How to Recreate Any Sound

for my tutorials i have to recreate a lot of  sounds from the famous producers and more or less   i always follow the same logic so today i'm going  to break this down how i recreate all these sounds so this is actually a shortened version of my  introduction to subtractive synthesis course the   longer version together with all the visual  documents actually in that course so if you   want to have really structured start to finish  full subtractive synthesis course i will put   the links below you can take a look but if you  are just interested recreating any sounds this   video could be enough for you as well let's jump  in right in the video at first sight it could be   quite confusing the held of colors read of  shapes but the idea behind it very simple   it really has several decision gates so that you  can decide in which direction that you will take   with your sound design the best way to understand  this one actually recreating the sound at the   same time so i'm gonna recreate something from an  artist that i have huge respect for stephan bosin so we will be creating that lush  pet soft so the first question   that you should ask yourself is is it  a layered sound let's take a listen yes so we can kind of hear a noise layer together  with scent layer or the synthesizer sound the   conclusion would be can you identify the strongest  layer so in this case the same sound is very   overwhelming so we will take the scene sound most  important question is actually what is the color   of sound that you are hearing could be confusing  for a beginner but you can put really eners later   in this color scheme if the sound is simple and  round it will be a sine wave warm but very rich   very sharp that it will be a sawtooth airwave  it will be still kind of sharp not as sharp as   sawtooth will be sounding colder so if you take a  look at this in the reference sound one more time we are definitely hearing this rich and warm  sound on the oscillators part it says if it is   rich sharp and warm go for the sawtooth let's  go to door synthesizer and start with the first   one so we have vital over here white lopez with  the sawtooth this is perfect the question here   though if you listen to the sound is there  one simple sawtooth or it is more than one we definitely have a lot of software on  top of each other activate the second one   and because these analog sound you  would like to slightly pitch them   off from each other a little  bit turn down a bit tune up there are different octaves so i'm  going to put one more octave up and   maybe tune up as well so if you  play this it sounds like this while it is very sustained very we can  definitely hear the same tamra in the sound and the next question is what is this shape the  shape defines the volume changes during time if   you take a look at our envelope chart short and  plucky will be something goes here up very fast   the fat sound will be something goes up fast and  decays fast but then sustain the sound so that it   is more like type of elite long and sustain will  be something that we have seen here there is a   attack there's a decay there's a sustain there's  a release let's listen to the original sound this sound is really close to the plucky sound it  goes top fast and it decays all the way down so   our chart says create a plug envelope so let's do  that in my tell the first envelope is always black   envelope i will give a super slow attack because  you can hear that rise up in the sound a long   decay and let's get a bit released as  well because there's a tail into the sun   right this is more or less what he had   next step on the chart what is the gradient  gradient basically means the change of the sound   during the time now we are looking at the timer of  the sound try to focus on the change of the camera do we hear the sound is very bright at  the beginning and also decaying down to   the darker version of it this is the  first time i change now i want you to   take a listen one more time and i want  you to listen to the pitch of the sound we hear that the pitch is wobbling a little bit  like right two different gradient in our sound   the first one getting darker is a one time change  and the second one verbal is a continuous change   so it means that we need one envelope and then  we need one lfo so we go to vital and then we   bring something like this and then give it a  bit attack create and we hope that we can use   for the lfo part we have already something here  now we need to know where we have to assign it   what is the color change it is getting  darker filter modulation with our envelope   and then we have that lfo sound playing with the  pitch of the sound right let's do exactly that   we activate the filter one this is just simple  12 db filter we take that envelope put it here   probably we had a bit more attack in  original sound something like this we   are immediately getting there and remember  that lfo was changing the pitch modulation   easiest way to do this one if you go to advanced  tab and take the lfo and put it on the tune   there's another way of doing it  that the mode is just one-sided   lf4 voice tune if you click this one  increasing it i think it was also fast   voila we have already made  the book of the sound days and over here it says was it all the layers  there was a noise layer on top of that but   because this is just a noise layer we  are not going to do it from scratch   just activate this one and send it to same  filter as well bring down the level right   and here we go we have the bulk of the sound this  chart is actually made only for the subtractive   synthesis part so the effects are not included  so we have to do the effects oscar way this part   could be a bit harder because understanding each  type of external effects requires a bit experience   so you have to really play around a little bit  and see if it makes the sound closer to what you   had the original what i hear first of all is a bit  chorus though the sound gets a bit pitch modulated   like that other thing that original sound  has of course a bit big lush reverb sound   once you nailed everything down the  final piece will be just going back   and forward and adding those small tiny  jumps for example if you take a listen here i think the attack is even longer   and of course in the beginning i think the  decay length is even shorter filter is more   close so we have this darker ambience right  and then decay gets longer and this opens up   even more something here like this you just go back and forward back and forward  until you feel that you are close enough   but that's it this is more or less how  you recreate the audio sound again this   is a part of my subtractive synthesis course i  will let the link below all these visuals and   materials actually included in that course  if you are interested check the links below

Channel: Alice Yalcin Efe - Mercurial Tones Academy

Views: 250,690

Keywords: ABLETON LIVE 10, music production, edm production, how to, how to make, ableton, ableton live, techno production, how to techno, how to edm, audio mixing, mastering, ableton live 11, how to make music, yalcin efe, biskuwi, alice efe, yalcin alice efe, how to recreate sounds, how to recreate any sound, substractive synthesis, introduction to synthesis, substractive synthesis for beginners, introduction to vital, vital tutorial, vital for beginners, xfer serum

Id: cqJKzJPKoZE

Length: 8min 4sec (484 seconds)

Published: Mon May 23 2022