Sound Design Tutorial - Tipper squelches, controlled randomness, and the Hypnus Spellbook
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- Опубликовано: 4 авг 2024
- please ask questions, or leave constructive criticism as i'm kinda just wingin' it here so far. i know the volume's a lil inconsistent but im lazy and i dont think its too terrible to bother fixing
purchase the spellbook: hypnusrecords.com/shop/p/spel...
better Spellbook demonstration/explanation: • Walkthrough - The Spel...
Hypnus Records: / @hypnusrecords
I didn't dive into precisely how the spellbook rack towards the end works in regards to the 'read offset' parameters, but if there is interest I'll make another video diving into how to program some of these convoluted audio effect racks. in effect it works by using multimaps so that you can change the max and min range of a macro, using another macro.
for inquiries, private lessons, mixing/mastering services etc reach me at pailiaqmusic@gmail.com
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00:00 basic squelch formula
02:45 applying randomization
05:38 inverse phase band reject filter technique
11:14 hypnus spellbook explanation
20:00 using pseudo randomness
22:50 practical use
24:20 demo
The phase inversion thing is something I've never seen before!!
The phase cancelation is brilliant.. thank u!
Thank you for the support and stellar demonstration!
This is freakin awesome man!! Subbed and now im gonna go dive through your other tuts, hope you keep uploadin'!
Dude thank you for the tutorial! This really helps a ton and you gave me some good inspo to open my daw. Can’t wait to see more!
damn this hypnus spellbook is fire. Ive been wanting a multi LFO and its so great to get to create so much randomness and synchronization with ones device
Amazing vid man, that's really what I needed to improve my sound design game, thank you and hope to see more tutorials like this!
Thank you for putting this out there, awesome knowledge and I will definitely check out spellbook. I never knew it existed thank you 🙏
That demo was sick! Very useful tutorial
Awesome video! I thought Spellbook was cool before but you're positively cracked with it
not really my genre but really cool to hear the result in the demo section. nice job dude.
Thanks!! Exactly what I needed. Smart move to map the spellbook controls to the rack macro's, opens up a whole level of creative routing and mapping options. I made a simmilar rack thanks to you with two MinimalAudio Rift Filters in parallel. I used the Slink Lfo device from Hypnus, has a few more options like offset the LFo's, control the global modulation leve, S&H switch for stepped automation and much more.
This is wonderful. So many good things in here that I'm going to put to use
It just hit me; that sound is kinda similar to what Mr. Oizo did on Flat Eric
This is actually really cool!
Very much appreciated of your time! Thank you so much
really interesting, love the low end of the squelch, definitly gonna mess with this after work
This is good, dude, and I know what I'm talking about.
Appreciate this.
Awesome stuff
Thank you for the awesome video @pailiaq! I made sure to subscribe! 🙌
really sick vid!!
This is amazing, thanks for sharing this, mightve just helped me with creators block lol
Super sick! Surely this is how they made BB-8’s voice in Star Wars
Pretty crazy sound
Sick stuff
wow never seen anyone do the parallel notch cancellation trick. very cool 😎
very nice
Super Dope, Thanks Pailiaq. Reminds me of bits of Brass Monkey haha "Another dimension, Another dimension"
wow, nice.
What you should do with Spellbook if you want it to go really crazy is to make it modulate it's own spin and read frequency, as well as the spin and read offset. It both looks really cool with the shape moving all over and makes for some of the most interesting lfo movements I have gotten, that still sound very musical and organic.
I've messed around with just modulating spin and read frequency before, but it always would just get 'stuck' in a loop gravitating to the global minima movement rate, usually in some corner. Modulating the read offset as well though I never thought of, now I'm getting some really crazy patterns. Thanks for the tip
@@pailiaq I had the exact same experiencr, being able to modulate the offset is a gamechanger
@@robm4417 I'm currently using live 11, and I also used it before upgrading to 11 so it should work, unsure what may be causing that issue.
if anyone wanted to get into music producing and saw your screen at 22:50 theyd turn around and never think about it again. 🤣🤣
You don't need to duplicate the LFO unless you want to apply different percentages to the parameters you're modulating, if you click the symbol list (to the right of the 0% to 100% knobs) you can map the same LFO to multiple destinations. Great video by the way, clear, to the point, and more importantly fun.
Having different LFOs acting independently from eachother gives you exponentially larger spaces to explore. If you use only one LFO and map it to everything, it will just explore the same movement repeatedly
Think about this: Lets say with one LFO, a knob can be turned to 100 different values
With two LFOs, both knobs are turned to 100 different values independently, giving you 10,000 combinations of parameters.
With three LFOs, you have 1,000,000 combinations and so on
If you use only one LFO and map to every knob, you're stuck with only 100 possible 'combinations' of every knob
@@pailiaq I was referring specifically to what you were doing in the video, but you are right of course, more LFOs means exponentially more possibilities. It's always a matter of convenience vs quality, if it's a minor parameter I usually assign it to an LFO I'm already using, if instead it must have a different rate I'll also map it to a new one. In any case, you really made a video worth watching!
Блин, интересная техника для создания звуков)
Потом можно нарезать и использовать формы волн в wavetable.
Do you have any videos on more basic squelch design? I love the spell book but I also think it would help to have a longer description of creating squelches. For me it always helps to have a basic sound design understanding before I get to crazy. You said a couple things at the beginning that really helped me get closer to the sounds I want to create. Thanks.
Glad it was helpful. Yea the tutorial gets progressively more advanced, so I would just focus on the first 11 minutes of the tutorial - just play with automating pitch bend, 2 band pass filters, and using randomized LFOs to control them for you to record sounds. With just that formula you can create an overwhelming amount of variety in sounds, so get in there and experiment. Instead of tweaking automation, tweak the random LFO parameters so that you’re changing what types of sounds are spit out, rather than working on each individual.
all of the stuff about the spellbook really isn’t necessary for squelches, just some really interesting techniques I’ve made that have improved my workflow.
Maybe try coming back to the tutorial once you’ve gotten your hands dirty and made a bunch of sounds and internalized the knowledge
I’ll be making another video soon about different types of squelches, trying to make them “talk” to eachother thru call and response, how to emulate emotional prosody in the human voice through squelches and general songwriting tips.
@@pailiaq thanks. Will do. I’ve watched a few other vids on this and the sounds they create are lacking. I think more time spent showing the warping options and processing of resampled track would be gold. Subscribed and I will check out what you post.
Just finished building my squelch generator using the spell book..what a difference that makes. Thanks for the great tip.
wow
I have some phat squelches that I really like but they're clashing/conflicting with other elements in my project, especially the kick. Sidechaining doesn't seem to be helping anything at all. Does anyone know of an effective technique to resolve this issue?
Focus on arrangement, less is more
this is super helpful, I have a question, in the practical use section, what is the input mapped to? and the mean and range macros?
input is mapped to 'read offset', and the mean and range macros are the mean and range for different controlled variables in the spellbook
@@pailiaq thank you! to be honest I still don't understand the mapping/ where you you find the mean and range parameters or how input is mapped to read offset if read offset is already mapped. I appreciate the time and effort though.
@@keefpuff ahhh its gonna be a bit too much to fully explain so fuck it here's a patreon exclusive video where I build the whole thing from scratch. im basically using a multimap which controls the read offset, and mapping the spellbook to the multimap and then adjusting multimap parameters to move the region of the read offset that im automating
ruclips.net/video/qpwsoD-LtuU/видео.html
@@pailiaq u r the man thank you, u didn’t have to do that but i am hella grateful, been really feelin the tipper vibes lately w the rendezvous coming up and this is a whole new level of controlling and expressing the inspiration🙏🙏🙏
2:41 wait thats just instantly the laugh track song
can I do this is fl studio?
i dont know of any equivilent for the spellbook for FL, but the general principles you can surely apply in any daw - just pitch shifting and parallel bandpass filters, and then try to get creative on how to map to those parameters and use randomness.
@@pailiaq okay thanks❤️
FARTSTEP
8:43 looks like another creature lives inside
Super dope technique. I just think all that delay makes everything way too chaotic and messy.
Yeah I did not do the delays justice, I should have spent more time tweaking the LFOs for that portion. Still useable tho, It sounds better if you solo one of the left or right speakers and timestretch/repitch them
Not really a fan of the product honesltly. Not a single one of the sounds you've made here sound good to my ear one bit. All I hear is randomly pitched saw waves with random filtering, which honestly isn't that engaging at all. Not a fan.
I partly agree. Some parts still sound really cool tho
It’s a proof of concept
It's context of the beat
@@bllymusic9614 *"It is context of the beat"*
I'm sorry but wtf does this mean? What does that even mean?
@@t7H2si0vß2 you don't just these sounds every second of the track. You manipulate them as responses to your main basses or use them as fills