Hey, it's Anfa and to this is not a gaming channel today I'll be showing you how I made the sound for the intro animation. It is so remember. Okay. I do all this in replay for you Yeah, so now let's get back in time so I can show you how I made this. Let's go All right, so I'm back from the future now Here's an ardor 5 session and I've got imported the video Using the session open video and then I selected the video now it is transcoded So I don't have to transcode it if I selected you see you get these options import transcode video this is what you do when you first import your video to ardor and Reference from current location previously transcode it. This is very like self-explanatory So now it's just gonna reload the video because it was already there and it looks like this When you're doing sound design for animation to me the key thing is To get the timing and to get the atmosphere So I'm trying to figure out what sounds would fit this image this move motion picture kind of So there's a lot of darkness There's some smoke. There's some Glistering lights. There's some noise happening in some bright flash at the end There's there's a quick motion on the camera like zooms out or the or the letters fall in And then there's lights. So this could be some jingling tinkling And then it gets noisy distorted and finally it kind of explodes So I can see some some clues to what the sound design might be So what I'm gonna do is actually add a bunch of ZinnotsubFX instances so I can just start synthesizing some sounds that will Fit this and Zinn is a pretty heavy plug-in. So it takes a while to load into our door Yeah, we're ready I'm gonna also use my external keyboard because it's gonna make the things easier So let's see we have the first one And it's already rooted for some reason Ardor was very smart And it already connected the MIDI ports, which is nice. Okay, so what what do we have here? I Imagine a swoosh like I Could record this with the microphone but first it would be very very easy and I wouldn't show anything interesting in the process and Second it would be difficult to make this really work because mouth sounds are very Organic and what we see here is very technique very synthetic could of course process the recorded sounds But I'm gonna try to stick to synthesis as much as I can like I don't have a strict plan of what I'm gonna Do so this is kind of an exploration for me as it is for you I have some tools. I have some experience of making this for clients It's good that this is not for a client so I can show you the process because I wouldn't do this with it It's with if it works for a client. I want to make a swoosh So I'm gonna I'm gonna record this Gonna press shift space which will activate their record mode because the truck is armed and then it's gonna record notes It doesn't really matter what the pitch is Because I'm gonna override this anyway, I'm gonna press E to enter edit mode So I can change the length of the note now G go to the grab mode where I can edit the This is like, yeah It the note is there, but it doesn't draw it. There's some stuff to report in the order deaf tracker Let's make this a noisy swoosh I'm not sure how easy it's gonna be to fit everything on one screen because I usually use two but well Never know. What do we have here? We have add synth. Let's try add synth. I'm gonna go for white noise We can use our keyboard to help us out. This is very very bright Painful gonna make this quieter and I'm gonna want to make this Yeah, this is the kind of Tempo, I think will fit this Now this is too short because the note is higher I'm gonna lower the note and now it's too long now. It's a little bit short, but I'm gonna Change that with the with the envelope Okay, let's try it again This could work We can also later shape the Fade out a bit with the automation So it doesn't have to be perfect from the start because sometimes, you know Trying to get something perfect will block you for half an hour doing just that I want to make some motion with filters so I'm trying to experiment with with the band pass and maybe make it a little bit sharper and Start higher Yeah, this is funny It's a little bit too short Kind of kind of sinking I want to duplicate this voice. I'm gonna copy the clipboard switch to another one and paste it So I can use a different filter or different settings for the filter. So I'm gonna start off with a lower and Make this higher and make this a little bit longer. So we will have like Let's let's hear the second voice alone I'm gonna make it a little bit sharper more resonance Yeah, and the first one the first one could be wider Yeah, so they together Form kind of a It's it's there is broad noise and there is narrow noise narrow narrow narrow So we have like Implementary it's it has two characters at the same time. It has noisy character and it has this more narrow Whistle like sound to it, which is very subtle actually. It's much more noisy than swistly, but okay, let's Maybe try letting in some of the highs because the Lopez filler is by default Kind of close from the top. Oh, it doesn't do any change an edible change in our in this color sound Let's see what we can do with effects here, and I think some reverb could be good But I'm gonna not I'm not gonna use as an internal reverb And I'm gonna use a plugin for that because I really like the sound of M verb So I'm gonna leave this sound right now, let's call this Need to disable the record this arm for recording and then I can change the name. Let's call it swoosh And now let's insert a verb. Let's hear it. Yeah, this actually could really work I'm gonna put it pre fader because actually doesn't really matter for this kind of effect It wouldn't matter for a compressor or a distortion Where the input level plays a big role in that what tone you get out of the processing But for reverb, it doesn't really matter, but I prefer to have all plugins pre fader I want to try adding some Maybe a chorus maybe The cough multi chorus Let's see and Make a loop So we can tweak the settings and hear what how they change the sound immediately Could I disable the LFO completely? I think it the plugin isn't made for like using this Manually, but I could get away with some of the automation Let's see It's modulation depth. Let's make it play So it will play our automation It kind of gives a little bit. I'm afraid it's gonna drift a little bit Because we still have some modulation So we're gonna get different effects Based on different time when we play this we could bounce this to a track To a stereo audio track. Let's insert just one right now For the input, I'm not gonna use this the system Hardware stuff, but use the swoosh output and I'm gonna record this I'm gonna hit shift space Let's do One more Yay, we have them swooshes now. Let's mute this original MIDI track Control up arrow will shift the track up and this is gonna be our Double-click swoosh to kind of a misnomer, but anyway Okay, now we have the same effect just frozen in time. So nothing changes I'm gonna mute. I'm muted the second instance That I recorded because I don't really want to use it right now. So maybe maybe I'll do something with it later Okay, let's go with the next sound. Let's do something for these Bright blue lights that appear on the edges. I want to do something electric, but I'm not sure really what to do with it So I will just experiment right now and we will see what happens The best sounds I've ever made were just Created out of experimenting so good stuff might happen right now Maybe I'll try using a waveform Like a square wave because I want something that will sound similar to a mains hum This 50 or 60 depending on where do you live? both That comes out of your power supply Yeah, kind of the sick. Oh, yeah However, the filter is affected by the velocity of the key hitting. So if I kid it very slightly We get a different tone. I don't want that I want this velocity sensing amount Okay, now the velocity of the key only affects the loudness of the sound I Want to do I know what I want to do. I want to do some messed up ring modulation this But I want to use external modulators. So I'm gonna copy this voice Over to maybe voice free. Yeah, paste it here because currently Zenith sub effects can Can modulate different voices with different voices I made the first ever video of UV UV zero one modulation Zenith sub effects modulation madness Goes a little bit more in depth about this So if you're if you're new to this concept go there and check it out But the thing is I can use the previous voices on the list like if you have the list like Voice free can be modulated by voice two or voice one Voice two can be modulated by can be modulated by voice one voice eight can be modulated by seven six but all everything above it because They are being calculated in order. So the first is calculated voice one two three When the voice one is calculated It knows nothing about the rest of the voices so it can't use that for modulation and this can be worked around But it's an overhaul and well, it's not gonna happen soon. So now I'm going to make the first Voices that are not going to be used Yeah, I'm the first two voices the first two voices are now mute. So we only heard here the third voice You can see we have a sign here if we turn it up Now the interesting part is our Square wave has a fixed pitch. It doesn't respond To the number of the key I play but what we're gonna use for Modulation does if I make this audible You can see our modulation our modulator Will respond to pitch so we'll get different modulation pitch by playing different notes while having the carrier So the modulated wave waveform stay on the same pitch, which is gonna be interesting probably Let's use ring modulation select external modulator To so this is the voice to We can you hear in the ring modulation going up kicking in I Don't want velocity sensing This gives you more modulation when you hit the notes harder But if you turn it all the way up you have no sense of the ability like you have no key sensing No matter how hard you hit the key it's gonna always do the same amount of modulation and high frequency dumping is Something that lowers the amount of modulation when you go with higher pitches higher frequencies give much more modulation which gets very noisy and bad But we might want that so I'm turning it up Turning it. Yeah, I'm turning it up. So I'm disabling the feature And I hear the low-pass filter really messing up with our sound so I'm gonna turn it up And unless you're watching 270p on YouTube you probably can hear a difference right now And how about we make a pitch slide of the modulator I Longer Not so high starting Yeah, 64 is the middle so 64 is no change below It's gonna go higher and start lowering pitch and then go up And how about we just shifted a few octaves up I Make it in faster And how about inverting this? This is very long really like this is a very short animation and what happens if we add a few voices To our modulator. Sorry our carrier. We'll get a stereo. I Think I want to do something with the sound so it's gonna be more interesting and I might try modulating it again With the voice one, so I'm gonna go all the way up No velocity sensing no high frequency dumping And it just happens so that we left a square wave very low pitch square wave Also doesn't responding to the key number How about we make this fade in so in the beginning the voice one is silent So it doesn't modulate the voice to Actually, I can't hear any difference Okay How about we detune this slightly so it's gonna be a little bit? I want to try and enable a band pass filter on this just to experiment So our voice one is a square wave It's gonna be band fast. It's modulating with ring modulation the voice to which is a sine wave Slightly falling from the sky high like going up and then falling down in pitch Which is then ring modulating our square wave that is somewhere in the base which is to register and if I make this narrower and Adam filter envelope funny. We heard some harmonic and Maybe it was the fundamental. Well, that's a little bit scary. I'm gonna make this a little bit wider So it's not so intense when it hits the harmonic content How about we make this higher or lower? There's some kicker sounds in here. Okay, let's make the envelopes a little shorter for everyone I want to add a notch filler here just to see what happens When I play a lower note, it sounds it sounds interesting. I like e-notes notes Of e make interesting sounds. I guess that's Probably caused by a certain frequency relation Frequency ratio relationship between the the fixed tone and the notes Okay, I'm gonna record the e-note So this is gonna be our But it doesn't very closely Follow our animation right now. I've just noticed our swoosh is very very silent very quiet Like it you can see it on the waveform But it's just right now. I realized how quiet it is I'm gonna add a Compressor kick the input gain a notch Yeah, I want this note to end right when this flash goes off. I'm gonna Hit e to edit and I'm gonna just Drag the notes and notes and left Okay, let's replay home We get this little slight bleep at the end, which is very nice. It it actually gives me chiptune Memories now this starts very abruptly and we need to do this something about it because it's very like it doesn't really fit the In the gentle glittering that we have here So let's see what we can do about that Actually starts around here So, let's see. What can I automate? I? Can automate the part volume. I can automate the filter cutoff the FM gain which is it is actually the Amount of modulation on everything like not just frequency modulation every every modulation I'm gonna use that and see what we can do because we can alter the amount of ring modulation applied In every single moment of our sound So I'm gonna try to like outline what happens on the screen Roughly to make this sound kind of a little bit rude itself and in the image so I'm gonna It's brighter than it flashes I'm gonna save this session by the way because our door sometimes crashes now I'm gonna make this track a little bit bigger so I can see it better and then it's kind of fades away Let's give it a little bit more Incidentally, I incidentally clicked on another track inserting a midi region I'm gonna shift right click to delete it. Let's hear what it does right now Might be shitty It doesn't okay because we have set manual I have to change this to play now It's gonna actually read the automation All right, so like we have when we have no ring modulation and we actually have louder sound because our Square wave is unaffected because ring modulation actually changes the volume of the waveform The amplitude in time and it does it so quickly that it alters the pitches If you do ring modulation very slowly you get a tremolo effect Okay, but we also need to change the volume I guess Or maybe I know what because we can automate the filter cutoff And this is going to affect only the main the global filter in An add synth look like if we automate the pick filter cutoff it's gonna only change this one So I could like change this in the middle of it here Because the filter cutoff starts in the middle so we can like shift it up and shift it down. I'm gonna start with it Change it to play so it does play the automation and begin with the filter cutoff all the way up and Or somewhere else Maybe down And maybe I will just kind of mimic the what we did here Very very slightly and I'm gonna make you make this a little bit go up till the end so it kind of Gains strength to blow up in the end Let's see what it does Yeah This is better. This is more what it more It fits the animation more. I don't like this part where it doesn't do anything and it's really steady and boring. I Think it should it should better just cut off there So I'm gonna change the note so it ends here and then instant another note It doesn't end right in right where it should right now and maybe I will change the automation So it starts with the cutoff fully closed So our Lopez filter will just Be opening right after the note started Yeah, I Think if we add some distortion on top of that, it's gonna make a cool effect Maybe I will split this into two separate tracks. It might be easier that way. I Also think that it might do some good if I change the Add some global filter type to Maybe not the type but make it a little bit sharper with resonance No, that sounds very old-school and it doesn't really mean it not necessarily cool Yeah I think we can hear more of the ring modulation and I think we hear a little too little of it I want to actually I give this higher values overall so We'll get more of that distorted sound Then just a clean one Maybe this automation clip is a little bit too cluttered. I'm gonna press G Select a bunch of points and move them up. Yeah like this Hmm Kind of dies very quickly and we don't really oh, sorry, I pressed something F shift Z F maximizes a track or tries to maximize it in the video visible space right now It fits also the automation tracks shift Z is like control Z for view So if you just zoomed somewhere else when you can't find yourself you should press shift Z and it should zoom you out One step at a time unfortunately Or fortunately depends and press E make this note a little longer Maybe leave the ring modulation on and I press D to enter the draw mode And like just let the Cut off fall see It doesn't really follow The motion of our sparks here, so I need to do something about the automation. I think I'm gonna just Make it very very simple just delete all the points make it Now I want to deselect this okay, so I don't delete it and Yeah, this actually sounds better And it could be longer Again, how about we use a different note here? Maybe go Downwind octave. It's a little bit quiet though and the velocity is all the way up 127 Okay, it starts to sound more synced I Want to try some distortion and I'm gonna try CV amp VTS Which is a plug-in I Think it's reworked a bit by mod team and it's a very nice processor for guitars and I keep it above others so I can see it all the times at all times and I think I'm gonna automate the gain Let's just loop this so I can experiment I Think it makes it more Characterful I'd like to add some very subtle reverb to just define some feeling of space because they're it's That's too much. Let's try it before the distortion Actually, I like the amount of reverb before the final blip because then it's like it should just Just crack explode and there's nothing just silence like the darkness we see so I'm gonna automate the mix Ratio it's maybe Use the right mode so I just can Record this now it's in touch mode so place back That's great. Wow. My timing is almost perfect with this Look at that That is perfect All right, I think I want some noise in here. There is very little noise Maybe because I have this whoosh and play it No, it is here. Okay, I'm hearing it. Let's just make this little quieter Okay, I'm gonna just maybe minimize the automation tracks so they don't disturb me and I want to open up a new track. I Want just some noise. I read I just really want some noise really it can be a Simple white noise or maybe I can try making something a little bit more Interesting Let's try new frequency modulation with Noise pink noise, why not and make it Bandpass filtered resonately With an envelope going from down to up long I'm just doing random stuff. I don't know what it's gonna sound like and You know, it's gonna be too much if I do this. Yeah and In the end, let's go with a slight notch filter Make it go from up to down Because why not? Let's hear it Okay, guess I I have too much resonance Just too long Yeah, let's give it more voices and more stereo more detune for each voice Nah, this sounds crappy Let's do it in mono and I'm just gonna duplicate this voice Pan them hardware left and right and then change something about them like the waveform or the pitch And maybe let's try some big different base waveform that is modulated. Maybe sure This is painful How about making it start higher in pitch or lower Actually, it doesn't really matter. I like this It sounds somewhere between a jet plane an old synthesizer or tape machine and Torm Okay, but it's a little bit too long it you shorten the Shorten the envelopes cut the envelopes Cut them Cut them down Yeah, let's mmm. Let's give some fade in Whoa, that's a really sick and Give some fade out However, our global envelope is gonna limit us right now. So I need to include the release there No, that's not very good I Will be too long. Let's make the pitch fall once we release the key Maybe shorter Okay, I wanted to have two voices. I'm gonna copy this one Pan it left But not zero because zero means random And you want this in the left channel now paste it here We're still using the external modulated one so nothing changes. We just change the padding and It sounds in mono, but now I can change the pitch of one of them Or the waveform and it's gonna make At the front let's add some weird harmonics whoa, that's very loud I Want to change the magnitude type to like something else So we have more precision Yeah, I Want just a hint of that weird noise in the right channel And let's do something else in the left one, let's change the magnitude type and go for higher It actually kind of sounds the same But different and it makes it stereo it makes it wider Okay, I think I want to check the global filter How about this is fun All right, let's I Want to check what can I do with the pitch modulation pitch wheel? So I'm gonna go to controllers in the global window and here we have the pitch wheel Bend range in sense 200 cents is two semitones because 100 cents is a semitone So if I want to go to an octave I need 1200 Yay, this is cool if I can do this Whoa, this is gonna be great sound for the anticipation before the Big explosion so I actually Don't remember if I tried before recording mod wheel in murder 5. Let's see what we can do with distortion also Because it might do something cool I might do something bad Let's turn up the gain so the drive. It's the pre gain and the post gain the level. Let's keep it low Well, that's complete havoc What do we filter this? Before distortion I guess the gain the drive is way too much Now we could add this just a little bit to the original one I think just a tiny bit of a strange reverberation could help this Not so big let's go to random I Make it very short I want kind of room seller sound Let's try give it some more high frequency So I'm releasing the low pass. Let's hear it all wet The room size the initial delay Well, kind of could work. Let's see if we shouldn't Maybe I should hype us a little bit of this because there's a lot ton of bass. I think And search with the peak filter what is nice And what we want to remove Yeah, now it sounds a little bit less boomy Let's try it. Uh, the weird thing is I think something's different I don't know Okay I need to hit the notes more gently because There is a certain amount of modulation that is too much and it just destroys everything It sounds better when I hit it slightly Okay, let's try to record this. Okay, I guess I missed it. I Wondered to see if there is Yeah, the pitch wheel Is recorded and I guess it is played back But the note was too Too hard. I like struck it very hard. So I'm gonna use my mouse wheel to make it softer. I Think we could also go with two octaves of pitch bend So let's go to controllers. Oh, this is not this instance Okay, send free controllers We have 1200. Let's go to 2400 The big like the double arrows go 100 cent bit jumps and the small go one Which isn't very useful To me I never use the small ones Never And you can see that it's a bit jagged Because we have a very limited Resolution we have only 127 steps for the cc controls and the pitch wheel and the mod wheel pitch band and a mod wheel apply Also, so you have you we see you see we have a lot of Alliasing but we can actually draw our own automation because this is very very simple. Oh We need to change the type of this Mode this crease line here. Yes. This is what I wanted. Okay Crap, I don't know what the what is the rest position. Okay the first first sample 8 5 7 6 Okay, because I guess yeah, that's the range of 700 1600 Somebody there Yeah, sounds awesome. I Just need to cut it off in the right moment And I think I'm gonna press the ekey again. I Think I'm gonna cut it I'm gonna cut it short maybe let it sound longer, but I am going to use the fader automation go for Maybe touch and see if I can record it Yeah I'm just gonna remove the last point and this one too. So it's forever silent. Let's see Ah Okay, I wasn't so quick that it it's just instantaneous because well, that's not humanly possible I'm gonna add a little bit of a gain right in the end. Well, that's too late because this is the flash Back this off So we have zero decibels and can just add a little bit. We have six decibels left So we can make a little bit of a click in the end It's very difficult to select this. Okay, got it There's one shift right click delete stuff Let's see Actually Yeah, what could last a little bit longer I Think I'm gonna try to okay move them both. Oh, I can't Let's hear this note again Yeah, this is better and I wanted to start a little bit more silently. I'm gonna use the Draw two more points So it will a little bit fade in Ha Okay, what can we call this? I'll call this screamer because icon I can has house Burgers I Can has internet Burgers on out control Z. I don't want to move that point I want just to move this one or remove it shift right click Okay, what do we have and what do we miss?  Let's try to frequency modulation Let's make some really nice. It's simply noise Just like that. Just nothing extra just noise. Okay Come on, you can do this Let's make it stereo. I'm gonna copy this voice Paste it all the way to the right It's steady on noise now. I think I want to use a band pass filter Hey, because the filter is Tracking the keyboard it responds to the pitch of the keys. I'm hitting Here it is 60. Oh, yeah middle is zero. Oh, it shouldn't be. Ah, I'm mistaken It actually is the velocity sensing. I'm gonna disable the velocity sensing. I want Frequency tracking. It sounds like tape stop But it's not Let's play C major. Okay, this the envelopes are cool, but a little bit too long I'm gonna make them. I want to find the very bass tone for the release And then make it a little bit longer. Now, I would add a crap ton of reverb onto this But it's a very short bigger room size Make the dampening lower so we have more high frequency. How about we make this narrower? Not a good idea. I'm gonna make this wider The plain noisiness might need some modulation to not be so plain and uninteresting Just add a very very subtle phaser and onto that A little chorus. Well, it's really too fast and I think I need to get rid of the bass because After the reverb the bass is very messy Okay, let's try to record some notes. Okay, so we didn't really get away with that simple noise All right, of course the decay is gonna be cut off and I can do this right now Like this. Ah, sorry. It's just too early and I also like the anticipation of the cutoff So there's a little bit of a gain Okay, we're not using this. Make it play It sounds like it's cut short, which might be a good thing or a bad thing Let's see what we can do if I just let it decay I think I want this to decay. Maybe not so loud. Just give it a few seconds of the Yeah, there's no problem like this can this can this can work Okay, I think I'm gonna be Doing one last sound And this is going to be a hit for the explosion and I want to try something like a broken glass And how am I gonna do this is I'm gonna Draw in a bunch of notes are going to imitate Different small particles of glass are have been smashed and Are falling in all directions And the higher notes represent smaller particles because smaller particles make higher pitch sounds This might be a little bit long. I'm gonna see enter the edit mode. Maybe even Move these notes up as you can see It's not very easy to manipulate Ah, here are no notes. They were invisible Let's move this. Okay, what happened? Okay, looks like I can't move this because it's gonna explode But the timing seems to be right So I'm gonna open the broken glass the simple sine wave And what I want to do is Actually like use an impulse I'm gonna use a power wave And make it so that it it's a snap You can see that there's a lot of harmonics A lot of harmonic material. I'm gonna make this down And use an amplitude envelope to make this just a one click because it's gonna of course repeat Yeah, but right now we have just one click if I make this longer Yes, it's this one I'm not mistaken And I'm going to change this to a fan pass filter and you see If I made it very very resonant it simulates The fact that we have a piece of something that receives energy This is our impulse the power wave the simple impulse of the power wave It's the energy the blast the hit and the band pass filter resonating is Modeling the tiny shard of glass that is actually resonating this energy on a specific frequency band Right now it responds to velocity. So I'm going to disable velocity sensing and enable frequency tracking and I can play Okay, this is very quiet. So I need to turn it up because you might not hear it Actually right now recording this is in trouble Yeah, and it's gonna sound better than this I'm gonna remove this I'm gonna just record my broken glass part Not totally happy with it Maybe I should make them sound shorter or funny It's kind of uh Well It would be nice if I could make the move the regions I can't yeah, it's a bit late. I can't handle this Okay, and just record it on time. All right. This seems to be about right. Now, let's close this Interface I'm gonna I'm reopening it edit with generic controls will open a different interface And then I can reopen it and the tool just pop in on the top I want to make these a little bit maybe shorter Oh, you see the less resonance we get Um, the more of the impulse we have and the less of the tone Let's also make this pan randomly So every note has different panning So that kind of makes the cloud of the glass shards wider in stereo And I think that actually this needs just a little bit of reverb and maybe some EQ Let's make this more of the tail and less of the earlier reflections Make it a little bit maybe shorter a bit smaller Yeah, and I want to compress This pretty hard and see what happens I'm gonna lower the threshold Okay, it's pretty loud and right now. We keep this above others Uh, I'm gonna lower the makeup gain and threshold and just make the attack and release very short. So it's Very closely following Okay, it's very loud right now and I wonder Okay, let's play the whole thing Kind of interesting. I missed some really something hard. So let's make it an explosion I'm just gonna dial in a single note Right here And I'm gonna do a very quick patch Okay, we're now like feeding the MIDI data right to the broken glass Show your face And I'm going to enable subsynth Dial in a little bit of harmonics Make them really wide Make them lower Yeah Now give it a Pitch envelope Maybe make it less harmonic. Hmm. This doesn't This doesn't do very very big changes Okay, let's make it start with max So we have a click on the beginning However, I can't hardly hear the difference right now Make this shorter And louder Yeah And now maybe even add the bandwidth envelope It kind of sounds like a snare So maybe I should pitch it down Yeah, and make it shorter because now it's so long Okay, I'm just going to disable the stretch the envelope stretch. So on lower notes, it's make longer envelopes If I disable the stretch Which here means I turn it all the way left We get the same envelope length for every note Okay, now the key to making an explosion sound is distortion Once you get the noise Let's make it low Give it the full width Let's try another passive distortion See Some reverb of taean type bandwidth But I want it very shorter Huh, I see that I also want this to be very much shorter I'm gonna convert this envelope To a free mode because then I can add some points And I want a shorter attack and then a very very slight release, but I don't want this to actually Be so classic You see I don't want this Overlong distorted Here at the beginning But that would be too long. Yeah, this is great And Finally, I'm gonna insert an EQ And maybe use a high pass With resonance To boost some lows Maybe that's not a usual use of low pass, but I use that very often because it cuts off what you don't need and Accentuate what you need Yeah, I think adding these highs make it more punchy. It's I think it's a little too loud Let's see how it sounds with the Hey, it's a little bit too quiet, so I'll try use some Compression, so I think I could Make it more punchy still So I will lower the threshold And give it a longer attack So the initial hit of the explosion can go through the compression And then a shorter release without with Not much difference. Let's kick up the ratio and lower the threshold It makes it kind of a bit shorter So I'm gonna try to Make the release so short that it's even working like a distortion and finally I want to automate the release of the Let's set it to touch Or no, let's set it to write Well, I don't know if that was good Or if it's gonna sound good. Let's hear it Let's see Well, I think the fade outs are a little bit too Too loud And the glass is too loud I'm gonna also automate its release So we have make the releases shorter Yeah, this is very short But it has some of the tail left behind which is nice. I really like it I think I want to do something else with the With the noise because it's kind of boring And I would like to maybe automate the bender to change the pitch a little bit throughout the note So I'm gonna just Draw an automation Oh, I forgot that it doesn't it won't have it won't have an effect because I'm using Filter for that pitch so I need to make it Automate the filter cutoff. Let's write down No, just let's see what happens Okay, but this is way way too aggressive. I just want this to very very subtle I'm just gonna let's see this Yeah, it's it's more lively. There's something happening in this sound. It's kind of a little bit of emotion Maybe a little bit more even That's here No, that's already too much because it's I don't want this to be so Lively Okay I think we're done with this actually What what is left is some mixing Uh, like balancing the levels which I'm gonna try to do now However, it's good to let your work rest for a little while before you call it finished because Sometimes when you're working on it straight for An hour or a few hours you can't really hear the differences and you can't really hear the balance of the thing So the next day you might play this and you will instantly hear that the bass like is way too much Or there is no treble at all or there is no mid and All right, but for now I'm gonna call this a day Wait, wait, wait, wait, wait, wait. We need to set the final levels. Okay This is not done. You can't really just use it right now. So what I'm gonna do is add a Calf limiter Like the levels are right now very low and this might be good Uh, but probably we're gonna need them higher So I'm gonna use the limit and we're hitting Like the limit just with the final hit. It's which is nice. I like this I usually disable the a c because it does something that I don't really understand right now and it's Something that looks like the sound of it and it messes like with the release. I don't know I'm not sure how it works Still I read the documentation on the calf website, but I don't really know what it does So I disable it. It's on my default. Also, what you might want to do Which is kind of I it's hard to hear a difference but I really might want to kick the over sampling up because get some Best sounds And this might round this thing is a bit Also, I'm gonna lower the output gain just a notch. Maybe too much. Maybe with control Yeah, I'm just gonna track this like negative 3db so Or negative half So we don't hit the zero db level because that's distortion and you can't you can't really hear this but It might behave A little bit unexpected. It might be somewhere distorted. So let's keep it undistorted Okay, so this is it Okay, this is it for this video I hope you've learned something useful If you have any questions about what I did About the tools I use if you have any suggestions for what I should focus on in the next videos Please leave them in the comments And I will see you in the next video Bye


Hello and welcome to the Ground Line Review, your source for everything one piece, and today we have a review of chapter 959, Samurai. And after what seemed like an eternal two weeks we aren't back in action, although it looks like we'll be putting the present events of Act 3 on hold for a bit, because we have rather swiftly kicked into the long anticipated Odin flashback. And I'm pretty thrilled about this for multiple reasons, one of which being that at the conclusion of Act 2 I made a very uncharacteristic prediction video where I stated seven things that I thought would be included in Act 3, and the Odin flashback was one of them, so we are off to a great start here. Not only that but while we're on this there were some promising flags for some other predictions as well, in particular being that the return of Jinbei is likely coming to fruition in one way or another soon. In fact one of the most interesting moments of this chapter for me was Luffy's look off into the distance moment, wondering what had happened to Jinbei in the short Whole Cake Island flashback segment. This feels a lot to me like Oda going, remember when this happened? Yeah, you know, keep it in mind because it may or may not be relevant in the near future. Although obviously it won't be coming too soon because we do have a flashback to get through, but I would not be surprised if Jinbei made his grand entrance afterwards. In the standard victorious moment we need to begin turning the tide of the arc. And in retrospect I really should have seen the beginning of the flashback coming actually. It's a very established Oda method of storytelling to place flashbacks at the moment where our protagonists are at their absolute lowest point, and then immediately afterwards kick into gear with that emotional backing to cause untold chaos. And you know speaking of the lowest moment that was what the majority of this chapter was about. Orochi, very uncharacteristically of him, perfectly foiling the plans of the Alliance in what seems to be every conceivable manner. There's even a page that would show what Oda has depicted as the destruction of the Thousand Sunny, which I think we can safely say is not the case. If one of the emperors of the sea was incapable of doing it, then three lackey members of the Beast Pirates certainly have not accomplished that goal. There's something like a billion different ways that the Sunny could have gotten out of this, especially if the Straw Hats were on board. You know, standard stuff like Luffy inflating himself to prevent damage. Robin could have created gigantic hands to stop it. The Sunny itself could have been a mirage made by an army. The ship may have been able to submerge thanks to something Frankie was cooking up. The point is that there are any number of options out there. So it seems like the sort of thing where after the Straw Hats appear once again, there will be a short flashback of how they cleverly escaped from this moment. And I think that goes for the rest of the Alliance as well. Because nothing that Orochi did during this chapter really struck me as something that would prevent anything from happening for too long. I mean, the bridge is a minor inconvenience, but it's not exactly a wide stretch of water. And through some ingenuity, I'm sure that everyone could still make their way across. And in regards to the ships destroyed at the Kuri Port, well, there's always the possibility that that was a fake out. I say this because Frankie actually said something very interesting during this chapter, where he yelled out that they should make sure they have enough ships for 5,000 people. Which is a weird thing to say considering his declaration of fair few chapters ago, which was to build enough ships to carry 100,000 people just to be safe. And yes, just on this, Frankie did say 100,000 in the official translation. I got a lot of people telling me that it was supposed to be 10,000, but that was a mistranslation by the scans, which is why we should always wait for the official translation. Now there is of course a chance here that Frankie's first statement was an enthusiastic overestimation to kick people into working harder, but I think it would also make sense if this batch of ships that Frankie is referring to are expendable and meant to be something of a distraction to cover up the movements of the actual fleet. Whatever the case, it doesn't really feel to me like Orochi has the upper hand here, and after the Odin flashback, we'll probably have some victorious gathering of allied forces right where the red scabbards are, just slightly delayed. I will say that it is kind of annoying that things were left in this cliff hanger-ish state as we go into the flashback, because I'm thinking it's going to be a long one, and as a result, this weird atmosphere of despair is going to be looming over the series for the next month or two as we dive into Odin. And yeah, I know I said it makes perfect sense structurally, judging from Odin's track record, and the eventual moment where things do shift is going to be glorious, but I can't deny the slight feeling of dissatisfaction here, primarily because we're essentially left on the same cliff hanger as we were two weeks ago. You know, the alliance didn't show up, the red scabbards are standing in the spare, and it was due to Orochi. In fact, when you think about it, apart from the beginning of the flashback, the actual state of the story has not changed at all from last chapter. What this chapter more or less gave us was confirmation of what we already know from last time, interspiced with some nice character moments, but there really was very, very minimal story progression. However, I must say that those four mentioned character moments were pretty brilliant, and my favorite was of course the brief interaction between Zoro and Sanji. You know, up until this point, Wano in general hasn't really taken this sort of time to deliver one of the shining aspects of One Piece, which is the casual interactions between the crew. We were just dumped on the island, and then thrust straight into pure plot, which is great, but I find it pretty insane that we're now what, 50 chapters into this arc, and we still have never seen all of the straw hats in one place, let alone one panel. In fact, we haven't seen them as a proper crew since the end of Zoho, and I think that was almost like 130 chapters ago a while. So Wano has been a bit lacking in that aspect for me, but this chapter gave me a fair dose of what I've been craving. Sanji bringing up the fact that his bounty is now higher than Zoro's is a comical confrontation that I've been waiting for for what seems like forever, and it was fantastic, especially with Zoro's hilarious use of enma afterwards. It wasn't just that though, because there was also some fun with Luffy, Brooke and Chopper donning the cup of Tuama, with Robin in the background making a classic Robin comment. I think all three of them look pretty fantastic though, and Luffy's pants are particularly cool, because they have the Kozuki sigil embedded within its patterning. Chopper is adorable as always, and I would buy a figure of him posing like that in an instant if it were available, and as for Brooke, well, he seems to be able to own absolutely any style given to him, but because of his height, he actually looks like the most proper samurai out of the three of them. And moving on, there was also a nice moment of regrouping with the minks, and a reminder of some of their major players with the musketeers and Wanda. A lot of that was focused on bringing up the thought of Sulong transformations though, which just like the Jinbei thing, I feel was very much Oda casually dropping in a little reminder into the story, being like, so you guys should probably keep this in mind, because once again, it may or may not be a thing later. There was an interesting idea though, which is that even though tonight is a full moon, it might be covered by unfavorable weather conditions. Gasp. That's something I don't think I've ever thought about actually, and a great opportunity to really amp up the drama during the final battle. Like I can imagine a moment during the inevitable conflict where things are going absolutely terribly for the alliance, and then the moon briefly peers out from behind the clouds and kicks the minks into gear for a limited amount of time before it vanishes once more. Or you know, maybe if you had someone present who was proficient in manipulating the weather, then perhaps they could use that to their advantage. But where would we find such a person? Hmm. In any case, there was a fantastic panel on this page of Nami being garchewed by Carrot and Wanda, which is incredibly cute, and another hit of classic straw hat Probably the least interesting part of the chapter for me though, was definitely that section in Okuboro town, because you know, if there's one character that I was really waiting to see more of, it's Holden. But I think this was the weakest aspect of the chapter, because all it really does is go to serve Kinamon's anguish later on, about his wife being in the village and such. Although seeing Suru again was nice, especially with her inner thoughts about Kinamon, Kiku, and wanting one to return to the Kozuki clan. I'm just not sure how ultimately necessary it was to spend two pages on it. I mean, Kinamon himself says that the town was burnt to the ground and that Suru was there in his own portion, so I think that would have been enough to convincingly portray that, and perhaps those two pages of Okuboro town could have been used for something else. Look, all I know is that the moment I saw Holden, my brain had this immediate urge to just switch itself off. But by the end of the chapter, my brain greatly regretted its foolish leanings, because the site of Odin set everything into motion again. I don't think I've ever been more excited for a flashback than this one. In fact, usually when flashbacks begin, I sigh quite a bit because I know they're always fantastic pieces of story, but when you need to read them week to week, they could feel like they are more of an obstacle to overcome in order to get to the reason why I really read one piece. But recently, that has not been the case at all, because I also remember getting this excited for the Big Mom flashback, I guess primarily because it came out of nowhere and I wasn't expecting Oda to take the time to examine a villain that thoroughly. Plus, it was also a first sighting of Elba I guess, so you know, lots of hype there. And this has me in a similarly excited mood, not just for Odin actually, but more so to finally see Lady Toki at some point and properly examine how the whole time travel thing fits into and impacts this world, because if there's anyone that has been covered in more mystery than Odin, it is Toki herself. But from what we saw of Odin in this chapter, I love his character already. He seems like he's going to be a classically quirky and bizarre individual, and I really liked his line about how the country felt too cramped, which would have come after he'd explored an incredible amount of the world during his time with Whitebeard and Roger. That's another thing that worked really well though, the fact that this flashback is a direct continuation from the short one we saw before of Odin aboard the Oro Jackson, which sadly means that we're unlikely to see much more if any of that journey, but it flows very nicely here, because we as readers know where Odin is coming from. So I can't wait to see Odin's rise to respect and power, which I imagine will be swiftly followed by the tragedy of his downfall and death at the hands of Kaido. Although speaking of, it's going to be pretty amazing to see a younger Kaido, especially because there is surely no way Odin can get away with not showing how Enma managed to wound him here. So even though there is profound tragedy to come, I think that this is going to be a flashback to remember. And finally, back to the land of cover stories, and it's really cool to see more of Dressrosa, especially when Dolphamingo's presence is still so visually distinct with the damage the bird cage has caused. In fact, Beige appears to have mistaken it for an active battlefield on his hunt for Lola. And I'm not sure if this has been seen before, but it looks like the citizens of Dressrosa decided not to keep the lovely spikes that Pika created for them with his devil fruit, possibly a wise move I guess, but it's really nice to revisit Dressrosa and see the ridiculous destruction of that arc still having some serious long-term effects. In fact, it's one of those things where you can imagine one or two hundred years from now, Dressrosa actually becomes really famous for its uniquely engraved floors, thanks to the bird cage and all of the tourists who come from across the world to marvel at such architecture are treated to the story of how the former pirate king Monkey D. Luffy brought down a warlord of the sea. Just a little reminder that we are making history as we speak here. But that pretty much does it for chapter 959. If you enjoyed this video and the content this channel produces in general, then please do consider donating to the Grand Line Review Patreon, because the support of all of your amazing people is what continues to make this channel possible. And if you'd like to see more videos like this but applied to other anime and manga series, then please do check out my second channel New World Review for all of your wider needs. And if you'd like to join the fun at any time, then please do head over to my Discord server, where a wide array of shenanigan retakes place on a daily basis. And finally, please do comment with your thoughts on the chapter. This has been the Grand Line Review, and I'll see you next time.