm pretty sure that a lot of these ideas were inspired by stuff that he does he's really good at thinking about plugins out of the box so anyway let me know what you guys think in the comments as always see you guys next time cheers

Channel: Dash Glitch

Views: 66,944

Keywords: Dash, glitch, sound design, vital, matt tytel, helm, free synth, best free synth plugin, vital synth, free synth plugins, best free synth vst, vital synth vst, free synth vst, free synth vst plugins, #Vital, Best Free VST, Synth, Vital Synth, Vital Demo, VST PLugins, Best VST, Best VST Synth, Serum, Serum Alternative, Sound Design, Wavetables, Vital Synth Review, Vital Review, Free Wavetable Synth, dash glitch, top 10, features, vital synthesizer, 50 tips, tips, 50 Tips & Tricks

Id: VPlrniT3des

Length: 113min 56sec (6836 seconds)

Published: Wed Nov 24 2021