How about that? Let's get out of the A section. (electronic tune) How about arctic strings? And let's go to long evolving. Maybe have a little bit more rhythmic presence, but they're really cool, and it's something that we can do a lot with synthesizers, and Absynth is great for it because it has really flexible envelopes and you can create really long sounds that take a while to develop. It's typically used to fill out space between other sounds that are a little bit more percussive. What the word pad means is generally a sound that doesn't have a whole lot of rhythmic movement. Now, if you haven't heard the word pad before, other than in this course. Then we've also got some interesting leads and pads and things like that. You guys thought I was going to play Lucy In The Sky With Diamonds, didn't you? Don't know that one unfortunately. (electronic tune) Let's go ahead and check out something a little bit different. (lighthearted music) I feel like Sinead O'Connor over here, it's amazing. Let's check out some of the vocal sounds. (ominous electronic sounds) oh wow, lots of really interesting stuff here. Let's just check out some, okay, so soundscapes, destructive, that sounds pretty cool. Lots of really interesting futuristic type stuff. And as you can see down below, I'm just holding down one key. Let's look at a couple of other soundscapes, 'cause there's a whole lot of cool stuff going on here. It's really interesting that this entire sound was made with no samples. You can start to hear where that seagull type sound is coming from. You can sort of start to see where the waves sound is coming from. (ocean sound effects) It's kind of incredible. It's kind of incredible, and if we look at these, as I hold down the key. These are all parameters that can be moving. This is where a lot of the stuff goes down, and you don't have to worry about this so much right now, but just look at how complex these different envelopes can be. We've got this thing called the pipe, which is quite cool. We've got frequency modulation, we've got ring modulation, then we've got good old subtractive synthesis, some filters, some effects over here. We can see we've got three different synthesis methods happening here. Let's just take a look at some of the stuff going on here. (ocean sound effects) Feels like a commercial for a certain south of the boarder adult beverage. It's called Absynth beach, and I'm going to go ahead and double click, and I'm just going to hold down a key for you, and let's all sail away. This isn't one I use all the time, but it's the first one I show people 'cause I think it's great. I'm going to show you my very favorite Absynth sound. Let's start out just by listening to some sounds. There are a lot of different cool things that we can do. Patch is where the heavy lifting goes down. Perform is where we set up a lot of our mini controllers, for example. We have our browser and our attributes as we've seen before, and then we have all these different sections. Now, in absence, our navigation is up top. It's sort of a power house, and there's a whole lot of cool stuff that you can do using this synthesizer, and I just want to take a look at some of the presets and just talk about navigating it a little bit because there's a lot here. It can actually work in surround sound if you need it to. You can do subtractive synthesis, frequency modulation, you can sample, you can stretch samples, you can create amazing, intense, spacial effects. It's great for soundscapes and things like that, but it's also great for really aggressive sounds. Things that are a little bit softer, like easy listening. Either that or they see the color and they hear the name and they're like, oh this must be great for ambient sounds. It's really a jack of all trades, and for that reason, a lot of people find it very intimidating. There is so much that we can do with Absynth. The next synth that I want to talk about is called Absynth, and it's a synthesizer, it's a sampler, it's an effects unit.
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