One Bassline, Different Synths - Studio Time: S2E7 

Thank you Tom for these videos, you're an incredible human being.

This is nothing short of a Masterclass. Thank you, thank you, thank you.

I just LOVE the stuff you can learn from these videos, thanks for sharing them!

Tom, you are absolutely saint! taking your time to make this videos! priceless! thank you!

Nice to see you basically use the same methods and techniques that I use but you just create finished actual complex working pieces of music with them. It's motivating to realize I am on the right tracks but need the same passion and dedication put into it as you do.

Tom, this is your best tutorial so far. Can't Thank You Enough for sharing such profound knowledge. Please keep enlightening us.

This is nice trick to add to my toolbox 😊 Never actualy think of using multiple different synths for single bassline

thank you so much Tom! all your tutorials , Q&A and everything are very helpful! you the man !

watchin ur videos cures my depression, keep them coming!!

Loved your combination of software and hardware, the new Roland soft synths and arturia both sound amazing. Thanks again for a great class.

I started watching Studio Time 1 month ago and realized today I still have a few hours left to watch! Thank you for sharing your knowledge with us! I've been watching almost everyday and loving it.

fantastic video. one of the best so far. thank you JXL!

awesome stuff as always, thanks Tom!

These are only getting better! Thank You!

Really awe-inspiring !!

Best advice in the video: "Mistakes are natural." Thanks for these videos, Tom!

These videos are so great thanks for making them. Very inspiring.

Thank you for doing these inspiring videos Tom, I've learned a lot!

Thanks for sharing the details Mann!

What an absolutely fantastic video tutorial - thank you Tom!

These are great! Keep em coming!

really enjoyed this episode. thanks!

This Tutorial is really helping also in electronic music production!!! Thanks Tom!!!

Great Video as always. All the best Chris Haigh Music

No way man, you're the best!!! I love your musics!!!

You are a gentleman, Sir. Thanks so much for what you are doing.

+junkiexl great lesson. People sometimes look at a big setup and say, "nobody really needs all that stuff", but this simple lesson about layering and switching between timbres shows why it is needed, especially at the top levels of the business. No "one size fits all" synth or plugin could have yielded the same result. Thanks again!

i love your studio!

Thanks, , for reviewing ,some of the current music synthesis software, and, please, continue to do so!!

Fantastic video! I learned some nice tricks for my bass parts. Thanks!

I've literally spent the last week watching Toms videos every day. Its just so brilliant to see a guy who just gets on with the job!. Tom knows what he's doing big time. I cant say this for the majority of You tuber music dudes who talk the talk but most times don't do the walk. Notice how he doesn't endlessly explain basic stuff or endlessly and fiddle with parameters before recording audio from external synths in to the mix. He just gets on with it not obsessing over every detail - he's using his ears. I like that, reminds me of how I used to work. but the past few years I became very unsure of what I was doing because I had seen other people on video doing stuff much much more carefully than me, talking about EQ frequencies, compression ratios what not and what to do etc blah blah blah - and I would read the same stuff on gearslutz forum. This started me thinking maybe I've always been doing it wrong (despite my many successful records). Tom is helping me return to my original mindset and ways of working.

amazing. thank you so much for sharing this amazing content with us for FREE! would love to see a part 2 of this concept, dealing wth mixing these complex, bass heavy sequences.

I wouldn't mind a whole video dedicated to Brothers In Arms.

Thank you! The videos are really useful and inspiring.

What a great idea for a video! Thank you so muuuch :D

Amazing guy!

Incredible.

Very cool videos! Thank you!

great video!..love the approach to composition...thnx.

Really inspiring stuff! I'll play around with this idea.

Wow! Thanks ALOT for sharing these great tips!

Still can't get enough of music from Fury Road, @junkiexlofficial thanks for doing one more!

Practical advice, applicable to hardware or software. Thanks, Tom!

this is inspirational! thanks!

this was amazing!

Fantastic lesson in patience and passion - the 2 qualities often missing in timbral research - thanks!!!

I'm not a film score composer (I wish) by trade or a musician for that matter, but these videos are spot on. Your level of dedication to the videos is seriously above average, and the level of content is above the scale. It seriously makes me wanna dive back into cubase and start creating stuff.. Thanks Tom.. you're the man..

Those analogs are phat as hell, they sound sooo good.

So cool! cheers

Hey Tom, thank you so much for these tutorials! They are so incredibly helpful and informative. Would you please do an episode regarding mixing/mastering in the future? It'd be great to see how you make your music sound so great.

Vince Clark is on the second place, but you won the gold medal on the knobs&oscillators/sqm competition. Perfect channel, a great man behind the gear, thank you.

Thanks for reminding me that sometimes I used to layer up Bass Synths too, it can be very effective

great video Tom

The MIDI mini is an original Moog MiniMoog put into a rack (so the electronics are made by Moog). The ATC-1 is (I think) based on the design of the Moog Source.

Awesome AF!

I LOVE IT!!!!!!!

this episode was insane.

How do you decide when traditional orchestral instruments are appropriate for a scene versus sound design/synth elements?

RU-vid needs a 'love' button. 'Like' isn't good enough.

Thank you!

Love your videos, i just wish there were more close-up shots of those machines when you manipulate them, so we can see how the knobs and menus look like.

brilliant

Excellent video !! Always wanted to hear the oberheim hardware n software side by side!!

Thank you,,for addressing unit availability/cost, , not all music, synthesis, enhusiasts( as myelf), cannot even dream of access to an equipment budget capacity, as yours!!

Amazing synths ... but I am really wondering, how do you keep your studio so clean? :D

sick

Tom great video, i could see what different sources playing the same tune slightly changes the mood , i can see you need a wide pallet ,I felt like i like the VST(plug ins) sounded somehow already compressed

The analog basses have a particularly thump in their tone.

Awesome. Thanks o|O

you are genius

That Arturia Jupiter 8 sounds mint ☺👍

this is the dude,exellent look out bill and ted in the background really hes that good.i wish i had that room to myself and friend for the rermaineir of the year,i could write s@"$ all week that is a music room

very interesting and good realized videos, it's very important what you're teaching for me so thanks a lot, can i ask you if you would make a video about your way of synchronize music with respective images?

I love SE gear. The SE1X is divine for wormy RnB and squelchy goodness, with an absurd low end. But my lord that Midimini sounds beyond belief. Incredible.

Please do a video on the creation of the Mad Max theme "Brothers In Arms". That theme is EPIC!

Terug een héél interessante video Tom! Die Studio Electronics ATC staat op mijn wishlist nu! Maar plan mij binnenkort wel de Behringer Model D aan te schaffen.

you are on youtube nice ! :D

Can you make more video about sound design?

poor dude i feel sorry for your retrogression. i got it too. amazing work by the way.

Minor correction to 34:50. The length of the MIDI cable has no effect on delay at unless your MIDI cable is over 100 miles long. Tom, as impressive as your studio is, I'm willing to bet your cables aren't that big! MIDI delay is due to the circuitry and on-board computation speed, either in the audio interface or in the various synthesizers.

Hello, thanks for the great info! With all these synths I was wondering if you mostly patch them in mono vs stereo. I know the channel count can get out of hand if everything is in stereo. Curious to know what you think. Cheers.

I love the Arturia range...I guess money is the key here.

" anyway i can play for hours, i am sure you can too " ahahah best quote !

Can’t wait for behringer to release the BOBERHEIM SEM 4 voice

Why didn't I check these out earlier?

10:34 a glimpse of how it must feel when you're listening to that riff live at his studio.

Whats good for sending system exclusive data any thing you use? i got my eye on a A 01 . nice clean studio.

Hey, amazing stuff as usual! Have one little question for you. When you compare Sem Pro to Arturia's Sem V (17:40), it seems that the Sem Pro sounds as it has one oscillator one octave higher. Is that the case? Or is it something related to some phase cancelation on the Pro that reduces the first harmonic (like it happens in some Moog synths where the Sawtooth's is inverted).

Thanks to Junkie XL for the review comparison of hardware and software synths on this video. If we take seriously the issue of sound quality when creating the sound design of a musical project, virtual software synthesizers are inferior to hardware synthesizers in the dynamic range of sound. Especially when multiple layers of different timbres are overlaid on one and the same notes. Hardware synthesizers have already adapted output filters, which makes the sound of the note on the linear analog output is more saturated than software synthesizers, which require the addition of various software dynamic processing to obtain an average or above average result. Sometimes you have to spend a lot of time on setting the balance of timbres when working with software synthesizers, sometimes there are times when at the stage of mastering at a certain place in a musical project, some of the synthesizers in a certain musical party on the overall performance fail. Although in solo execution sound normally. The main problem is the dynamic processing plug-ins and digital processing of total signals through the DAC of the sound card. Where there may be a difference between the digital audio track output as a file audio format and the digital/analog audio signal re-generation. Another point, if you use technology to record individual musical step sequencer note parts in the form of digital wave sound track. As a result, when mixing multi-track sound, we get a completely different positive result. Okay, now back to the hardware synthesizers. In this case, there is a hardware-software sequencer to control the hardware synthesizers and the hardware synthesizers themselves, which will be used as the main synthesizers in this example. Unfortunately, not all hardware synthesizers have configurable parameters control via MIDI protocol. This applies to hardware hybrid synthesizers, the device of which consists of analog and digital circuitry. Either analog hardware synthesizers that have no digital control device other than a self-made mechenical one))) The main problem with hybrid and analog synthesizers is that they do not have exact parameter settings. They are very sensitive to ambient temperature and humidity. Adjustment of the parameters of these synthesizers is carried out by adjusting the potentiometers and switches... These hardware synths are not suitable for the musical guest performances. But they give a lot of creative possibilities when creating music... Back to the hardware-controlled synthesizer. Controlled synthesizers and samplers in contrast to the unguided have almost all the same as software synths. With the only difference that they do not use a personal computer workstation CPU to synthesize and process audio signals. In this case, the personal computer is a sequencer and multi-track recorder for sending commands via MIDI interface to hardware synthesizers. Hardware synths transform the command signals of the midi Protocol into analog audio signal. We will receive and process by using two methods. method 1, 16 input mixer channels using a mixing console with a hardware dynamics processor. Thanks to modern digital mixing consoles, which are already integrated dynamic processing. They have a low noise level unlike analog mixing consoles, but have their drawbacks associated with analog-to-digital conversion... We will not dwell on these features of parameters of mixer consoles... The task of this method is to mix in real time 16 tracks, the master output to get 2 tracks. This technology with the use of dynamic processing devices has its advantages and disadvantages. This technology in the field of sound recording is outdated and expensive. Since each dynamic processing device costs a lot of money, these devices require additional switching cords and the ability to work and proper maintenance, not counting the increased consumption of electricity. But if we talk about the quality of sound, then of course the end result when mixing will be better in terms of saturation imposed on each other timbres. Even without the use of hardware dynamic processing. Method 2, the use of multi-channel professional sound card, where we connect 16 channels. In this case, the task is to record or mix each channel in a ratio of 1 to 1 without losing the quality of the sound path. The recording will be performed synchronously in 16 independent input tracks, then each track will be processed through dynamic processing. It is possible to use the sound card as a mixer, where 16 input channels are balanced and pre-processed through dynamic processing. As a result, we get from 16 channels 2 channels (2 audio tracks for recording). In conclusion, today's hardware synths are superior to software synths and modeling of sound. Software synthesizers are convenient because they do not require additional physical space, are not prone to technical breakdowns in the form of wear and tear of active elements (potentiometers, buttons, switches, connectors...). In most cases, a software synth emulators are widely known hardware synths, only some important featured in the version of the emulator can't 100% replicate original hardware synth in terms of sound quality. Each hardware synthesizer has its own design features giving the electronic instrument a special sound.

Hi, saw you with Nerve in Belgium, still listeaning cancer of choice Was really great :)

Not sure about Massive but with FM8 you can route audio in so you can use another fm or synth or vocal. Cubase dosen't have plugin audio ins but you can use DDMF Meta.

How you connect all your HW with your DAW? - I know, some synths are equipped with USB, but what about those without USB? - MIDI HUB? How you just call an instrument directly from Cubase?

Do you use patch bays for audio signals? Or just have a million interfaces?

I would like to do a movie score... do u have any advice [besides forget it lol] that u could give me... I dont know where to go from here

It's loading; but i know it will be good ♥d. I am happy (like always) what you show us Tom ;) d^^bV

Finally saw Fury Road.A feast for the ears;The music and sound design are awesome. Jupiter sounds fantastic...that amazing reverb doesn't hurt. What is the verb ? Thanks for sharing...and for not being an arrogant git !

👌

I wonder why he has to shift the midi so much due to delay though. I use expert sleepers USAMO to send sample accurate midi to hardware synths and i have very low latency audio card (2ms). That way I can monitor external synths in real time with VST's and audio played from Cubase - I compensate for that 2 ms as well using the track delay functions. I do that because I must hear it like a record as I write and mix as I go along. I have a far smaller system than Tom though so maybe his latency is unavoidable. Still, I'm curious why he seemed to have to delay the midi tracks by what looked like 80ms.

May I ask how you control the dynamics when the same bassline from multiple synths all add up?

no no, no-no, no no, no-no, no no, no-no, no no, There's no limits. 2 Unlimited 4 Life. LOL Sorry had to point out the melody is shared by a 90's dance hit.