August 26, 2025 • 22 mins
Curious what happens when a producer opens Vital Spectral Warping Wavetable synth for the very first time? In this episode, I explore the free wavetable synthesizer from scratch, answering common questions like: Is Vital really free? Is the free version powerful enough for professional music production?
With zero prior experience in the plugin, I start from an initialised preset and build a 90s-inspired trance bass step by step. You’ll hear my genuine reactions as I learn the interface, experiment with oscillators, and make happy accidents along the way. From shaping sub frequencies with a sine wave to layering harmonics for extra punch, I break down the process in real time.
What surprised me most? Vital’s intuitive visual interface makes complex sound design feel simple—even for beginners. The free version includes 75 presets and 25 wavetables, giving you everything you need to craft professional sounds without spending a penny.
Whether you’re wondering Is Vital good for beginners? or just want to watch a fresh perspective on sound design, this walkthrough shows how quickly you can create a rich, layered trance bass using only Vital.
Links mentioned in this episode
Vital - Spectral Warping Wavetable Synth
Ways to connect with Marc:
Radio-ready mixes start here - get the FREE weekly tips
Book your FREE Music Breakthrough Strategy Call
Follow Marc's Socials:
Instagram | YouTube | Synth Music Mastering
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Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Marc Matthews (00:00):
I am using Vital Audio's Vital for the very first
time Never seen it before,never used it before and I'm
going to be creating a dance-pop, sort of 90s trancy synth bass.
So I'm going to go from this tothis.
(00:25):
You're listening to the Insidethe Mix podcast with your host,
Mark.
Matthews, welcome to Inside theMix, your go-to podcast for
music creation and production.
Whether you're crafting yourfirst track or refining your
mixing skills, join me each weekfor expert interviews,
practical tutorials and insightsto help you level up your music
(00:46):
and smash it in the musicindustry.
Let's dive in.
Hello folks, and welcome to theInside the Mix podcast.
If you are a returning listener, a big welcome back, thank you.
And if you are new to thepodcast, welcome aboard.
In this episode I'm going to betrying out Vital Audio's Vital
Synthesizer.
I've never used it before, I'venever opened it before, so this
episode is going to be tryingout Vital Audio's Vital
Synthesizer.
I've never used it before, I'venever opened it before, so this
(01:07):
episode is going to be meexperiencing this plugin, this
soft synth, for the very firsttime.
If you want to learn more aboutVital Audio, and Vital in
particular, I'll put a link inthe episode description.
But in essence, I am using thebasic free subscription model
for Vital.
So you get 75 presets and 25wavetables.
There's a plus subscription andthen there is a pro as well,
(01:30):
but I'm sticking with the basicfree one, as I'll have access to
the full soft synth but I don'tneed all the additional presets
at this stage, because I'mgoing to make a bass preset from
scratch, using Vital for thevery first time.
The reason I'm doing this isbecause, in conversation with
other producers, other artists,I've heard great things about
Vital and in particular, becausethere is a free subscription
(01:54):
version of it.
So let's dive into this Logicproject and give it a go.
So here we are in my project.
It's 130 BPM.
It's kind of like a dance pop,housey sort of tune that I've
put together here.
It was actually inspired byJust Keep Watching, so I started
like a remix.
I thought I'd give it a go andbasically this is what it sounds
(02:14):
like.
So it's going to be using Ihaven't opened it yet, I've just
loaded Vital, but I haven'topened it yet, so it's just
going to be using theinitialized preset of Vital.
So this is what it sounds likeat the moment.
Got that classic sort ofinitialized preset sound.
(02:42):
So let's dive into the pluginitself.
Okay, let's open vital.
So on, first impression, I likethe, uh, the interface.
It's very simple.
It's nice, simple, cleaninterface, which I appreciate,
because that's what I like withregards to plugins.
Don't like loads of stuff onthe screen.
A nice, I like it to be niceand simple.
So at the top here we've gotoscillator one.
So you've got three oscillatorsby the list of things, yeah,
(03:04):
and then we can generate somewhite noise as well.
So we can do some various otherbits and pieces there.
So I've got this here.
I'm happy with the pitch.
I'm gonna leave the pitch whereit is, but I'm gonna start with
the sub, sort of like the subfrequencies of this, creating
like a sub E bass I guess.
So I'm assuming I click here.
Yeah, it's got a search bar, solet's put in.
I want to sign away for this.
So I've got vital sign.
(03:25):
So let's load that and let'ssee how that sounds.
Sounds all right.
To be fair, I'm going to soloit there, just so we can sculpt
the sound a bit more.
Okay, cool.
So I'm just going to move theattack up a touch.
I want to get rid of that sortof clicking sound in the
envelope.
So it's envelope one.
(03:46):
Cool, let's drag.
I don't want to play with thedecay at this stage.
Let's drag the decay back.
Oh, it's come up a bit, ok,let's play that in context.
Okay, now I'm going to mutethat and again oh there, that
(04:23):
sounds right.
So that's my sub oscillatorcomplete.
So let's bring in anotheroscillator.
So I'm assuming, yeah, I'mgoing to click there that
enables it.
So there's like a circle.
You just click on that toenable the oscillator.
So we've got oscillator two hereand I'm probably going to have
to bring the level down of thatsub a bit.
I think I'll leave it where itis for the time being.
It's got a filter there as well, so maybe in a bit we'll have a
(04:51):
look at the filters.
Oh, yeah, there's filter one.
So what I could do with thatfilter, I could use that maybe
to eliminate any higherfrequencies.
Fine, let's give that a go.
I'm going on a bit of a detourhere.
I'm going to send this tooscillator two and it's got a
bit of a resonance peak there.
How'd you get rid of that?
24?
Maybe it's the slope.
I'll leave that where it is.
Uh, but let's drag that back abit.
(05:11):
The cutoff's done in semitones.
I thought that might be infrequencies, but let's, I'm.
What I'm going to do is I'mjust going to play it and see
what that sounds like.
This might not work, uh, isthat sending to oscillator two
is?
Yeah, I'm just going to solothis again, I've never used this
before, so I'm assuming thatthat means I've enabled filter 2
.
So in oscillator 1 there is theoption to change the filter
(05:55):
itself and you can move thataround and it will change it
from like a low pass to a highpass.
But what I want to do is you'vegot all these different filter
options as well.
I kind of I just I'm going toget rid of that resonance peak,
but I'm not entirely sure howyou do it.
Ah, and I can see in the filteras well how you map it.
There's like oscillator one,oscillator two, so you enable
these, so I'm going to turn offit.
(06:16):
I don't want to see it foroscillator two, so I'm going to
turn that off.
That's how you do it.
(06:39):
So let's play that again, allright?
Uh, sorry folks, I needed todisable oscillator too.
What I'm doing there is I'mplaying with the filter, so I'm
just going to drag it down, justso.
It's the base frequencies.
I don't want any sort of likelow mid above.
We'll go with that for now.
Again, I'm just creating thispreset, right.
So this when it comes toactually mix down, I'll go in
and tweak all these settings,but I just want something to
(06:59):
work with whilst I flesh out therest of this project.
But that sounds right, actually.
Sorry, I went on a bit of adetour there with the filter
because I just saw it and I waslike I wonder how that works.
So let's bring in oscillator two.
Okay, so, oscillator two, I amgoing to pitch this up.
Now I've got transpose.
It says pitch.
I'm assuming that's insemitones and that's tuned, I'm
(07:23):
going to leave tune as it is.
So, assuming that's insemitones and that's tuned, I'm
going to leave tune as it is.
So I'm going up one.
So let's play that.
I tell a lie.
I thought it might go up anoctave, but it doesn't.
So I need to go up to 12.
It's going up an octave, okay,and let's change the.
(07:50):
I might try square wave.
Ooh, don't have any squarewaves.
Maybe we'll have to findsomething then.
Pink noise, white noise let'sgo factory.
What have we got in factory?
Let's go basic.
Quadsaw, three Graces, classicBlend, brown Noise, classic Fade
(08:13):
, harmonic Series I don't knowwhat any of these sound like.
It's basic shapes.
I think that's just a sine wave.
Again, it looks like you canclick on.
Oh, wow, in the actualoscillator itself.
When you see the waveform.
There's like a pencil so youcan go in by the looks of things
and really modify the waveform,uh, which I'm not going to do
(08:34):
in this, in this tutorial,because I've never done it
before, uh, so I'll probably getquite lost.
So let's find a sound thatwe're going to use, maybe
complex jaw part, complex.
Off we go, let's click some ofthese, not digging any of those.
(09:00):
Let's try some in the physical,let's try some more.
I think I've tried thesealready.
I've got brown noise.
That's classic blend.
So that is going to envelopeone.
(09:23):
So how do I change that If wego to envelope two, what I want
to?
do is change that oscillator.
Ah, there's a little.
Uh, there's like a next to thewaveform.
You can move that up and downand it will change the position
of the waveform.
But what I want to do is changethe envelope that's being used
(09:46):
for oscillator two.
Now, how do I do that?
Because you've got envelope two, but how do I change it to
oscillator 2?
Sorry, how do I change it fromoscillator 2 to envelope 2?
In the interest of time, I thinkwe're going to have to move on.
But what I think you can do isif you click on the envelope,
just underneath the name of itthere's like this crosshair, and
(10:07):
then you can drag that.
And then you can drag it ontoany part that is highlighted in
green in vital, and then you canstart to manipulate that
parameter using the envelope.
So I mean I could drag it ontothe waveform for envelope two,
but I don't know if that's goingto work.
Let's give it a go.
I mean it's hard.
(10:28):
You can see how you can getreally creative with it.
This is it.
Here we go.
I mean you can see how you canget really creative with it.
It sounds quite cool, but it'snot what I want.
So I'm gonna undo that.
I don't really wanna do that.
I thought undo might do that.
Let's redo that.
Then Double click on it.
Ah yeah, that gets rid of it.
So I'm just gonna roll with thathow it is for the time being
and not use envelope two, justenvelope one.
(10:48):
I'll just have to sculpt itusing what I have here, uh.
But what I am going to do isI'm going to send oscillator two
to filter one.
I'm going to enable that and,uh, looking at this here, I
think there's like a, a slidingbar on the right and I think
that controls the resonance itdoes of the filter.
So I'm actually going to dragthose down.
(11:09):
I don't want resonance at themoment.
Maybe later, maybe later, butat the moment I don't really
want any resonance.
I want this for oscillator two.
What I'm doing here is I'mtrying to separate the sub from
the sort of like low frequencyoscillator two.
So let's give that a go.
I'm just going to bring thelevel of the sub down.
(11:37):
So I'm going to drag it all theway down to zero and then just
gradually bring it in.
Let's play around with theenvelope a bit.
So all I've done there is I'vejust increased the decay a touch
(12:03):
and the sustain.
Let's try the release.
You know I like it with a shortrelease.
Again, we can play around withthat later.
But let's play in context.
It's quite quiet.
(12:25):
So where is the global outputon this?
I'm looking for the global sortof output.
This would be like a volumesomewhere in here.
Folks watching this.
I mean, if you can correct meon how to sync the oscillator to
the relevant envelope, pleasedo put it in the comments or
(12:47):
send me a DM Again.
This is the first time I'veever used it.
Ah, this must be at the tophere.
Put it in the comments or sendme a dm again.
This is the first time I'veever used it.
Ah, this must be at the tophere.
Yeah, at the top there's a uh,there's a meter, a uh.
I always get it around thewrong way.
A horizontal meter.
Okay, uh, it sounds all rightat the moment.
(13:13):
Sounds all right.
Again, first time using it.
So there's lots in here that Icould use, like there's an
effects, there's a matrix,there's that advanced section I
could go in and sculpt.
Like I said I could click thepencil and have a look at the
waveform.
Just, I should have said thisright at the beginning.
I am not in any way, shape orform sponsored by Vital.
This is not a video that hasbeen sponsored by Vital.
This is just me using it forthe first time from
(13:34):
recommendations.
So just to throw that out there.
Folks, no affiliate link.
I don't get anything from this.
It's just me using it from thefirst time.
I should have said that rightat the beginning.
So let's add a third oscillator,and this time we're going to go
up another octave and the othertwo oscillators.
(13:56):
I've got unison at 1.
It says 1V.
I'm assuming that means 1.
But for this one I'm going togo up transpose at 24.
And I'm just going to play itand then I'm going to increase
the unison, because this isgoing to be like the higher
frequencies.
This is what I could do withanother filter in here.
I haven't even touched the LFOsyet, but I'm probably not going
to in this instance.
(14:16):
Now it's super loud, so I needto drag that down.
It's got like a classic sort of90s trance vibe to it.
(14:46):
You can imagine that um with aside chain to the kick.
So you're doing the yeah sidechain into the kit.
I'm trying to get theexpression of what it is in my
head, but I can't think it'sbecause I'm looking at the way
for here, thinking what I'mgoing to do next.
I'm trying to talk aboutsomething else at the same time,
which doesn't really work.
So let's have a look atwaveforms for this.
We've got gl, glorg, glorg,glunk.
(15:09):
I don't know what that means.
Let's try some of thesewaveforms out and see what they
sound like.
You'll notice as well.
I'm doing this in context nowbecause I'm getting towards the
end of the preset.
I kind of want to hear whatit's going to sound like in
context, because in isolation itcould sound great or it might
sound not great, but in contextwhat I thought was not great in
(15:33):
isolation might sound great, ifthat makes sense.
I love this one here calledcrappy toilet.
Let's have a look and see whatthat sounds like.
Yeah, not great.
Yeah, not great.
I mean, I quite like that.
(15:53):
I'm going to star it so I canuse it at a later date, but I'm
not using it for this.
Actually, it sounds all right.
Let's try a few more.
That's hollow distorted FM.
That's not too bad.
That's called Squish Flange andthat's like a really classic
(16:24):
like trancy sort of sound.
It's quite cool.
Really classic, like trancysort of sound.
It's quite cool.
Uh, I've got a couple more.
Thank you, false noise, let'stry that.
No, uh, so I'm just going to goback to complex and see if
there's any in here drink thejuice.
(16:45):
Any in here drink the juice.
Low, low, high fold.
Modern, postmodern pulse again,that's quite cool, but I don't
think it suits what I'm tryingto do here.
Soars for days Again, that'squite cool, but I don't think it
(17:06):
suits what I'm trying to dohere.
Sores for days no, it's stabbed, no.
So I'm going to click on myfavourites.
This is why, whenever I get anew plugin and I go through the
presets and also the waveforms,I always favourite them so I can
come back to them later.
It makes it so much easier.
So I picked out these four.
(17:30):
It's quite cool.
That's flange scroll now.
I like that because it's quitesubtle.
I thought post-modern pulse wasa bit too much for this tune.
Let's try hollow, distorted FMand Squish Flange.
(18:03):
I think I'm going to go withthat.
I quite like that.
I quite like, like that.
What else can we do in here.
We've got some effects, uh,effects, so I'm going to go to
the effects channel.
Now I might.
Let's try some distortion.
That might sound quite cool onthat.
Ah, there's a filter here so Ican add another filter in the
effects and I can use this forthe higher frequency one.
(18:24):
Cool, cool, cool.
So let's bring down theresonance, switch it around.
I'm going to do this inisolation.
Ah, it's doing it for them all,but I just want it for
(18:46):
oscillator three.
How can I not send all of themout?
Ah, that might scupper me atouch.
Another one that I'm going tohave to go away.
Basically, I think what I needto do, having I really like this
(19:08):
plugin.
I think it's great Overallfeelings, I'm going to have to
go away.
Basically, I think what I needto do.
I really like this plugin.
I think it's great.
Overall feelings, I'm reallyliking this.
I can see myself using it.
But I need to go and researchhow to manipulate the sends from
oscillators to variousdifference, to the LFOs, to the
envelopes, to the filters, tothe effects.
That's what I need to work onnext.
But I mean mean, I'll leave itthere for now and just play it
(19:34):
again.
I'm going to boost the outputon it.
In fact, I'm just going tobring down the level of
oscillator three.
Yeah, I mean you could get away.
(20:00):
You don't necessarily have tohave that third oscillator in
there and just have the bass.
What you could do as well isyou could duplicate this track
and then have oscillator one,oscillator two in one and then
just have another instance ofvital, just with oscillator
three.
If you wanted to do that, youcould do that, something I've
done in the past where I havelike three different bass tracks
(20:22):
, one for the sub, one for thelow and then one for, like the
mid range, and then I usefiltering just to sculpt those.
But I've done all in one here.
So I'm just gonna turnoscillator three off Now it's
super quiet Turn it back on.
Just realized there would be nopoint in side chaining, side
(20:53):
chaining it to the kick becausethey play different times.
So it won't really work in thisinstance.
Um, but there you go, folks.
Those are my first.
This is the first time I'veused vital, again not sponsored
by vital, but I really like this.
I think the the layout's reallynice.
It seems for the most partintuitive.
The only stumbling block Ifound so far is the routing, but
playing around with it a bitmore.
Maybe if I wasn't on camerawhilst playing with it, I'll be
(21:16):
able to find it quite quickly.
So in the comments, if you knowhow to do that quickly, let me
know or send me to a video thatdoes.
But on first use, I think it'sreally cool.
I think it's really cool.
I definitely a plugin I'll beusing, going forward,
considering it's free as well,which is amazing.
Again, I'll put the link in theepisode description.
So, yeah, do go check it outand let me know your thoughts
(21:37):
just before you go.
If you want weekly tips, tools,techniques sent directly to
your inbox, click the link inthe episode description and join
my weekly newsletter.
No fluff, no spam, no longautomated email chains, just
weekly tools, tips andtechniques direct to your inbox
to make your music playlistworthy and radio ready.
(21:59):
So click that link in theepisode description and until
next time, stay inspired, keepcreating and don't be afraid to
experiment inside the mix.
I am using Vital Audio's Vital for the very first
time Never seen it before,never used it before and I'm
going to be creating a dance-pop, sort of 90s trancy synth bass.
So I'm going to go from this tothis.
(00:25):
You're listening to the Insidethe Mix podcast with your host,
Mark.
Matthews, welcome to Inside theMix, your go-to podcast for
music creation and production.
Whether you're crafting yourfirst track or refining your
mixing skills, join me each weekfor expert interviews,
practical tutorials and insightsto help you level up your music
(00:46):
and smash it in the musicindustry.
Let's dive in.
Hello folks, and welcome to theInside the Mix podcast.
If you are a returning listener, a big welcome back, thank you.
And if you are new to thepodcast, welcome aboard.
In this episode I'm going to betrying out Vital Audio's Vital
Synthesizer.
I've never used it before, I'venever opened it before, so this
episode is going to be tryingout Vital Audio's Vital
Synthesizer.
I've never used it before, I'venever opened it before, so this
(01:07):
episode is going to be meexperiencing this plugin, this
soft synth, for the very firsttime.
If you want to learn more aboutVital Audio, and Vital in
particular, I'll put a link inthe episode description.
But in essence, I am using thebasic free subscription model
for Vital.
So you get 75 presets and 25wavetables.
There's a plus subscription andthen there is a pro as well,
(01:30):
but I'm sticking with the basicfree one, as I'll have access to
the full soft synth but I don'tneed all the additional presets
at this stage, because I'mgoing to make a bass preset from
scratch, using Vital for thevery first time.
The reason I'm doing this isbecause, in conversation with
other producers, other artists,I've heard great things about
Vital and in particular, becausethere is a free subscription
(01:54):
version of it.
So let's dive into this Logicproject and give it a go.
So here we are in my project.
It's 130 BPM.
It's kind of like a dance pop,housey sort of tune that I've
put together here.
It was actually inspired byJust Keep Watching, so I started
like a remix.
I thought I'd give it a go andbasically this is what it sounds
(02:14):
like.
So it's going to be using Ihaven't opened it yet, I've just
loaded Vital, but I haven'topened it yet, so it's just
going to be using theinitialized preset of Vital.
So this is what it sounds likeat the moment.
Got that classic sort ofinitialized preset sound.
(02:42):
So let's dive into the pluginitself.
Okay, let's open vital.
So on, first impression, I likethe, uh, the interface.
It's very simple.
It's nice, simple, cleaninterface, which I appreciate,
because that's what I like withregards to plugins.
Don't like loads of stuff onthe screen.
A nice, I like it to be niceand simple.
So at the top here we've gotoscillator one.
So you've got three oscillatorsby the list of things, yeah,
(03:04):
and then we can generate somewhite noise as well.
So we can do some various otherbits and pieces there.
So I've got this here.
I'm happy with the pitch.
I'm gonna leave the pitch whereit is, but I'm gonna start with
the sub, sort of like the subfrequencies of this, creating
like a sub E bass I guess.
So I'm assuming I click here.
Yeah, it's got a search bar, solet's put in.
I want to sign away for this.
So I've got vital sign.
(03:25):
So let's load that and let'ssee how that sounds.
Sounds all right.
To be fair, I'm going to soloit there, just so we can sculpt
the sound a bit more.
Okay, cool.
So I'm just going to move theattack up a touch.
I want to get rid of that sortof clicking sound in the
envelope.
So it's envelope one.
(03:46):
Cool, let's drag.
I don't want to play with thedecay at this stage.
Let's drag the decay back.
Oh, it's come up a bit, ok,let's play that in context.
Okay, now I'm going to mutethat and again oh there, that
(04:23):
sounds right.
So that's my sub oscillatorcomplete.
So let's bring in anotheroscillator.
So I'm assuming, yeah, I'mgoing to click there that
enables it.
So there's like a circle.
You just click on that toenable the oscillator.
So we've got oscillator two hereand I'm probably going to have
to bring the level down of thatsub a bit.
I think I'll leave it where itis for the time being.
It's got a filter there as well, so maybe in a bit we'll have a
(04:51):
look at the filters.
Oh, yeah, there's filter one.
So what I could do with thatfilter, I could use that maybe
to eliminate any higherfrequencies.
Fine, let's give that a go.
I'm going on a bit of a detourhere.
I'm going to send this tooscillator two and it's got a
bit of a resonance peak there.
How'd you get rid of that?
24?
Maybe it's the slope.
I'll leave that where it is.
Uh, but let's drag that back abit.
(05:11):
The cutoff's done in semitones.
I thought that might be infrequencies, but let's, I'm.
What I'm going to do is I'mjust going to play it and see
what that sounds like.
This might not work, uh, isthat sending to oscillator two
is?
Yeah, I'm just going to solothis again, I've never used this
before, so I'm assuming thatthat means I've enabled filter 2
.
So in oscillator 1 there is theoption to change the filter
(05:55):
itself and you can move thataround and it will change it
from like a low pass to a highpass.
But what I want to do is you'vegot all these different filter
options as well.
I kind of I just I'm going toget rid of that resonance peak,
but I'm not entirely sure howyou do it.
Ah, and I can see in the filteras well how you map it.
There's like oscillator one,oscillator two, so you enable
these, so I'm going to turn offit.
(06:16):
I don't want to see it foroscillator two, so I'm going to
turn that off.
That's how you do it.
(06:39):
So let's play that again, allright?
Uh, sorry folks, I needed todisable oscillator too.
What I'm doing there is I'mplaying with the filter, so I'm
just going to drag it down, justso.
It's the base frequencies.
I don't want any sort of likelow mid above.
We'll go with that for now.
Again, I'm just creating thispreset, right.
So this when it comes toactually mix down, I'll go in
and tweak all these settings,but I just want something to
(06:59):
work with whilst I flesh out therest of this project.
But that sounds right, actually.
Sorry, I went on a bit of adetour there with the filter
because I just saw it and I waslike I wonder how that works.
So let's bring in oscillator two.
Okay, so, oscillator two, I amgoing to pitch this up.
Now I've got transpose.
It says pitch.
I'm assuming that's insemitones and that's tuned, I'm
(07:23):
going to leave tune as it is.
So, assuming that's insemitones and that's tuned, I'm
going to leave tune as it is.
So I'm going up one.
So let's play that.
I tell a lie.
I thought it might go up anoctave, but it doesn't.
So I need to go up to 12.
It's going up an octave, okay,and let's change the.
(07:50):
I might try square wave.
Ooh, don't have any squarewaves.
Maybe we'll have to findsomething then.
Pink noise, white noise let'sgo factory.
What have we got in factory?
Let's go basic.
Quadsaw, three Graces, classicBlend, brown Noise, classic Fade
(08:13):
, harmonic Series I don't knowwhat any of these sound like.
It's basic shapes.
I think that's just a sine wave.
Again, it looks like you canclick on.
Oh, wow, in the actualoscillator itself.
When you see the waveform.
There's like a pencil so youcan go in by the looks of things
and really modify the waveform,uh, which I'm not going to do
(08:34):
in this, in this tutorial,because I've never done it
before, uh, so I'll probably getquite lost.
So let's find a sound thatwe're going to use, maybe
complex jaw part, complex.
Off we go, let's click some ofthese, not digging any of those.
(09:00):
Let's try some in the physical,let's try some more.
I think I've tried thesealready.
I've got brown noise.
That's classic blend.
So that is going to envelopeone.
(09:23):
So how do I change that If wego to envelope two, what I want
to?
do is change that oscillator.
Ah, there's a little.
Uh, there's like a next to thewaveform.
You can move that up and downand it will change the position
of the waveform.
But what I want to do is changethe envelope that's being used
(09:46):
for oscillator two.
Now, how do I do that?
Because you've got envelope two, but how do I change it to
oscillator 2?
Sorry, how do I change it fromoscillator 2 to envelope 2?
In the interest of time, I thinkwe're going to have to move on.
But what I think you can do isif you click on the envelope,
just underneath the name of itthere's like this crosshair, and
(10:07):
then you can drag that.
And then you can drag it ontoany part that is highlighted in
green in vital, and then you canstart to manipulate that
parameter using the envelope.
So I mean I could drag it ontothe waveform for envelope two,
but I don't know if that's goingto work.
Let's give it a go.
I mean it's hard.
(10:28):
You can see how you can getreally creative with it.
This is it.
Here we go.
I mean you can see how you canget really creative with it.
It sounds quite cool, but it'snot what I want.
So I'm gonna undo that.
I don't really wanna do that.
I thought undo might do that.
Let's redo that.
Then Double click on it.
Ah yeah, that gets rid of it.
So I'm just gonna roll with thathow it is for the time being
and not use envelope two, justenvelope one.
(10:48):
I'll just have to sculpt itusing what I have here, uh.
But what I am going to do isI'm going to send oscillator two
to filter one.
I'm going to enable that and,uh, looking at this here, I
think there's like a, a slidingbar on the right and I think
that controls the resonance itdoes of the filter.
So I'm actually going to dragthose down.
(11:09):
I don't want resonance at themoment.
Maybe later, maybe later, butat the moment I don't really
want any resonance.
I want this for oscillator two.
What I'm doing here is I'mtrying to separate the sub from
the sort of like low frequencyoscillator two.
So let's give that a go.
I'm just going to bring thelevel of the sub down.
(11:37):
So I'm going to drag it all theway down to zero and then just
gradually bring it in.
Let's play around with theenvelope a bit.
So all I've done there is I'vejust increased the decay a touch
(12:03):
and the sustain.
Let's try the release.
You know I like it with a shortrelease.
Again, we can play around withthat later.
But let's play in context.
It's quite quiet.
(12:25):
So where is the global outputon this?
I'm looking for the global sortof output.
This would be like a volumesomewhere in here.
Folks watching this.
I mean, if you can correct meon how to sync the oscillator to
the relevant envelope, pleasedo put it in the comments or
(12:47):
send me a DM Again.
This is the first time I'veever used it.
Ah, this must be at the tophere.
Put it in the comments or sendme a dm again.
This is the first time I'veever used it.
Ah, this must be at the tophere.
Yeah, at the top there's a uh,there's a meter, a uh.
I always get it around thewrong way.
A horizontal meter.
Okay, uh, it sounds all rightat the moment.
(13:13):
Sounds all right.
Again, first time using it.
So there's lots in here that Icould use, like there's an
effects, there's a matrix,there's that advanced section I
could go in and sculpt.
Like I said I could click thepencil and have a look at the
waveform.
Just, I should have said thisright at the beginning.
I am not in any way, shape orform sponsored by Vital.
This is not a video that hasbeen sponsored by Vital.
This is just me using it forthe first time from
(13:34):
recommendations.
So just to throw that out there.
Folks, no affiliate link.
I don't get anything from this.
It's just me using it from thefirst time.
I should have said that rightat the beginning.
So let's add a third oscillator,and this time we're going to go
up another octave and the othertwo oscillators.
(13:56):
I've got unison at 1.
It says 1V.
I'm assuming that means 1.
But for this one I'm going togo up transpose at 24.
And I'm just going to play itand then I'm going to increase
the unison, because this isgoing to be like the higher
frequencies.
This is what I could do withanother filter in here.
I haven't even touched the LFOsyet, but I'm probably not going
to in this instance.
(14:16):
Now it's super loud, so I needto drag that down.
It's got like a classic sort of90s trance vibe to it.
(14:46):
You can imagine that um with aside chain to the kick.
So you're doing the yeah sidechain into the kit.
I'm trying to get theexpression of what it is in my
head, but I can't think it'sbecause I'm looking at the way
for here, thinking what I'mgoing to do next.
I'm trying to talk aboutsomething else at the same time,
which doesn't really work.
So let's have a look atwaveforms for this.
We've got gl, glorg, glorg,glunk.
(15:09):
I don't know what that means.
Let's try some of thesewaveforms out and see what they
sound like.
You'll notice as well.
I'm doing this in context nowbecause I'm getting towards the
end of the preset.
I kind of want to hear whatit's going to sound like in
context, because in isolation itcould sound great or it might
sound not great, but in contextwhat I thought was not great in
(15:33):
isolation might sound great, ifthat makes sense.
I love this one here calledcrappy toilet.
Let's have a look and see whatthat sounds like.
Yeah, not great.
Yeah, not great.
I mean, I quite like that.
(15:53):
I'm going to star it so I canuse it at a later date, but I'm
not using it for this.
Actually, it sounds all right.
Let's try a few more.
That's hollow distorted FM.
That's not too bad.
That's called Squish Flange andthat's like a really classic
(16:24):
like trancy sort of sound.
It's quite cool.
Really classic, like trancysort of sound.
It's quite cool.
Uh, I've got a couple more.
Thank you, false noise, let'stry that.
No, uh, so I'm just going to goback to complex and see if
there's any in here drink thejuice.
(16:45):
Any in here drink the juice.
Low, low, high fold.
Modern, postmodern pulse again,that's quite cool, but I don't
think it suits what I'm tryingto do here.
Soars for days Again, that'squite cool, but I don't think it
(17:06):
suits what I'm trying to dohere.
Sores for days no, it's stabbed, no.
So I'm going to click on myfavourites.
This is why, whenever I get anew plugin and I go through the
presets and also the waveforms,I always favourite them so I can
come back to them later.
It makes it so much easier.
So I picked out these four.
(17:30):
It's quite cool.
That's flange scroll now.
I like that because it's quitesubtle.
I thought post-modern pulse wasa bit too much for this tune.
Let's try hollow, distorted FMand Squish Flange.
(18:03):
I think I'm going to go withthat.
I quite like that.
I quite like, like that.
What else can we do in here.
We've got some effects, uh,effects, so I'm going to go to
the effects channel.
Now I might.
Let's try some distortion.
That might sound quite cool onthat.
Ah, there's a filter here so Ican add another filter in the
effects and I can use this forthe higher frequency one.
(18:24):
Cool, cool, cool.
So let's bring down theresonance, switch it around.
I'm going to do this inisolation.
Ah, it's doing it for them all,but I just want it for
(18:46):
oscillator three.
How can I not send all of themout?
Ah, that might scupper me atouch.
Another one that I'm going tohave to go away.
Basically, I think what I needto do, having I really like this
(19:08):
plugin.
I think it's great Overallfeelings, I'm going to have to
go away.
Basically, I think what I needto do.
I really like this plugin.
I think it's great.
Overall feelings, I'm reallyliking this.
I can see myself using it.
But I need to go and researchhow to manipulate the sends from
oscillators to variousdifference, to the LFOs, to the
envelopes, to the filters, tothe effects.
That's what I need to work onnext.
But I mean mean, I'll leave itthere for now and just play it
(19:34):
again.
I'm going to boost the outputon it.
In fact, I'm just going tobring down the level of
oscillator three.
Yeah, I mean you could get away.
(20:00):
You don't necessarily have tohave that third oscillator in
there and just have the bass.
What you could do as well isyou could duplicate this track
and then have oscillator one,oscillator two in one and then
just have another instance ofvital, just with oscillator
three.
If you wanted to do that, youcould do that, something I've
done in the past where I havelike three different bass tracks
(20:22):
, one for the sub, one for thelow and then one for, like the
mid range, and then I usefiltering just to sculpt those.
But I've done all in one here.
So I'm just gonna turnoscillator three off Now it's
super quiet Turn it back on.
Just realized there would be nopoint in side chaining, side
(20:53):
chaining it to the kick becausethey play different times.
So it won't really work in thisinstance.
Um, but there you go, folks.
Those are my first.
This is the first time I'veused vital, again not sponsored
by vital, but I really like this.
I think the the layout's reallynice.
It seems for the most partintuitive.
The only stumbling block Ifound so far is the routing, but
playing around with it a bitmore.
Maybe if I wasn't on camerawhilst playing with it, I'll be
(21:16):
able to find it quite quickly.
So in the comments, if you knowhow to do that quickly, let me
know or send me to a video thatdoes.
But on first use, I think it'sreally cool.
I think it's really cool.
I definitely a plugin I'll beusing, going forward,
considering it's free as well,which is amazing.
Again, I'll put the link in theepisode description.
So, yeah, do go check it outand let me know your thoughts
(21:37):
just before you go.
If you want weekly tips, tools,techniques sent directly to
your inbox, click the link inthe episode description and join
my weekly newsletter.
No fluff, no spam, no longautomated email chains, just
weekly tools, tips andtechniques direct to your inbox
to make your music playlistworthy and radio ready.
(21:59):
So click that link in theepisode description and until
next time, stay inspired, keepcreating and don't be afraid to
experiment inside the mix.
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