Sound Design Tutorial - Tipper squelches, controlled randomness, and the Hypnus Spellbook 

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.

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!

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.

Focus on arrangement, less is more

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 ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-qpwsoD-LtuU.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🙏🙏🙏

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

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❤️

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