Okay, I know what to do. We are going to try to make 10 presets that are the most important for electronic dance music for all genres. Even though I will make the presets for you to download, I will strongly suggest watching the video starter and simply because I think these presets on your
So let’s start being able to undo those 10 pieces together very fast.
So I’m hoping first time it’ll be a tutorial beast.
And once you are using these, you will kind of aim for up and down arpeggios so that you can show both sides of the pluck sound sounds like this using all those laters but we are going to change them slightly because this should be a vintage sounding patch. They’re going
I’m gonna tune down to sub and also a and then fix the second oscillator and put the second oscillator on the cut off one-sided Shift Alt don’t need to go all the way down something like this.
The same goes right time we go all those layers into the filter.
And then finally we were going to put a slight noise put the same slider here, maybe the release on both sides.
Now we’re going to go for the effects.
First, the distortion is the same mammal up here as well.
Start compressor cut low.
Right behold a perfectly simple brass sound.
And the second one will be a really, really classic and it is the EDM courts. The courts will be looking like this.
So we are playing continuously by changing the courts.
So we are going to use both sliders for this one.
And what is the status? We’ll be going into the field air and sunlight settled.
We have to fix the envelopes.
And then we’re going to give unison on both of them.
Second, as the MLF goes to filter dry and then we’re gonna go to FX give me distortion.
Then a bit of chorus, heavy delay.
Finally, a verb.
But here the important thing is using this envelope so that when the sun hits, we also cut both reverb and the delay so that we can hear the original hit better.
Now, you can definitely play with the key and the colorways.
31 is another super classic and it’s the Lego Lego the boss. I think the boss made it sound super famous, but it is used again cross-genre in all the tracks.
So let’s do that.
The idea behind this, if you take a look at the notes, is that you have a sustained aloneness and then you have these jumps to really high octaves to give a really bright movement and make the bass sound much more entertaining.
This type of sound is often made with a more vintage sound.
So I’m going to go for the basic mini again to grab the salts.
And then I’m going to even activate the turtle sliders with the sub as well.
And then we’re going to push this one monitor below. This will be the zero and this won’t be one of the above.
But I’m going to tune five semitones down so that when I push everything into the filter, we will have this almost half court sound that we’re gon na go mono, leg, alto and always I’m pushed a lot all the way up.
And the movement on the feet there will be done by the LFO.
And we’re going to put it into dot one eight so and then we’re going to push this down a bit and up this one.
And then you can definitely fix the envelopes a bit, maybe decrease decrease the sustain slightly.
And then we’re gon na go here put the server’s tube distortion and delay and reverb delay part will be on the high pitch like this.
So we will be grabbing only those high pitch sounds when we go up down and then give a beholder and then take over here is basically when the sun goes up, we have to move the cutoff up as well.
And here more, I guess a filter often works a bit better so that when you go up and open the filter FX gets a bit more drastic.
Yeah, just like that.
And this one is a bit more genre specific and used heavily in dub techno and up house tracks, and even dub electronic tracks. I will say the start point is really making these triplets and then splitting them up in the octave range so that at least you have
And then we’re going to go to the serum and we’re going to pick something a bit richer on the oscillator.
So I’m going to go over here on the look and then pick this guy, one for the same oscillator.
And then we’re going to pick German filters simply because it sounds a bit a bit darker.
So that is the main reason I’m going to write a bit and the most important thing here is getting these long envelopes and using them on both filter and envelope on the volume level.
So we’re going to throw this up or we can just bring the sustain down all the way really and then put the long become an indication a bit smoother, something like this.
And we have to give at least maybe a decade that lesson.
And we’re going to create something similar here as well.
And then we’re going to put this one on to filter and close the field all the way down.
And they’re gon na give a long release on both of them.
There’s really not much to do about it.
Hear the sound comes from the plane it affects. The first thing is to put a distortion.
So the overall levels get a bit even.
And then we’re going to give a chorus to make it a bit smoother.
It pushed a bit dark and pushed it a bit behind and delayed.
I’m going to get this one thought, but you can really use anything, and I’m going to put it into ping pong. I’m gon na make it really heavy.
And then we’re going to put a filter right afterwards, and this will be actually moved by the LFO.
So it will be opening and closing all the time.
And then we’re going to use a really smooth, slow LFO so that it slowly slowly moves around and then encompass everything.
And then one of the important parts is actually putting a reverb. Let’s put things before the compression so that we can compress reverb as well.
Big old reverb.
One thing that is important, this sound that we forget is actually putting a resonance sound, so this chord gets a bit more resonant.
And then you can make the reverb even longer delay even longer if you want to have this really weird sensation of sound going around your head.
And then play around with the cut off.
Yeah, that was it.
And then and then we had the soundtrack of 2020.
I don’t know how I’m interested I heard it. This one is basically taking a CT of something like this.
And then using an LFO and modulating the volumes I love so that you can hear this really weird slowing down or getting faster. For this one, I really like to use square wave.
So what I’m going to do is activate two and just go for the basic shapes. It really doesn’t matter that much.
Can you pick a square here, and then go to the second one and go for a basic move?
It has this nice smaller square. I’m going to pick that up.
And this one will be one of the above and then everything will go into the filter.
So if I play now another really special sound, we’re trying to push this around a bit so that we have nice details on and push this one around a bit as well so that we have this really cool and then we’re gon na fix the MLF so we have to
And then bring the sustain down down here and then we’re going to create a simple long attack short the case that sustained me look like this a bit. I’m like this will be a shorter attack.
And then we are going to put it on to cut off this will be really small.
Dan, we’re gon na get this white noise here.
And then the important trick over here is putting this LFO on different rate different pies.
So you can put in the global here and then really use this one on to the volume level here and the global app.
But what I like to do, but I feel a bit more authentic is you can do it separate this or we’re gon na put it first year, maybe it goes all the way down and this one will be a bit less.
And maybe this one will be like this even less.
So you can have control over the volume levels, different lines. If I play now, they also do it without the BPM.
So the idea is this, to make it a bit easier for us, I’m going to take this one, put it on here, so that I can control it all the way up.
Moreover, I’m gon na close this up.
Just like that made me open up.
The important thing over here is making the effects.
Two effects were nothing more than delay and reverb. You don’t need anything else from this.
But both are very important.
For delay, I’m going to go for something simple like this and make it a bit darker.
So like this, and put them pinpoint if I play now you can barely hear it, we’re gon na exaggerate it a bit more so that when we bring down the LFO, we can hear the delay on the sides.
And then revert, we probably need to make it a bit bigger, so that NBS is bigger as well.
Just like that, as easy as that team sound of 2020.
And the next one is the super soul and other Hall of Fame sounds that are used everywhere.
And this one will be like this so that we go up and down. This will be quite aggressive as well.
So you would like to spread these notes, so that you can exaggerate the effect of going Hi, this one is also done heavily with DeSoto speaking to activate this, both of them.
And then we’re going to put a noise and like this alpha and bring the levels up.
And this one is also going into the oscillator.
So filter.
So if we play it, first, we’re going to fix them up.
So let’s bring down the sustain.
And this one will be a bit more triangular, like this.
So we can get a bit more sustained sound a bit shorter as well.
And then we’re gon na fix another envelope. This one will be a bit more aggressive.
So bring down this one and make it shorter, and we’re gon na put it on the cut off shaved bolt, and then we’re gon na increase this.
So it will be quite open to be honest.
Bring down the risk drive this one here.
And then the same thing on the fat as well.
And then the important thing over here is really using unison and then making this big distorted sound, or to the tunes.
It’s almost like it’s getting out of tune, but not really.
And then we can go to effects.
First, grab a diet. It will make it really really distorted.
So we will use it in parallel.
And then we’re gon na put a big reverb.
And explain as well, this will also detune the reverb itself.
And the second envelope goes on to mix so that we can hear the origin of Plex a bit more.
Just like that, we had the Hall of Fame, super soft sound.
And then we had a said lead.
Of course, there’s another classic, especially using this techno again, very fast repeating notes, that’s the most important for the sound. Actually, I would suggest sticking to 12 to downscale bass for the sound because otherwise you won’t be able to get enough harmonics for the rhythm and sound.
So let’s do something like this.
This is a very weird wave table.
I’m going to ping the brain up and then I’m going to just go for the basic move, something like this and use this and then we’re gon na activate the filter.
The idea here is to put a lot of resonance on top of this guy.
And then if you play now it’s there but it’s not really, so we can Dr a bit more and then bring down and then you’re going to put this one one octave down, you can start to hear it is a really resonating sound
The first one is this guy being sustained down, make it a bit more sustained triangular.
And the second envelope is even more aggressive, and then we’re going to put it on the cut off.
And then immediately you get that sound.
Unfortunately, there’s not enough, but we’re going to put in the monitor first and put into the layout and always and give it a bit more as well.
And then the important thing over here is actually putting it into the hyper dimension and distortion.
So first I’m gon na activate this.
And then I’m going to put a distortion diode on top of that heavy distortion.
And I’m gon na put in a prayer.
And then we’re gon na fix this a bit like this.
We almost immediately get this prodigy style, distorted AC sound and then it is completed with the reverb.
If you want to cut off all those highs, if you do not like it, you can always put any counter.
But these types of sounds sound really cool in the full mix, because then you had these very aggressive sounds cut through the mix.
Yeah, just like that.
And then we have, of course, a bass sound. We can not miss that.
One is that driving EDM bass, or this is actually a cross cross genre as well. You can hear it in the house techno and EDM altogether. The important thing over here is just having this bass sound and then just jumping around a little bit so that you can get this deriving effect
So for this one again, I like to grab something a bit more rigid on the harmless or square root rubbish.
So total rich by scrapping something like this here and then complete with the base MOOC again, get somewhere in between.
And then here, the important thing is actually opening up the filter slightly.
So what I mean is if you go, for example, let’s take a German and then bring the mix a bit down, you’ll see that we are letting a bit of the highs too.
And this gives a really nice ambience to the sound.
So without anything, just bring this down.
If I play now, let’s put this one down as well and activate the board with it.
Do you immediately get this driving effect? The missing part is the second envelope. We are going to bring sustained down and then bring the decay down and put it on the cut off with more resonance and then put the same thing on drive with fat and on top of that, I like to also add a noise to
If you don’t like to have high end, I will suggest you should have it because it makes the bar base to be here better.
You can actually go like this. And then we have to fix some other parts.
The first one is mono.
And then we’re gon na go to effects.
And first is getting a soft distortion.
Sounds immediately get crispy.
And we’re going to add a phaser.
And then, on top of that, we are going to add a chorus.
And then we have this super heavy driving bass sound.
This one is another classic. This one is, I think, especially utilized between 2000 to 2010, the first 10 years of the decade and it doesn’t really matter. You can have any type of harmonies or melodies, just moving around the short notes.
And this will be very aggressive plucks out. You can really get this sound with any synthesizer. It only needs one oscillator and it will be driving this sound.
So if it’s played a sound, now I can activate this one and put a bit of drive. The first thing is, of course, bring down the sustain, bring it to stop.
And the second one, we’re gon na make it extremely aggressive, super short.
And put it into the cut off bringing stuff.
And then we’re gon na use the same aggressive filter on dry and fat.
And the reverse resonance almost makes it sound like you’re hitting a percussion percussion sound and makes it even more aggressive.
We’re gon na turn this on and assign it to Pinta as well.
And then we’re gon na pick something a bit darker, something maybe like a pink noise.
To put digressive sound even on top of this, I guess.
And then we’re gon na go to effects.
First, the distortion, these assim distortions make it really warm sound.
Gonna give me a bit of a delay. Am I am going to use a very dark reverb and it’s really important, so you have to cut all the highs.
And one important thing that you can actually do is use this envelope on the tuning, making it stable.
And now the important thing is by using this type of plug sound, you can put the envelope in the mix of the field, dedicate delay and the reverb as well put it down.
So when the clock hits, we clean up the effects.
So easy, simple, very effective plugs out.
And the final one is one of my favorites is really this really ringing sound or the bell sounds. I’ve just picked a simple chord progression, but you can pick anything really. They work almost with the plugs, they work with anything.
For this one, we are not going to use anything more than single sine waves.
So what I’m going to do is pick the first way that I can get here and put this one also in the sine wave and everything goes into the filter.
And let’s turn on the filter.
And then we’re going to put this on the monitorable.
So that and I’m going to put this one talk terrible and this one will be forgettable.
But I’m going to bring the level of this one down at the moment if I play now.
This really elegant sound, I will say, to make it even more interesting.
We’re going to put this in three and then play one more time and then we’re going to bring the volume of this one so it’s a really nice warm sound.
And then we’re going to fix our decay time.
means longer and sustain as well.
And then long release.
Really nice-sounding and dry with slightly give a bit fat me There’s no need to take the second and make it up like this and put it on the cutoff, make it very long as well.
And then we’re going to take this span and put it into the tuning so that we have this nice really retro sound because of Dan’s table meant to make them more crispy.
We’re going to make the turtle Slater really fast decay on this one.
And then we’re going to put this band on the level of this guy adds this percussive sound and then we’re going to go to ethics first put the hyper dimension put into two things, either it just makes the sound a bit more ambient, and then we are going to use
If you’re not happy with, for example, the katana, maybe you want to make it a bit smoother now there’s increased I’m back this may find in other fields to be filled, like to make it really dark and pale colored.
And yeah, that was it for today’s video.
Like I mentioned earlier, these presets are free to download link in Lincoln below.
And if you’d like to be precise, I have three different preset packs on the Mercurial terms.
I will put the link links below as well, so you can head over and get more presets from me.
But other than that, this is the end of this video.
I will catch you next one.
Goodbye.
