Sound Design and Synth Fundamentals - Using Free Software

Updated sound design series focused on controlling and understanding synthesizers to create virtually any sounds using free software and tools.

• Vital synthesizer (free, downloadable, works standalone or in DAW) • FL Studio 20 (for frequency spectrum and oscilloscope visualization) • MIDI keyboard (optional, not required to follow along)

Downloading and following along is strongly recommended as the best way to learn, though watching alone still provides substantial learning.

• Oscillators and waveforms • Envelopes • Unison and detuning • Filters • LFOs • Effects

Oscillators generate sound based on different wave shapes. In Vital, the oscillator location allows enabling multiple oscillators and controlling loudness, pan, and pitch.

• Sine wave: simplest shape with one harmonic, useful for reinforcing sounds and bases • Triangle wave: more complex with moderate harmonics, provides nice in-between sound • Sawtooth wave: extremely versatile and harmonically rich, great building block for many sounds • Square wave: different texture and timbre with substantial harmonic content

In Vital, wave shapes are selected using a slider in the basic shapes section. Selection methods vary between different synthesizers.

All four waveforms have different timbres and textures used as building blocks. Higher octaves move toward mid and treble frequencies with more wave cycles per second.

Envelopes shape how volume behaves over time. Without envelopes, sounds are simply on or off. ADSR (Attack, Decay, Sustain, Release) provides dramatic sound shaping control.

• Attack: time to reach maximum value from zero • Decay: time to fall from maximum to sustain level • Sustain: volume level held while key is pressed • Release: time to reach zero after key release

• Short attack and release create plucked sounds • Longer attack with low sustain creates pad-like sounds • Adjusting parameters dramatically changes perceived character

Envelopes can be adjusted by dragging envelope points graphically or using control dials. Both methods provide full shaping flexibility.

Adding multiple voices to synthesizers creates wider, more spacious sound. Single voice sounds thin as though sound comes from directly in front.

Most synthesizers allow adjusting the number of unison voices. Increasing voices creates wide and spacious effects ideal for pad sounds.

• Unison detune determines how out-of-tune each voice is from others • Lower detuning with fewer voices sounds sour and wrong • Higher voice count allows more aggressive detuning without artifacts • General rule: more voices allow higher detuning percentages

Combining high voice count with appropriate detuning creates thick, lush sounds. More voices is not always better, depends on desired effect.

Filters operate similarly to EQ by removing frequency energy, but offer more dynamic control. High-cut filters smooth sawtooth waves by removing high-frequency content.

• Low-pass filter: cuts high frequencies, maintains low end • High-pass filter: cuts low frequencies, creates thin sound • Notch filter: removes specific frequency band • Different slopes affect filtering intensity

• Cutoff parameter dramatically changes sound when moved • Resonance adds resonant bump at cutoff frequency • Resonance makes cutoff more pronounced and noticeable

Filters can be connected to envelopes and LFOs, allowing dynamic movement with sound over time. This dynamic connection is unavailable with standard EQ.

Connecting envelopes to filter cutoff allows the filter to move in time with the sound. This is often pre-set up in synthesizers as filter envelope.

• Filter opens and closes following envelope shape • Sound transitions from static to dynamic and alive • Movement follows specific temporal contour set by envelope

In Vital, drag envelopes onto cutoff parameter to link them. Removing the link returns filter to static behavior.

Envelope-controlled filters provide dramatically more control over sound evolution. Without envelope control, filter cutoff remains static even with manual adjustments.

LFO (Low Frequency Oscillator) creates continuous oscillating movement, unlike envelopes that trigger once. LFOs add movement and rhythm to sounds by continuously oscillating back and forth.

• Envelopes trigger once when note is played • LFOs keep oscillating continuously regardless of trigger • LFOs can be applied to any parameter, not just filters

• LFO can be synced to BPM for rhythmic movement • Speed can be set to specific seconds for independent timing • Frequency range from slow (multiple seconds) to very fast oscillation

• Filter cutoff opening and closing repeatedly • Panning synth gently left and right • Any parameter modulation for dynamic movement

• Sawtooth wave as primary oscillator • Short envelope attack for plucked character • Transposed down one octave for bass range

High-cut filter enabled to remove unwanted top end. Filter envelope creates opening and closing motion characteristic of plucked sound.

• Second oscillator added for additional complexity • Both oscillators sent through same filter • First oscillator provides bass foundation • Second oscillator adds stereo width with unison voices

Layered oscillators create bass with solid foundation and stereo width. Combined approach provides both low-end presence and spatial dimension.

After dialing in synth sounds, effects can be added to mixer or to synthesizer inbuilt effects tab. Effects enhance and transform base synthesizer tones.

• Reverb: adds spaciousness and room character • Distortion: adds grit and aggression with soft clipping option • Delay: creates repeating echoes and rhythmic patterns • EQ: provides frequency sculpting control

• Reverb alone creates spacious character • Distortion with soft clipping adds gritty aggressive texture • Ping-pong delay creates rhythmic stereo movement • Multiple effects stacked create complex textures

Vital synthesizer includes inbuilt effects tab eliminating need to access mixer. Effects can be applied directly within the synthesizer for convenience.

• Start with basic wave shapes • Adjust envelopes for character • Fine-tune filter settings • Add effects for final polish

• Lead sounds created with layered waves • String sections using sawtooth waves • Moog pluck bass using basic shapes

Best way to learn is opening synthesizer and experimenting with basics. Experimentation combined with fundamental knowledge creates rapid skill development.

Future videos in series will explore numerous sound examples and advanced techniques. Preset pack available containing pre-designed sounds demonstrating concepts.