Lessons
Ableton Live Overview
14:35 2Sound Design in Ableton
29:50 3Quick Tips for Beginners
10:44 4Physics of Music
40:01 5The User Interface
28:37 6Sound Design: Building the Palette
14:37 7Sound Design: Kicks and Bass
10:31 8Sound Design: Lead Synth Sounds
09:35Sound Design: Pads and Pianos
16:51 10Sound Design: Collision, Tension and Effects
16:03 11Composing & Arranging: DJing in Ableton
22:15 12Composing & Arranging: Step Sequencing
18:22 13Composing & Arranging: Hatching Ideas & Songwriting
23:21 14Composing & Arranging: Riffing on Loops
18:14 15Composing & Arranging: Genre Hacking
10:26 16Sampling & Remixing: Sampling with Simpler
09:31 17Sampling & Remixing: Building Drum Racks
17:19 18Sampling & Remixing: Impulse and Clip View
14:26 19Sampling & Remixing: Slice to MIDI and Organization
18:07 20Sampling & Remixing: Remixing and Mashups
25:22 21Advanced Techniques: Modular Components
18:46 22Advanced Techniques: MIDI & Audio Effects Racks
13:24 23Advanced Techniques: Clip Launching
23:41 24Recording in Ableton
15:05 25Mixing in Ableton
36:46 26Mastering in Ableton
29:45Lesson Info
Sound Design: Lead Synth Sounds
The next cell in we're going to make is a lead zone so something we might play like a um pentatonic style riff or something that is going to sort of lead the band or whatever so hee so reflect that but not with the kick drum so let's go over to um make a new operator okay I'm gonna start with a saw just because it has a lot of good her monix we'll see so basically something that's going to be kind of a solo he sound so already the saw is that pretty good choice it cuts to the mix but it's not taken up a cz many as much bandwidth there's a square wave um but you can do leads um with just about any sound as long as that cuts through that's a big that's a big part of it a lot a lot of time when I do saw as I like to use a couple of them I like to make the sound really wide um so I'll bring up the second also later let me bring in another soul so I might go in here I'm gonna turn glide on e so I've got a couple different ones going here and I'm actually going to detour tune this one and it...
doesn't take much bring that way so right now we're going to a saw three which doesn't have its hunt of harmonics usually I try to keep it under um the fine tuning adjustment of about summer between like five and ten um so otherwise it's a little too attitude um I'm going to try a different song everyone with a little bit more harmonics wait so just gets a little bit so you can hear kind of wobbling on to go up and then the wobble gets faster but I want I don't want something you and it adds a little motion there it's a little bit and maybe you'll even change the onset of this a little bit e that's pretty cool already we don't need a whole lot for a lead um so one of the characteristics of a lead sound is the bright harmonics it's nice with the with basically there's a spread utility or there's us excuse me a spread around in operator and it actually determines the like a second also later in the background on we also did a little due tuning on that second also later just looks like about a value of three u ok, so wait we've got a kind of a little bright lead going on there um we have we have two layers I mean I feel like right now that's cool I mean, if you wanted a little something else we could could bring in some um another thing let's hear some noise sounds like I really liked it with the feedback on there that last for that kick drum something about adding a layer of white noise is that if you do filtering it sounds really need um so oh one thing I would like to do with this sound um I'm actually going tio uh well let's let's do a little frequency modulation first so let's take a let's just you know let's go over here and change some of our our algorithms so that's a pure fm let's go left or right that's frequency module in the last two years which the last one is even on certainly that's cool shave some harmonics off of that maybe need he's like a notch filter the notch filters pretty cool and operator but I like to use an audio effect for that. I liked his audio filter because it has this a little more intuitive x y part you could separately just notched those frequencies out. And if you add in a little motion with like a ufo little uh it's cool you could also do ah phase like it'll take it left and right with syria with the audio filter ok, so we can get a little squelched by just changing the algorithm and then there's also glide which I believe I turned that on early on my way more apparent the jumps sounds like some armageddon uh yeah so you can get some some some pretty good leads with just those simple parameters and also, yeah, we'll take a look at a band passable to real quick, too. So this was a notch filter, basically, just not just out that that for the specified frequency and you, khun, shift it through the frequency range for more gritty towns like let's. Go back. I really like it with you, actually let me. I'm gonna turn the residents up here, you know, the combination of the glide, and that notch is kind of neat. Has this just sort of the texture changes is modulate since it's, an interesting sort of motion try. I just want to add a little more resonant a little bit, so you can get some some cool. Sounds like that. So interesting. Uh, interesting textures for your lead sounds.
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Electronic Music Production