BSD Guidebook

Breakthrough Sound Design Guidebook
Version 1.0
© Copyright 2020 EDMPROD LTD
All Rights Reserved. This publication, including any of its parts, may not be
reproduced, stored, or transmitted in any form or by any means, electronic,
mechanical, or otherwise, without prior written consent from the publisher.
Inclusion of brief quotations in reviews and educational material are permitted.
Disclaimer: The information presented in this book is based on the author’s

experience, knowledge, and opinions. The author and publisher will not be held
liable for the misuse of the information in this book.
Table Of Contents
BREAKTHROUGH SOUND DESIGN
0. Introduction 4
1. Module 1: What Is Sound Design? 5
2. Module 2: Basic Synthesis 19
3. Module 3: Effects & Processing 38
4. Module 4: Sampling, Resampling & Audio 58
5. Module 5: Layering 71
6. Module 6: Integrated Sound Design 81
7. Module 7: Advanced Sound Design 96
33
Introduction
BREAKTHROUGH SOUND DESIGN
Hey there,
Congratulations on enrolling in Breakthrough Sound Design! We glad you're here and we're
excited to help you grow as a producer.
This Guidebook is a companion to the core Breakthrough Sound Design course, recapping the
main takeaways from each lesson in each of the 7 modules. The lesson recaps includes a
summary of that lesson, relevant screenshots, as well as any additional helpful tips and
resources we mentioned or included inside of the course platform.
We strongly encourage you to take notes along with this PDF, either using PDF annotation
software (e.g. Microsoft OneDrive), or if you prefer, you can print it out and write all over it. We
recommended this because it will help you better internalize the information in this course
(which will, in turn, speed up your growth as a producer).
If you have any questions or have found any issues with this Guidebook, you can email any of
our team members directly:
sam@edmprod.com
aden@edmprod.com
Enjoy the course!

Module 1:
What Is
Sound Design?
Lesson 1: Sound Design In Electronic Music
Module 1: What Is Sound Design? BREAKTHROUGH SOUND DESIGN
What is Sound Design?
Wikipedia
In electronic music, Sound Design usually refers to the process of using synthesis, samples
and audio processing in order to generate sounds. Other fields using sound design do not
usually rely on synthesis, but it is quite common in music production.
In fact, sound design is a relatively new concept in music production, as electronic music is
quite a new field, retrospectively, thanks to the changes in digital technology.
However, sound design for film, TV or video games may not always work in a musical
context.
6
As we can see, sound design fits into the middle of the production pyramid, making it quite
an important part of electronic music.
Normally, production refers to the integration of arrangement and sound selection to make a
track, whereas sound design explicitly refers to the creation of sounds.
Sound design can be split up into 4 main areas:
This course will mostly focus on synthesis, sampling and manipulating, but we will briefly
cover recordings too. You can download this map above from the lesson page on
Teachable.
7
Synthesis: Using a synthesiser to create sounds from scratch using electrical waves.
Sampling: Using existing recorded or created sounds to create different sounds.
Recording: Recording real-world sounds using microphones or recording devices.
Manipulating: Performing changes to any sound source as to create new sounds.
8
Lesson 2: Why Sound Design Does (and Doesn't) Matter
Are Presets Okay?
Yes! Presets are great, and here’s 4 reasons why:
Don’t Reinvent the Wheel: Why create a sound that’s already existing? Waste of time +
creative energy.
Learn From Pro Sounds: You can see what’s gone into a preset and apply the techniques to
your sounds.
Make Them Your Own: Renovate presets in order to build up a library of unique sounds.
Nobody Cares: Your listeners likely won’t care whether you designed the sounds from
scratch or not.
Link: The 3Rs of Sound Design
Do I Even Need To Learn Sound Design?
Technically, you don’t have to, much like you don’t have to learn mixing to make well-written
songs. But you are missing out.
Sound Design vs. Sound Selection
Sound selection with sound design knowledge allows you to make better production
decisions.
(E.g. you find a great lead preset, but maybe it has too much stereo width and distortion for
your arrangement and mix. You can tweak the preset and make it work.)
Sound Design Knowledge = Informed Choices
9
Lesson 3: MIDI
What Is MIDI?
MIDI stands for Musical Instrument Digital Interface. It’s a universal standard that allows
electronic instruments to communicate with one another, usually for sending note
information from a keyboard to a digital instrument.
Traditionally, it uses the above port on the back of synthesizers, but nowadays it functions
internally in computers, and also via USB. This allows you to play synths, samplers and VST
plugins in any modern DAW.
MIDI does not produce audio by itself, rather it only tells something else to do it. Imagine
somebody is on the other side of the room, giving you hand signals to do something. That’s
essentially how MIDI functions.
MIDI in Action
Imagine you are playing an F1 note in your DAW to a synth like Xfer Records Serum.
Depending on what sound is loaded up in Serum, you will get an output. But say we change
the sound, but keep the note the same. The pitch will stay consistent, but the sound of the
note will change.
10
Lesson 3: MIDI
Types of Messages
Two main types: On/Off (2 values) or Knobs (128 values)

• Note On/Off (2 values)
• Note Type (128 values)
• Velocity (128 values)
• Mod Wheel (128 values)
• Pitch Bend (128 values)
• Foot Pedal (2 values)
• More…
Ableton Live’s Computer MIDI Keyboard (Credit: School Of

Synthesis)
FL Studio’s Computer MIDI Keyboard (Credit:

Image-Line) Logic Pro X’s Computer MIDI Keyboard
11
Lesson 4: Anatomy Of Sound
Tone vs. Texture
Tones: Consistent frequencies, usually under 2-3kHz.
Texture: Inconsistent or clustered high-end frequencies without a defined tone.
Partials, Harmonics, Fundamentals & Overtones
A partial is an individual sine wave. They can either be harmonic or inharmonic. There are 3
types of partials that make up musical sounds.
• Fundamental (Harmonic)
• Overtones (Harmonic)
• Partials (Inharmonic)
12
Fundamental
The ‘basic’ tone of a sound.

• Determines the overall ‘note’.
• Usually the loudest partial/harmonic in most sounds.
• Usually the lowest tone on a frequency analyzer (not always).
Overtones
A multiple of the fundamental - sounds pleasant along with the fundamental.

• Creates interest and ‘fullness’ to a sound.
• Found above the fundamental (below is called an undertone).
• Mathematically related via the harmonic series (covered later in the course).
13
Partials (Non-Harmonic)
A partial is normally a single sine wave in the context of a sound. Here, it refers to an
inharmonic partial.
• Creates texture, interest, movement and ‘organicness’.
• Not everything has to be ‘in tune’ with the fundamental.
• Present in noise, organic instruments and synthesized sounds alike.
More about the anatomy of sound is covered later in the course.
14
Lesson 5: Digital vs. Analogue Synthesis
What’s the difference?
Digital
• Creates sounds through bits
• We can’t ‘hear’ digital audio
• Digital gets converted into analogue in order to be listened to and produced by a speaker
• Super accurate and precise, but is criticised as ‘cold’
• Synths can have their own characteristics, but it doesn’t happen unless you’re intentional
about it
Analog
• Creates sounds in a form that can be reproduced by a loudspeaker
• Made directly by electricity and voltage
• Contains imperfections due to real-world factors, like circuit degradation and inconsistent
components
• Each synth has different characteristics
That being said, digital can emulate the imperfections of analog. But is the emulation as
good as the real thing?
These days, it’s very similar and no listener would be able to tell. You can compare by
watching this video.
15
Lesson 5: Digital vs. Analogue Synthesis
We’ll be using Xfer Serum in this course, which is a digital synth, but is capable of somewhat
emulating analogue waves through it’s wavetable synthesis method.
16
Lesson 6: Sound Design Workflow
Separating Out Sound Design
Benefits
• Sound Design is technical, while arrangement and song creation is creative.
• You can make amazing sounds beforehand to speed up workflow when making music.
• Learning in isolation allows you to improve skills faster.
• Good sounds inform good composition, allowing new ideas to flow easier.
Downsides
• Sounds can be less integrated into a track.
• Some patches are easier to make quickly rather than find.
• “If I feel inspiration to make a sound, do I have to stop?”
Overcoming The Downsides
• Focus on making sounds work in a track versus designing from scratch.

• Make sure to organize your sounds effectively beforehand.
• You can still make sounds where required during the track-creation process. But make
sure you know what you’re doing.
• Not recommended for beginners.
17
Lesson 6: Sound Design Workflow
Exactness vs. Experimentation
Once you gain a certain level of sound design knowledge (from this course), you will be able
to emulate sounds you hear, whether imagined or from another source. Early on, this gap will
discourage you. Don’t be afraid to push through this stage in order to move into a place of
understanding.
That being said, not all sounds are a result of hearing or imagining - many are created during
experimenting in the creation process. Happy accidents are part of a lot of common music.
(Like a G6’s vocal was made when applying the wrong type of autotune to an existing vocal.
The bassline was originally not a bass sound, and the MIDI was accidentally dragged onto it.)
The reality is that what’s in your head is only one part of the process. Everything is a balance
of exactness and experimentation.
Many producers get into the idea that the best music is imagined in your brain and just
translated into the DAW effortlessly. But the process of coming up with ideas changes with
the process - you constantly have new ideas and changes you want to make.
Also, not everything in your head sounds good in real life.
18
Module 2:
Basic
Synthesis
Lesson 1: Intro to Synthesis
Module 2: Basic Synthesis BREAKTHROUGH SOUND DESIGN
What is Synthesis?
Synthesis is one of the 4 parts of sound design:
Sounds generated with synthesis tend to have a more consistent tone, pitch and frequency
response:
As opposed to an organic instrument like a piano:
20
Lesson 1: Intro to Synthesis
How does Synthesis work?
Synthesis uses an electronic sound generation source (usually an oscillator) and processes
that source with filters, envelopes, FX and other electronic devices in order to create a
sound. These sound generation sources are normally triggered by incoming MIDI notes.
In Serum, many oscillators are used to generate sound. An oscillator will repeat itself at a
certain number of times per second (measured in Hz) to produce a certain tone, depending
on the incoming MIDI note.
Synthesis Types with VST Plugin Examples
Subtractive - Sylenth1, u-he Diva (Analog-modelled), Ableton Live Analog

FM - Ableton Live Operator, NI FM8, FL Studio Sytrus, Dexed
Wavetable - Serum, Pigments, Massive X
Sample-based - refx Nexus 3, Ableton Live Simpler/Sampler, Logic Pro X EXS24, FL Studio
Sampler, NI Kontakt
Physical Modelling - Ableton Live Collision
Granular - Granulator II, Fruity Granulizer, Output Portal
Additive - Ableton Live Operator, NI Razor, FL Studio Harmor
21
Lesson 2: Subtractive Synthesis
Subtractive Synthesis
Subtractive synthesis works by taking a harmonically complex waveform, and ‘subtracting’

from it using techniques like:
• Volume adjustments Amp
• Filtering Filter
• ADSR envelopes Oscillators
• LFOs
Sub
Oscillator
Noise
Oscillator
(Sampler)
Velocity/
Note
LFOs
Voicing
Macros Envelopes
22
Lesson 3: Oscillators & Basic Waveforms
Oscillators
As covered, oscillators are the primary way sounds are generated in subtractive
synthesisers. Serum has 2 main oscillators: Osc A and Osc B.
Basic Shapes
You can load up the basic shapes wavetable in Serum by clicking the wavetable menu and
selecting it under Analog -> Basic Shapes. These basic shapes you will find on most classic
subtractive synthesizers. Move the WT POS control to cycle through the waves.
Sine - the most basic waveform, a single frequency. Sounds mellow and simple.
Triangle - similar to a sine but with a few more square-like harmonics. Sounds smooth and
full.
Square - a harmonically-complex wave containing lots of odd harmonics. Sounds hollow
and interesting.
Sawtooth - the most harmonically complex wave, containing all harmonics. Fills out the
spectrum quite heavily. Sounds full and bright.
23
Lesson 3: Oscillators & Basic Waveforms
Serum’s Oscillators
Octave - determines the octave the

oscillator will generate sound in.
Semitone - pitches the oscillator up or down
by a certain number of notes.
Fine - adjusts the pitch of the oscillator very
slightly.
Coarse - adjusts the pitch of the oscillator
continuously.
Unison/Detune/Blend - duplicates the
oscillator a number of times, each time
adding a slight variation in pitch and pan.
Unison determines how many voices,
detune determines how much and blend
determines the amount of the original
oscillator vs. the detuned voices.
WT Pos - cycles through the number of
available shapes in a wavetable. In ‘Basic
Shapes’, this allows us to select different
basic waveforms.
Warp Modes - adds extra adjustment to the
wavetable using a variety of modulation
techniques. Each type sounds different as
the knob is changed.
24
Lesson 4: Filters
Filters
Filters allow you to shape the frequency spectrum through the process of removing
frequencies from a sound.
Filter types:
Lowpass - passes all frequencies below a certain point. Sounds muffled.
Highpass - passes all frequencies above a certain point. Sounds airy.
Bandpass - passes all frequencies around a certain point. Sounds thin.
Notch - passes all frequencies except those around a certain point. Sounds hollow.
Peak - passes all frequencies, accentuating a particular amount at a certain point. Sounds
tonal.
Higher-slope filters (18, 24) are great for precise sounds, whereas gentle slopes (6, 12) are
more natural-sounding.
25
Lesson 4: Filters
Controls
Cutoff - determines at which point on the

frequency spectrum the filter will apply.
Resonance - accentuates the cutoff
frequency by boosting the gain around that
point.
Pan - adds a cutoff difference between the
left and right channels.
Drive - increases the volume into the filter -
adds harmonic saturation.
FAT - increases the volume without adding
saturation.
Mix/Level - Blends the filtered signal with
the unfiltered signal. Level mode adjusts
the output volume.
Routing Buttons - allows you to choose
which oscillators are routed into the filter or
not.
Keytracking - moves the filter cutoff with
the incoming note, allowing the sound to
maintain a consistent frequency response
across the keyboard.
26
Lesson 5: Amp
What is Amp?
Amp is the section of a synth that controls the volume of the oscillators, sound sources and
master output.
Some synths have a dedicated ‘Amp’ section, but Serum does not (however Serum does
have a dedicated amp ADSR envelope, as we will cover in the next lesson).
The amp controls can be found on the oscillators as a Level knob, allowing you to control
the volume of each in relation to one another. There is also a Pan knob to move the sounds
left or right.
The master output can then be controlled in the top right of the interface.
27
Lesson 6: Envelopes & ADSR
ADSR
Stands for Attack, Decay, Sustain and Release. ADSR envelopes control a parameter
(usually volume) and are usually triggered by an incoming note.
Attack - how long a sound takes to fade in to the maximum volume.

0-5ms = clicky/plucky | 5-20ms = instant | 20-100ms = soft | 100ms+ = drawn out
Decay - how long a sound takes to fade down after reaching the highest volume point. Short
decays make the sound quite plucky.
Sustain - the point to which the decay phase drops to. As long as the note is still being held,
the envelope will stay at this point. Full sustain is ideal for leads (no decay), whereas a drop
in sustain sounds a bit more natural. No sustain is great for plucks.
Release - how long the sound takes to fade to silence after the note is released. Short
values are great for snappy sounds, like leads and basses. Long values are great for pads
and keys.
Serum also has Hold, which draws the maximum volume point out before the decay phase.
28
Lesson 7: LFOs
LFOs
Stands for Low Frequency Oscillator, and is used as a modulation source, much like an
ADSR envelope. An LFO moves at a slow rate in comparison to a normal oscillator, hence
the term ‘low frequency’. Note that an LFO does not produce any sound by itself.
Rate - how fast the LFO moves. Can be synced to the host tempo (e.g. 1/2) or a free-form
hertz value (e.g. 5.2Hz).
Rise/Delay - fades in/delays the LFO start over the specified time.
Smooth - rounds-off jagged edges in the LFO, making a smoother modulation sound.
BPM - Syncs the rate to the BPM or not.
Anchor - anchors the start of the LFO to the host time.
Trip/Dot - adds extra triplet/dotted rhythmic intervals in the Rate options. Only works when
BPM is on.
Trig Mode - starts the LFO when a note comes in.
Env Mode - starts the LFO when a note comes in with only one repeat. Acts like an
envelope.
Off Mode - the LFO will always move through at the specified rate, regardless of notes.
29
Lesson 8: Modulation Destinations
Common Modulation Destinations
In Serum, you can modulate anything, but here are some common destinations to start:
• Volume - great for adding rhythmic movement to the sound

• Filter Cutoff - helps to shape the frequency content over time
• Pitch - adds real-world pitch differences to sounds
You can also view all of your modulation sources and destinations on the Matrix page:
30
Lesson 9: Macros
Macros
Macros allow you to control many parameters at once on a

knob, which can then be automated external to Serum in
your host DAW.
For example, you can map coarse pitch and filter cutoff to
make a riser type effect, as in the lesson. You can then draw
in any desired shape in your DAW to change it over time.
31
Lesson 10: Voicing & Expression Control
Voicing
Mono - only allows one note to be played at

once. Great for basses and leads, as well as
saving CPU power.
Legato - does not retrigger the envelopes with
each new note, and stays at the sustain phase.
This results in a smooth sound and is great for
patches that you are playing a synth solo on, for
example.
Portamento - adds a pitch slide between notes,
giving them a smooth feel. The portamento time
is specified in milliseconds.
Polyphony - how many notes your synth can play
at one time. Less is better for CPU performance.
Note/Velocity Modulation
Note and velocity are modulation sources that

can be mapped to any source in Serum.
The note source will change a parameter based

on a note’s pitch (e.g. pan the low notes left, and
the high notes right), and the velocity source will
change a parameter based on the velocity value
(e.g. higher filter cutoff on harder notes). On
many MIDI keyboards, velocity refers to how
hard the notes are being pressed.
32
Lesson 10: Voicing & Expression Control
Pitch Bend/Mod Wheel
Pitch Bend - can be used to pitch the oscillators up or down by the determined number of
semitones.
Mod Wheel - similar to a macro except much more accessible on a keyboard for live
performance - can be mapped to any parameters to control them in real time while playing.
Many synth patches will use the mod wheel to change up the sound.
33
Lesson 11: Routing
Serum’s Routing
Oscillators ➡ Filter ➡ FX (Custom Ordering) ➡ Master Output

Sub/Noise Direct Out ➡ Master Output
Serial vs. Parallel Routing
Serial - effects processing that happens in a sequential order (e.g. EQ ➡ Distortion ➡ Filter)
Parallel - effects processing that happens at the same time (e.g. EQ ➡ Distortion + same EQ
➡ Filter)
34
Lesson 12: Wavetable Synthesis
Wavetables
Wavetables are the foundation of synths like Serum. They let you load up any shape into
Serum’s oscillator, each with it’s own character and set of harmonics. This allows you to
create any number of sounds. Think of it as a subtractive synth on steroids.
Load up any wavetable from the menu and scroll through it using the WT POS knob. Some
will have smooth continuous movement, whereas some will have static frames (like Basic
Shapes).
You also have the Warp modes. On the next page, you’ll find a description of each from the
official Xfer Serum manual.
35
Lesson 12: Wavetable Synthesis
Self Sync
Self-sync performed on the oscillator. A formant-shifted type of sound property. The wavetable plays/repeats faster than normal and
abruptly restarts at the 'correct' length (note frequency). Best used for buzzy sounds like square/saw etc: This results in a bright/edgy
sound which can sound harsh if you are using a soft-sounding waveform, which is why there is the next option (Windowed Sync) as
well...
Windowed Sync
Windowed Sync - Provides a smooth fade across the waveform effectively softening the discontinuities created by the self-sync
modulation.
Bend +
'Pinches' or bends the waveform inwards (towards the middle of the wave cycle).
Bend -
'Pulls' or bends the waveform outward (towards the edges of the wave cycle).
Bend +/-
Allows for both of the above, depending on WT Pos knob value: 12 O'Clock on the WT Pos knob (50%) represents no change to the
sound.
PWM
Pushes the entire waveform to the left. This is useful on square-wave type sounds especially for the classic “PWM” sound, but useful
on other waveforms as well.
Asym +
Similar to “Bend”, but bends the entire waveform to the right, instead of both halves of the duty cycle separately.
Asym -
bends the entire waveform to the left.
Asym +/-
bends the entire waveform to the left or right.
Flip
Flip - Creates an instantaneous polarity fip (often called 'phase inversion') on the waveform.
The WT Pos determines where in the duty cycle this fip occurs.
Mirror
Creates a mirror-image of the waveform for the second half of the duty cycle. Has an 'octaved' type of quality to the sound due to the
'doubling' of the waveform in to both halves of the wave cycle. WT Pos knob behaves similar to “Asym +/-”, except on both halves
independently. Due to the mirroring of the waveform, this mode always has an audible effect.
Remap 1
Custom remapping of the wave cycle. When you select this option, a magnifer glass appears opening a graph displaying the way your
waveform will remap. A diagonal line from bottom- left to top-right indicates no change to the waveform (y=x). The WT Pos knob
determines the strength of the remap, from 0 (y=x) to 100% (what you see on the graph).
Remap 2
A Mirrored remapping. Same as above, but applies the graph to each half the waveform independently. This allows for symmetric
remapping, without the need to draw symmetric shapes on the graph.
Remap 3
Sinusoidal remapping. Another option for remapping without
36
Take Action
Take Action
1. Load up Serum and play around with the interface. Familiarize yourself with the sections.
2. Select the ‘Basic Shapes’ preset. Design a sound using one oscillator and only the
oscillator section controls.
3. Design a sound using two ‘Basic Shapes’ oscillators, both going into one of the filter
types. Adjust ENV 1 to change the master envelope sound.
4. Design a sound using one oscillator and the noise oscillator, using ADSR envelope
modulation on 1 destination (except the master volume).
5. Design a sound using one oscillator and the sub oscillator, using LFO modulation on 2
destinations.
6. Design a sound using all 4 oscillators, using any wavetables, and using LFO, ADSR and
Macro modulation.
7. Reverse engineer all 8 of the sounds in the examples lessons, as close as you can.
• Don’t worry about exactness.
• Keep copies of these for future modules.
• You can download the presets from the first Examples video, in order to reference.
8. Complete the Module 2 Audio Quiz in the next lesson.
37
Module 3:
Effects &
Processing
Lesson 1: Creative EQ
Module 3: Effects & Processing BREAKTHROUGH SOUND DESIGN
EQ
EQ is a normally a mixing tool but you can use it in more extreme ways to sculpt the
spectrum of your sounds during the sound design phase.
EQ Tools:
• Serum Built-in
• Stock DAW EQ
• FabFilter Pro-Q 3 (Paid)
If you’re not familiar with the basics of EQ, check out our guide.
39
Lesson 2: Advanced Filtering
Filter
We covered basic filtering in Module 2, but you can go beyond the standard types using
Serum’s array of filters.
In Serum, filters can range from simple low passes, to combined multi-filters (e.g. bandpass
and notch in one), flange-modelling filters (e.g. Phs) and other miscellaneous filters (e.g.
Combs, Reverb and Allpasses).
It’s highly recommended that you experiment with all of these options and see which ones
you like best. Many of the filter types (e.g. Phasers) are based off other non-filter effects,
which will be covered in the coming lessons.
Filter Tools:
• Serum Built-in
• Stock DAW Filter
• Soundtoys FilterFreak (Paid)
• FabFilter Volcano 2 (Paid)
• TAL-Filter-2 (Free)
40
Lesson 3: Reverb & Delay
Time-based FX
Both EQ and filtering are both non-time-based FX. They are static movements, unless
modulation is applied.
However, both reverb and delay add ‘space’ to a sound after it has played, introducing
differences as the time moves forward. This is how you can distinguish from both time-
based and non-time based FX.
Reverb
Reverb attempts to mimic a space or location, to put a sound in a space. There are two
kinds of reverb: algorithmic and convolution.
Algorithmic reverb creates a reverb effect through a complicated algorithm. The sound is
more digital but precise, and it is less CPU-heavy. Convolution reverb captures the sound of
a real space through what is called an ‘impulse response’, sounding more natural but
random. We will be focussing on algorithmic reverb in this course.
Different Reverb Types
Serum has both a hall and plate option. Hall reverbs sound more 3D and lush. Plate reverbs
sound more 2D and are dirtier/more metallic. Both have their place, but generally halls are
better for placing a sound in a space, whereas plates are great for creating a bit of a
deliberate, yet subtle reverb tail on a sound.
Reverb Tools:
• Serum Built-in
• Stock DAW Reverb
41
Lesson 3: Reverb & Delay
Reverb Controls
• Size: Determines the ‘feel’ of the room. Larger sizes will have denser and louder echoes.
• Decay: Determines the length of the decay. In some reverbs, size also means decay.
• High/Low Cut: Allows you to control the bass/treble response of the reverb with filters.
Sometimes this is pre-reverb, sometimes it’s post-reverb (depending on the plugin/effect).
• Dry/Wet: Blends the dry signal with the reverb signal.
These are the main controls, and each reverb unit/plugin will have other controls that
change the character.
Delay
As opposed to reverb, delay is a rhythmic effect that repeats the sound at a particular
interval over time, slowly getting quieter. Delays tend to be a lot cleaner in the mix then
reverb, because they are less ‘dense’.
Delay Controls
• Feedback: Determines the length of the delay. More feedback means more delay repeats.
• Size/Length: Determines the rhythmic interval of the delay.
• Filter: Allows you to control the frequency response of the delay with a bandpass filter.
• Ping Pong/Stereo: In stereo mode, the delay is the same on the left and right channels. In
ping pong mode, the delay alternates between the left and right speaker.
• Dry/Wet: Blends the dry signal with the delayed signal.
Delay Tools:
• Serum Built-in
• Stock DAW Delay
42
Lesson 4: Flanger, Phaser & Chorus
Short Delay Times
Flangers, Phasers and Choruses all share one thing in common - short delay times.
• Flangers sound metallic.
• Phasers sound airy.
• Choruses sound choir-y.
These three effects are great for adding subtle movement, tonal emphasis and interest to
your sounds.
Common Controls
Since these 3 effect types have a lot in common, it makes sense to cover the general
controls first:
• Rate: Determines how fast the delay time moves in order to create the movement. Faster
rate sound more wobbly.
• Depth: Determines the rage of the delay time movement. Higher depths sound more
‘pitchy’.
• Feedback: Controls the amount of the wet signal that is fed back into the unit. This
creates a thicker, more exaggerated effect and can even create a sense of space at high
amounts.
• Phase: A phase of 0 or 360 will create a mono effect, whereas 180 will create a full stereo
effect. Anywhere in between will add some difference and offset between the delay
movement on the left and right channels.
• Mix: Blends the dry and wet signals.
43
Lesson 4: Flanger, Phaser & Chorus
Flanger
As mentioned, flangers are great for getting metallic, airplane like sounds. In Serum’s
flanger, you only have the basic controls, with the option of syncing the ‘Rate’ to the BPM.
Phaser
Phasers are great for creating ‘thin’ or ‘airy’ type sounds, and are more subtle than flangers
due to their shorter delay times. In Serum’s phaser, you have the option of setting a ‘Freq’
value, which determines the central delay value that the rate and depth will move around.
Chorus
Unlike the previous two effects, Choruses use multiple delay times to create a thick, unison-
like effect. Serum’s chorus has a few added options, including a built-in HPF/LPF for
controlling the frequency response of the wet signal, and two delay knobs for offsetting
each delay from the dry signal.
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Lesson 5: Distortion, Saturation & Waveshaping
Distortion vs. Saturation vs. Waveshaping
Waveshaping is simply how distortion and saturation is created in the digital realm (as
opposed to an analog tube amplifier). It’s great for enriching all sorts of sounds, and brings
life to otherwise static patches.
It takes a waveform, and for every value along the wave, it moves it to a new location (hence
the term ‘shaping’. This creates new and interesting harmonics in the sound that weren’t
there before.
To increase the effect of distortion, the signal is usually driven using input gain into the
‘circuit’ to change the harmonics to a greater degree. This also tends to increase the volume.
Before Waveshaping/Distortion After Waveshaping/Distortion
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Lesson 5: Distortion, Saturation & Waveshaping
Serum’s distortion uses different waveshapes to achieve these different types of effects,
each one characterising the sound differently.
For example, ‘Soft Clip’ will apply a very subtle, gentle wave shape as seen below.
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Lesson 6: Compression
Compression
Although it’s primarily a mixing technique, compression can be a great tool for squashing
sounds to get a tight, ‘in your face’ type effect. Great for leads, basses and textural
elements.
Compression works by turning down the sound once it reaches a certain level of loudness,
reducing the amount of volume movement. Generally, the overall volume is turned up after
this process. This results in the quiet parts getting louder, and the loud parts quieter.
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Lesson 6: Compression
Multiband Compression
Similar to compression, multi band compression reduces the dynamics of a sound. Except,
the mulitband variety compresses different frequency bands independently. This sculpts the
sound in unique ways, achieving a more intense and controlled type of compression.
This is especially true with plugins like OTT, which utilise high gain, ratio and threshold
values to smash the sound. OTT is similar to how the ‘Mulitband’ mode in Serum works. If
you are in Ableton Live, OTT comes as a Multiband Dynamics preset. Otherwise, you can
download a third-party plugin adaptation from Xfer here.
For more info about compression, check out our full guide.
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Lesson 7: Sidechain & Pumping
Sidechain Compression
Traditional sidechain compression uses the concept of standard compression, except it

uses a second input to tell the compressor when to act and turn down the volume.
This is great when a kick is side chained to a bass sound, and creates the classic ‘pumping’
effect.
It is possible to sidechain in most major DAWs. You can do it in Ableton Live, FL Studio and
Logic Pro X.
However, there are limitations to using this form of volume ducking. You can do this kind of
modulation within Serum itself, by using LFOs.
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Lesson 7: Sidechain & Pumping
This way, you can customise the shape of the pumping to exactly the rhythm you would like,
and draw the movement of the volume. You can also use these shapes to control other
parameters, like filter cutoff.
This is also possible in other third-party tools, like LFO Tool, Gross Beat and Kickstart. The
benefit of using a tool like LFO Tool is that you can use a MIDI trigger, so it’s not forced to be
a 4/4 pumping effect.
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Lesson 8: Other Creative FX
Hyper/Dimension
As the last effect in Serum we haven’t covered, Hyper/Dimension is not to be ignored.

Similar to chorus or detune, the Hyper module adds extra thickness to the sound by moving
the phase of the sound really fast in small amounts. This adds a ‘controlled’ thickness to a
sound, which can be controlled by the ‘Rate’ and ‘Detune’ amount.
The Dimension effect adds a small echo right after a sound, giving it a sense of space in a
more subtle way. This is great for plucks, short leads and basses, where you want to add a
sense of ambience in a controlled and ‘urgent’ way, as the tail is ‘cut off’ and creates a very
interesting effect.
Frequency Shifter
Adjusts the frequencies of a sound up or down, by

‘adding’ frequencies, unlike pitch modulation, which
changes all frequencies proportionally.
The result is a metallic-like ringing effect, or a

phaser-y type effect when blended at small amounts
with the dry signal.
Free Frequency Shifter - MFreqShifter
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Redux/Bitcrusher/Downsampling
Bitcrushing is the process of downgrading the number of bits in an audio signal. Simply put,
it reduces the number of possible amplitude values, creating a ‘square-like’ distortion to
sounds. Great for getting very gritty and digital sounding basses, leads and pads.
Similarly, downsampling downgrades the sample rate (how often audio is being listened to),
meaning that the audio signal is less continuous and becomes more ‘blocky’, adding a
crunchy, gritty ringing to sounds.
Both are capable inside Ableton’s Redux effect, but you can also get results with the free
Tritik Krush. Downsampling is also possible as a distortion type in Serum.
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Tremolo
Also known as volume modulation with an LFO. This

effect adds a volume ‘wobble’ to sounds. It is possible
to simply do this in Serum, but it can be helpful to do it
in a plugin, like MTremolo.
Vibrato
AKA pitch modulation with an LFO. This effect adds a pitch flutter to sounds. It is possible to
simply do this in Serum on the oscillators, but it can be helpful to do it in a plugin, like
MVibrato.
Pitch Correction
Pitch correction is designed for acoustic instruments like vocals, guitars and other sounds,
in order to correct imperfect note pitch.
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However, it can introduce interesting artefacts when applied to any sound. Many plugins,
like MAutoPitch, simply have a ‘Depth’ control for the amount of tuning, and a ‘Speed’ for
how fast the pitch snaps to the nearest note.
You can also choose a key to tune to, if desired. Sometimes leaving it on chromatic (all
notes) can achieve an interesting effect.
Vocoder
Vocoders are a unique effect, in which the original signal is used as a modulator for an
external carrier signal. Simply put, the sound of the carrier (e.g. synth chords) is modulated
usually by a vocal signal, which the vocoder is placed on.
The resulting effect is a vocal-like effect with the characteristic of the chords. This achieves
a robotic, futuristic effect that has been used countless times in music production to
created interesting vocals.
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The resulting effect is a vocal-like effect with the characteristic of the chords. This achieves
a robotic, futuristic effect that has been used countless times in music production to create
interesting vocals.
You can use your DAW’s built-in vocoder if there is one (e.g. Live’s Vocoder, or FL Studio’s
Vocodex), or a free one like TAL-Vocoder.
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Lesson 9: Signal Chain
The Importance of Signal Chain
The order that effects are applied matter in the end result. When adding new effect, consider
what effects are already being applied, and decide whether it’s best to place it earlier on in
the signal chain.
Certain types of effects, when used in conjunction with one another, can yield drastically
different results depending on what comes first.
Examples of effects groups in which order matters greatly:

• EQ with Distortion
• Reverb/Delay with Compression
• Reverb/Delay with Sidechain Compression
• Reverb/Delay with Distortion
In certain situations, you may want to consider applying effects on a parallel send or chain
(e.g. reverb) in order to not have it processed by other further processing.
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Take Action
Take Action
1. Design a sound using one oscillator, both going into 2 filters and an EQ. Add modulation
to at least one of the filter’s cutoffs from an LFO.
2. Design a bass sound using one oscillator and the noise oscillator, going through a filter
into both distortion and then multi band compression.
3. Design a pad sound using two different oscillators, chorus, delay and reverb. Add a ramp
up LFO to the volume of all oscillators so you get a slow rhythmic effect of some sort.
4. Design a sound using all 4 oscillators, using any wavetables, and using LFO, ADSR and
Macro modulation. Use at least 3 FX units in Serum, and add at least one plugin external
to Serum to process further.
5. Design a sound using one oscillator. Apart from ADSR on the volume, process it only
using external devices to your synth (filters, EQ, distortion etc.)
6. Download/use one free/stock FX plugin that I recommended other than what is included
in Serum. Try processing any of your Serum patches with it.
7. Adjust all 8 of the sounds from the examples lessons, based on your last modules’
copies, as close as you can. Don’t worry about exactness. Keep new copies of these for
future modules.
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Module 4:
Sampling,
Resampling & Audio
Lesson 1: The Art Of Sample Selection
Module 4: Sampling, Resampling & Audio BREAKTHROUGH SOUND DESIGN
Sample Packs
It’s important when applying sampling and sample manipulation techniques as covered in
this module, to have good sounds that help you achieve your goals.
Not all samples and sample packs are created equal. Some have a lot of post-processing
baked in, where as some are left more raw. One is not better than the other, but it
considering this can help you listen out for what you want.
We strongly recommend signing up for a service like Splice Sounds, Loopcloud, sounds.com
or Noiiz so you can hand-pick individual samples from great packs to use for your sampling
needs, whether it’s piano sounds, foley textures or vocals.
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Lesson 2: Samplers & Sample-based Synthesis
Sampling
Traditionally, sampling referred to the practice of taking a track and using part of its audio as
the basis of another track. But with sampling so ubiquitous these days, it usually refers to
the chopping up of any existing musical material into a new context.
Sample-based Synthesis
In contrast to sampling, sample based synthesis may use the same tools, but it’s purpose is
more to create a ‘playable instrument’ rather than a musical phrase-creating tool. This may
involve sampling a one shot note or short into a sampler, processing it and playing it on a
keyboard by mapping it across all of the notes.
How A Sampler Works
A modern sampler is very similar to a synth, except it uses an audio sample as the sound
generation source, not an oscillator.
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Lesson 2: Samplers & Sample-based Synthesis
You have a host of controls for manipulating the same, such as fine and coarse pitching,
adjusting start, end and loop times of the sample, applying an ADSR envelope, processing
with filters and a whole lot more.
Like synths, not all samplers are created equal, so be sure to become familiar with your
DAW’s stock sampler.
This lesson is focused around Ableton Live’s Simpler, so if you’re an FL Studio user, check
out this guide to FL’s Sampler, or if you’re a Logic Pro X user, give this EXS24 guide a watch.
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Lesson 3: Serum’s Noise Oscillator: A Deeper Dive
Using Serum’s Noise Oscillator As A Sampler
Unlike other synths on the market, Serum’s noise oscillator doesn’t generate the noise using
synthesis - it uses noise samples.
For this reason, you can load any sound into it by dragging and dropping. This way, Serum
can be treated as a hybrid synth and sampler.
• Phase: determines the start time of the sample

• Rand: randomises the start time of the sample (good for textural sounds)
• Pitch: allows you to pitch the audio sample up or down. If key tracking is on, it will work in
semitones.
• Level: determines the loudness of the noise oscillator.
• Pan: moves the audio sample left or right in the stereo field.
• Keytracking: When on, the sample will change with the pitch of the incoming MIDI note.
Great for treating it similarly to Ableton Live’s simpler.
• One-shot Mode: Means the sample will only play through once when on. When off, the
sample will loop from the end back to the beginning continuously.
• Direct Out: Bypasses all filters and FX when on.
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Lesson 4: Working In Audio
Audio vs. MIDI
So far in this course, we have worked with MIDI information that triggers synths and/or
samplers along the arrangement in your DAW. However, it is possible to work with audio
directly in the arrangement.
The difference is that this way, the audio doesn’t need to be triggered - it will play as it
appears in the arrangement. The benefits to this way of working are that you have far
greater control over what happens, and you can work a lot more visually than in MIDI.
Here are some things you can perform on audio:

• Chopping: you can manually make a chop at any point along the spectrum, and rearrange
different chops of the audio.
• Rearranging: changing the order of audio allows you to create many different phrases.
• Fades: you can fade in and out the edges of clips to reduce clicking manually, shaping the
dynamics of each clip exactly as it needs to be.
• Individual Clip Processing: notice that when working in audio, any changes only apply to
that single portion of the audio? Contrast that to working in a sampler, where you have to
apply all changes to all parts of the audio.
• Reversing: a non-realtime technique for reversing the time of audio - great for getting
interesting takes on the same type of sound.
• Volume Adjustment: you can adjust the exact volume of each clip as it ought to be, rather
than just having to rely on fader volume and processing.
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Lesson 5: Start/End Times & Looping
Start & End Times
In addition to the previously-mentioned benefits of working in audio, you can also adjust the
start and end times of your audio samples.
This is also possible in a sampler, but you can do this on and individual clip level in audio.
Start and end times are very important because the slightest movement can drastically alter
the feel of a sound, and it is often an underrated feature in audio manipulation. It allows you
to choose certain words in a vocal sample to start on, for example.
Looping
Looping is further an extension of this, allowing you to select a certain part of the selected
audio to loop over and over. This can be great for creating repetitive phrases, or looping
textures from a sampled musical sound, like chords or a bass.
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Lesson 5: Start/End Times & Looping
Once again, this can be done in both audio and in a sampler.
If you want to get a more rhythmic looping effect, working in audio is better as you can
easily identify the beat divisions. If you want a more organic or random effect, a sampler
allows you to get that classic looping sound, where higher notes are faster and lower notes
are slower.
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Lesson 6: Transposition, Time-stretching & Warping
What Happens When We Change Pitch?
Pitch and speed are linked - when you pitch something up it gets faster. This is because
when the waveform speeds up, the frequencies become higher.
However, warping and time-stretching allows us to manipulate pitch and speed individually.
Warping & Time-stretching
Different DAW’s will have a variety of audio warping techniques available that can
manipulate the timing and pitch of audio independently of one another. This means we can
pitch up a vocal without it speeding up.
These algorithms will sound different from one another, and each is usually good for a
particular type of audio source. For example, the Beats warp mode in Ableton Live is great
for drums, but perhaps not for vocals (unless you want a glitchy effect). In Logic Pro X, you
can use the different Flex Time algorithms to stretch audio as well.
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Lesson 7: Resampling
What is Resampling?
In essence, resampling is the practice of sampling yourself, and then treating the new
sample like a new sound. This allows for infinite creative possibility through processing.
For example, you might have a cool chord synth with some processing like reverb and delay.
Then you might want to spice it up to make it more unique and textured, so you resample it
playing a simple chord, and put that new audio into a sampler. From there, you add filtering,
distortion and can pitch the chord around with MIDI notes.
The process of resampling can look different between DAWs.
For example, in Ableton Live, you can either use Freeze -> Flatten by right-clicking on any
audio or MIDI track. Or you can arm the input of a new audio track, and set the input to the
dedicated ‘Resampling’ channel that is included.
In FL Studio, you might use Edison to record your pattern into audio, then drag it out back
into the playlist.
In Logic Pro X, you might use the ‘Bounce In Place’ feature to turn the track into audio right
there and then in the arrangement.
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Lesson 8: Basic Recording
Recording & Sampling Sounds With Your Phone
Many of us have smartphones with built-in recording capabilities. Although it’s not the most
high-quality microphone, you can get creative and capture any real-world sounds and use
them as samples in your DAW, like you would any sound.
You can of course do this with a dedicated microphone, a field recorder or any other
recording equipment if you do have access.
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Lesson 9: Multisamplers: A Primer
What are Multisamplers?
Unlike primitive samplers that come stock with most DAWs, many pro-grade sampler
instruments include multi-sampling functionality. In short, this allows the mapping of
individual note recordings to each note, so you can sample an entire instrument how it
sounded in the first place (e.g. a piano).
Multi-samplers are great for sound design, because they often are great sound generation
sources to apply FX and processing to, which you could then resample and process further
etc.
A personal favourite is the Spitfire LABS collection - a free multisampler with many different
instrument libraries.
You can also create your own multi samplers by sampling all the notes of a synth or
instrument, but that is beyond the scope of this course. Feel free to give it a go if you wish.
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Take Action
Take Action
1. Create a folder of sounds you like. These samples can be from sample packs you already
have, Splice Sounds, or from any number of free packs online. Feel free to organise them
by sample time (e.g. pads, full music samples, bass sounds, vocals etc.)
2. Design a vocal lead synth by dragging a sample into Serum’s noise oscillator. Use as
much processing as necessary.
3. Find a piano sample loop and chop it up in audio using your DAW’s audio editing features.
Add processing such as delay and reverb to change up the sound.
4. Create a lead by using the looping function of your DAW’s sampler, with any tonal sample
loaded in. Process as much as you like.
5. Find an audio sample, reverse it and timestretch it by 2 (double length). Change the pitch
slightly and add processing and FX.
6. Resample one of the Serum patches from last module into a Sampler (can be native DAW
sampler or Serum’s noise oscillator). Add additional processing.
7. Find a multisample instrument (e.g. stock or free, like Spitfire LABS) and process to taste.
8. Record a sound using your smartphone/computer microphone. Use it in either a sampler
or in audio, and process, warp and time stretch to taste.
9. Adjust all 8 of the sounds from the examples lessons, based on your last modules’
copies, as close as you can. Don’t worry about exactness, as it’s difficult to replicate
exactly depending on your DAW. Keep new copies of these for the next module.
10.Complete the Module 4 Audio Quiz in the next lesson.
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Module 5:
Layering
Lesson 0: A Primer On Layering
Module 5: Layering BREAKTHROUGH SOUND DESIGN
Layering Is Not Necessary
Many producers would believe that layering is necessary to achieve a wider, fuller and more
professional sound. But this isn’t necessarily true.
Yes, layering can help you to achieve a ‘fuller’ tone in your sound design, but it can also
weaken and ruin already great sounds if you’re not careful.
Not every element in the mix needs to be layered to sound good.
What Counts As Layering?
There is a difference between 2 instruments sounding cohesive in a mix, and 2 layers

making up on cohesive sound. Even though you may have 3-4 instrument layers creating one
sound, it still helps to think of it as ‘one sound’. I strongly recommend grouping layers
together visually or to a mix buss/group of sorts, for this reason.
Technically, you layer even just using one synth when you use multiple oscillators or
samplers.
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Lesson 1: The Smart Approach To Layering
Layering vs Doubling
Avoid layering two or more sounds that are the same or too similar. This weakens sound or
often just makes it louder, instead of different.
Contrast vs Complementation
When layering, you want to balance both differences in similarities. Too similar, and you may
get doubling or no differences to the overall sound. Too different, and the overall sound may
not be cohesive and sound like different sounds that don’t work.
ADSR Matching
A key technique in achieving a cohesive blend of layers is to use similar ADSR envelopes on
the master amp. This way, the sounds follow the same volume contour.
Granted, they don’t have to be the exact same to give it some organic feel, but a sound with
5ms of attack and 1s of release, layered with a sound with 200ms of attack at 50ms of
release, probably won’t work.
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Lesson 1: The Smart Approach To Layering
Group Processing
To treat multiple layers as one sound, it helps to group them and add overall processing that
treats all layers the same. Effects like reverb, delay, compression and distortion can ‘glue’
layers together and make them sound even more like one overall sound.
The Four Smart Approaches To Layering
The following approaches to layering will be covered in the next three lessons:
• Layering for Tonality
• Layering for Texture
• Layering for Fullness
• Layering for Stereo Width
• Layering for Thickness
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Lesson 2: Layering For Tonality
Tonality
By layering sounds with different tonalities, you can achieve more interesting layers. This is
particularly true when each sound has subtle differences in the change over time to the
tonalities (e.g. wavetable position movement).
Recommended techniques for additional layers:

• Use different octaves/pitch up 7 semitones
• Change wavetables/sound generation sources (e.g. use a vocal sample layer with an
oscillator)
• Use different distortions on different layers
• Use the same filters with slightly different slopes
• Use the same effects from a different source (e.g. replace the reverb on one with an
external reverb plugin)
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Lesson 3: Layering For Texture
Texture
By layering textures, you can achieve more randomness and character to stale sounds.
Generally, texture refers to the less-harmonic parts of a sound, and more to the noisy/
random partials that make up a sound.

• Layering in different noise/foley samples
• Use brutal compression/distortion on certain layers to bring out the texture more
• Use a high-pass to cut out unnecessary tonal information/boost top end with a high shelf
• Use the same effects from a different source (e.g. replace the reverb on one with an
external reverb plugin)
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Lesson 4: Layering For Stereo Width/Thickness (Fullness)
Fullness
Layering for fullness can be broken down into both stereo width and thickness.
Stereo width refers to the ‘wideness’ of the sound across the stereo spectrum. You may
want to add a wide layer to a narrow, mono sound.
Thickness refers to pitch differences that offset the tone slightly to create ensemble-like
effects (e.g. detune).

• Use detune/hyper/chorus on certain layers
• Process entire group with a chorus
• Fine tune oscillators and samples away from each other
• Pan layers hard right or hard left
• Use stereo wideners on certain layers
• Use Haas Effect on one layer
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Lesson 5: Avoid These Things When Layering
Mono Compatibility
Adding lots of stereo effects across can result in sounds having phase cancellation when
the sound is made mono (one channel instead of left and right). It’s important to check this
so your mix will translate on mono systems.
Ableton Live’s Utility is a

great device for this.
FL Studio users can use Fruity Stereo Shaper. Otherwise, all DAW users can get Voxengo
MSED for free.
Overlayering
It is common for producers to think that more

layers = better, but this isn’t true.
A rule of thumb is to use ‘the rule of three’ - no

more than 3 layers per sound. Granted, you may
have some cases where you use more, but ask
yourself if it’s truly necessary.
Even with multiple layers, it’s also important to

consider that not every layer has to use the same
MIDI. Every extra note can be thought of as an extra
layer, so some layers may only need the top note or the middle note, for example.
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Lesson 6: Layering vs. Arranging
Layering vs. Arranging
Not all sounds that cohesive together can be counted as layering. For example, a pad and an
arp that sound good together would come under ‘good arrangement’ instead of ‘good
layering’.
However, sometimes the lines are blurred and that’s okay. The important thing to note is that
you should be intentional when layering up a sound to make it different, versus deciding to
make a different sound altogether that might sound nice in the arrangement with the original
sound.
This way, you avoid adding in too many instruments and layers, and are focused on
designing sounds for what the song needs, and not just because you think you need to. You
might think you need to layer, but in reality you just need to add a bass line.
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Take Action
Take Action
1. Design a lead with two layers. Use the principles of layering for tonality to create the
second layer.
2. Design a bass with two layers. Use the principles of layering for texture to create the
second layer.
3. Design a superset chord synth using three layers. Use the principles of layering for stereo
width and fullness to create layers 2 and 3.
4. Create two seperate sounds (e.g. bass and pluck) that sound good together, in order to
demonstrate the difference between layering vs arranging. They can follow the same
rhythm if you like.
5. Adjust all 8 of the sounds from the examples lessons, based on the copies from either
module 3 or 4 (reference the video for the exact process) as close as you can. This is
the last examples module, so you don’t need to keep these for further use unless you
want to.
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Module 6:
Integrated
Sound Design &
Workflow
Lesson 1: Why Notes & Composition Matters
Module 6: Integrated Sound Design & Workflow BREAKTHROUGH SOUND DESIGN
The Range Of Your Notes Matters
Depending on the genre you are in, the exact octave and range of your notes can make or
break your sound design.
For example, a sub bass line that is an octave too high for its designed range will not have
the same impact.
Likewise, a chord synth with the bass note layered in an octave below may add too much
weight and clash with the bass.
Layering In A 4th or 5th
A common technique for getting interesting layers that blurs the lines of sound design and
composition is layering in a 4th (+5 or -7 semitones) or a 5th (+7 or -5 semitones).
Both of these harmonic intervals usually sound good with any MIDI, and can add more rich
timbres and tones to patches.
Chord Samples vs Note One Shots
When using samples in sample-based synthesis, it’s important to consider whether the
original sample is a chord/uses multiple notes, or is a signal note/tone.
The difference is that a chord sample will preserve the harmonic relationship between notes
when it is pitched around with a MIDI keyboard, and that they aren’t designed to be played by
multiple notes at the same time. In contrast, a signal one shot note can be treated like an
oscillator, and you can play chords as you normally would.
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Lesson 1: Why Notes & Composition Matters
Design With The End In Mind
It’s good to have at least a vague goal or purpose when designing a sound, and therefore
choosing the appropriate notes to use with that patch when designing it.
Specifically, you should design the sound with a specific use case or genre in mind. For
example, I might design an 808-like sub bass boom to use in trap tracks.
For this reason, it’s good to adhere to the genre standards (spoken or unspoken) because
they likely exist for a reason. You can still be creative around these boundaries, and at times
push beyond them, but they give you guidance to what will work and what won’t.
If you’re unaware of your genre’s standards, make sure to check out the genre-specific
workshops at the end of the course.
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Lesson 2: Frequency Spectrum & The Harmonic Series
Harmonics
Harmonics that are a mathematical relation to the fundamental are considered even or odd:
Even harmonics sound pleasant and powerful.

Odd harmonics sound hollow and interesting.
All harmonics sound dense, natural and full.
Fundamental = 1st
Odd Harmonics = 3rd, 5th, 7th, 9th…
Even Harmonics = 2nd, 4th, 6th, 8th…
Octaves = 2nd, 4th, 8th, 16th, 32nd…
For example, a fundamental at 440Hz would have the 2nd harmonic at 880Hz, the 3rd at
1320Hz etc.
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Lesson 3: Stereo Image in Sound Design
Stereo Image
Although it is primarily a mixing concept, stereo image is important to consider in sound

design, as covered in the layering module.
A stereo signal is when there is both a left and right channel that are independent of each
other, whereas a mono signal refers to a single channel of audio, coming out of both
speakers.
Mid/Side
The mid channel refers to information that is shared between the left and right channels,
whereas the side channel refers to information that is the opposite between the left and
right channels.
Effects that add stereo information:

• Panning
• Detune/Unison
• Chorus (optional)
• Phaser/Flanger (optonal)
• Hyper/Dimension
• Reverb
• Delay (ping pong only)
• Haas Effect
• Mid/Side EQ
The key is to avoid the overuse of stereo effects, otherwise you may weaken the mix.
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Lesson 3: Stereo Image in Sound Design
Polar Sample/Stereo Analyzers
You can use a plugin like iZotope’s Ozone Imager to not only add stereo effects, but also just
as an analysis plugin for the stereo field. It contains a polar sample display, which visually
represents the stereo image, as well as a correlation meter.
On a correlation meter, if the value is close to 1, the signal is mostly mono. If it is close to 0,
the left and right channels are different but not opposite. If the value is closer to -1, the left
and right channels are opposite and will cancel out if summed to mono.
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Lesson 4: Why Volume & Filtering Matter More Than You Think
Filters
We know how filters work, but they are extremely key when designing different types of
sound, as they carve out space for other sounds to fit in the mix.
For example, we can low-pass a pad to allow a lead pluck to poke through the mix a lot
more.
Fixing these problems in the sound design stage can help avoid issues in the mixing and
mastering phases.
Volume
Likewise, the volume of oscillators, layers and synths is extremely key in getting a good
sounding mix later down the track.
For example, if the noise is too loud in a Serum patch, you should turn it down before you're
in the mixing phase and have to use EQ instead, as the change would be less ideal and
controlled.
87
Lesson 4: Why Volume & Filtering Matter More Than You Think
Modulation
As alluded to in Modules 2 and 3, volume and filter cutoff are perhaps the most common
and important parameters that are modulated. Moving these with LFOs or envelopes can
add movement to the mix, and also create rhythmic effects that allow space for other
sounds in the mix.
88
Lesson 5: Phase Alignment, Polarity & DC Offset
Phase Alignment & Polarity
When designing sounds that have multiple oscillators and layers, or are being added to a
track, it’s important to consider how phase alignment might affect the mix or prominence of
the sound. This is especially true when dealing with lower frequency instruments like basses
and some pads.
For example, a sub bass being layered with a bass has phase implications. This is why the
‘Phase/Rand’ knobs are important, because they can help you adjust the phase to be exactly
in alignment with another sound, resulting in no cancellation, silence or weakening of
sounds.
These sounds will cancel out, as the phase knobs are 180 degrees
out of phase.
The reason for this cancellation is opposite polarity. When one sine wave goes up, the other
will go down.
89
Lesson 5: Phase Alignment, Polarity & DC Offset
DC Offset
Depending on the sound source and processing, sub-audible frequencies can be added to a
sound that both eat up headroom and cause strange artfacts in sounds. When these
artefacts skew the waveform, this is called DC offset.
To remove DC offset, you can use a Utility plugin like Live’s Utility, but most times it’s best to
use a steep high-pass filter to isolate the exact frequencies that you would like to remove.
A waveform with DC offset
It’s best to check for DC offset if you have added processing like distortion or wave shaping,
or if you have recorded an electronic signal and haven’t applied a high-pass filter yet.
Removing these frequencies cleans up your sounds and makes them ready for use in tracks.
90
Lesson 6: Separating Out Sound Design
Why Separate Out Sound Design?
Sound design is a very analytical and involved process, that is often at odds with the
creative process of creating a song or track.
Therefore, it’s strongly recommended that you separate your sound design sessions out so
that you can concentrate on creating high-quality sounds that you can drag and drop
whenever you need.
Of course, you can still do sound design in your song sessions, but minimizing it is key to
keeping your ‘flow’ state when composing/producing.
Once you have created a bank of sounds, you can have

them ready in a folder or collection to drag in at any time.
It’s important to have them organised and to use a naming
convention that makes sense.
For example, I use ‘BS’ to denote bass, ‘LD’ to denote lead

etc. and then give each sound a descriptive yet creatively
unique name, so I can get an idea for what it sounds like
before I add it.
Lastly, you can set up a dedicated DAW project file just for
sound design, so you can treat it as a ‘sound playground’.
This can help you get into sound design mode and be more
deliberate with your time.
Some sounds of mine,

organised into categories.
91
Lesson 7: A Secret Trick For Replicating The Sounds In Your Head
Use Your Voice
This course is about giving you the framework for creating the sounds in your head. We’ve
explored that part of that process is balancing exactness and experimentation, to get
sounds exactly as you want without discarding the randomness and inspiration involved
with the creative process.
However, one way to help translate sounds into the DAW from your head is to use your
voice. Recording yourself, even with a low-quality microphone, mimicking the sound you
hear in your brain with your voice, can often be the first step to getting close. Then you can
A/B reference your voice with a proper sound, whether using a synth or sample manipulation
techniques, to design the sound you imagine.
92
Lesson 8: Achieving Coherence In Sound Design
Coherence
In order to get compelling arrangements, it helps if the sounds share common

characteristics and work well with one another.
One great way to achieve this coherence is by basing other sounds off existing ones. For
example, you could great an atmosphere out of the same synth patch that you used for the
bass. Through tweaking and different processing, you can get a similar result that shares
common characteristics with the original.
This is in contrast to spending time finding synth patches that work together from your
library of already-designed sounds. This works too, but sometimes you may need to design
a certain sound based off one you’re already using.
93
Lesson 9: Rapid Sound Design Sessions
Recording While Designing
When designing sounds, you often go off on a variety of tangents and try different
techniques. Sometimes these work well, but you want to continue exploring the creative
process. When it comes time to go back to the other sound, you’ve forgotten how it was
made.
To remedy this, you can do rapid sound design sessions while recording your output to
audio in real time. This way, any tweaks, variations or moments don’t get lost, and you will
always have the audio, even if you don’t remember the synth/processing parameters.
You can spend time purely focussing on the creative process, and go back and edit yourself,
find good sounds and save them later.
94
Take Action
Module 6: Integrated Sound Design BREAKTHROUGH SOUND DESIGN
Take Action
For this module, I recommend starting a new track/song idea to use your newly-found sound
design skills in the context of making music. There are no audio quiz or examples in this
module.
1. Design a group of sounds, or curate a selection of sounds you have already designed
yourself, that are coherent with one another. Make sure these are all sorts of sounds (e.g.
leads, chords, basses, pads, plucks, FX etc.) and make at least one of the sounds using
your voice as a reference point as in lesson 7.
2. Compose a basic idea using at least 3 sounds (e.g. bass, lead, synth). Feel free to use
drum samples and FX if you want. Remember the concepts covered in Module 6 when
making your idea.
3. Try to make this idea into a full track!
95
Module 7:
Advanced
Sound Design
Lesson 1: FM Synthesis
Module 7: Advanced Sound Design BREAKTHROUGH SOUND DESIGN
FM Synthesis
Unlike subtractive synthesis or wavetable synthesis, FM synthesis allows you to achieve a

whole other spectrum of sounds.
Instead of using harmonically complex waves and subtracting from them, FM synthesis
modulates the frequencies of different operators (similar to oscillators) with one another,
creating rich harmonic textures that make it ideal for basses, keys, brass and other types of
sounds.
Frequency modulation can be thought of as really fast pitch modulation. Imagine you’re in
Serum, and you modulate the coarse pitch with a slow unsynced LFO. As you speed it up,
the rate becomes faster and faster until it stops being rhythmic and becomes tonal. This is
essentially how FM works, except the rate of the LFO is an oscillator that is also in key with
the note being played.
97
Lesson 1: FM Synthesis
Synths like Serum have FM capabilities built in within the warp modes, and you can use
them from:
• One oscillator to the other
• The noise oscillator to a normal oscillator
• The sub oscillator to a normal oscillator
But this way of using FM is quite limited. That’s why you can use a synth like your DAW’s
native FM instrument (Operator for Ableton Live, Sytrus for FL Studio), or a third party plugin
like Dexed or FM8. These synths have 4 or more operators with many different routing
options, allowing more FM possibilties.
Some tips for FM synthesis:

• Experimentation is key. Try all sorts of layers of modulation (e.g. sub -> OSC B -> OSC A in
Serum)
• Modulator waves generally sound better when they are less harmonically rich, like a sine.
That being said, feel free to experiment with waves like sines and squares too for more
complex sounds.
• Try adjusting the ADSR envelopes of modulator waves to get interesting movements to
your sound. If you’re using Serum, apply a secondary ENV or LFO to the ‘FM from’ control.
• The only main difference between FM synthesis and other forms we have covered is the
sound generation source. You can still use filters, pitch LFOs, volume ADSR and more to
sculpt the sound.
98
Lesson 2: Additive Synthesis & Serum Wavetable Editor
Additive Synthesis
Additive synthesis works similarly to FM, except instead of modulating waves, you shape the
exact harmonics that you want from an oscillator or operator. For example, you can draw in
the fundamental and third harmonic to get a precise sound that you want.
This is the opposite of subtractive synthesis, where you start from the top-down - with
additive synthesis, we start from the bottom-up.
Each line represents a harmonic in the harmonic series, like on an EQ analyzer.
This can be performed in the Serum Wavetable Editor, meaning that Serum can be treated
as an additive synthesizer.
99
Lesson 2: Additive Synthesis & Serum Wavetable Editor
Serum’s Wavetable Editor
Instead of just using pre-set wavetables in Serum, you can create your own and manipulate
existing ones to create your own. Simply click on the ‘pencil’ icon in the top right of the
oscillator view to bring up the Wavetable Editor.
There are a variety of controls on the wavetable editor, and to cover all the possibilities
requires a course in itself. Make sure to watch the video for an explanation of the main
features to get you started.
100
Lesson 3: Advanced Modulation in Serum’s Matrix
Serum’s Modulation Matrix
All modulations performed in Serum appear in the modulation matrix. You can navigate to
the matrix by clicking ‘MATRIX’ up along the top bar of the interface.
Not only will you get a bird’s eye view of all of your modulation, but you can also add new
modulation types and control the existing ones in new ways.
You can switch destinations and sources, adjust the amount and direction, but you can also
do a lot more.
Global Destinations
You can modulate controls such as the Master Tune (all oscillators) or Global Amp, which
aren’t possible in the normal interface. You’ll find these options under the Destination - >
Global sub menu.
101
Auxillary Sources
An auxiliary source allows a second modulator source to control the amount that another
source modulates a destination.
If this sounds confusing, hear this example. You may have an LFO on the filter cutoff,
creating a wobble-type effect. You could control the amount of wobble with a macro by
assigning Macro 1 as the auxillary source of that modulation.
Here, Macro 1 is controlling the amount of volume and pitch wobble from LFO 2.
Chaos Oscillators
Chaos oscillators are random modulators that can add unpredictable and organic
movements to your Serum patches. You can assign them in the matrix, but they can be
controlled on the ‘GLOBAL’ tab of Serum.
102
Chaos 1 and 2 have slightly different movements, so feel free to experiment with both to see
what works for you.
For a variety of other modulation tips, make sure to watch the full lesson and note down
your favourites.
103
Lesson 4: Granular Synthesis
Granular Synthesis
Granular synthesis is similar to sampling/sample-based synthesis, except it chops a sample

into many different ‘grains’, that are arranged in order to create textures that are based on
the original timbre, yet completely different.
Granular synthesis shines for glitchy type effects, on complex basses, and as well as pads
and atmospheres. Similar to sampling, the result is highly dependant on the source audio.
Credit: Research Gate
104
Lesson 4: Granular Synthesis
In this lesson, we use Granulator II, a Max For Live device for Ableton Live Suite, to
demonstrate the basics on granular synthesis. If you don’t have access to this, feel free to
check out the following third-party options, or the native built in device in your DAW (e.g.
Fruity Granulizer in FL Studio).
Options:
• The Mangle
• NI Reaktor
• Spectrasonics Omnisphere 2 (has granular engine)
• Output Portal
Each granular synthesis plugin is vastly different, yet the principles of grains encompasses
them all. Refer to the video lesson for a breakdown of some examples using Granulator II.
105
Lesson 5: Physical Modelling
Physical Modelling
Physical modelling is a more niche type of synthesis, using specific techniques to generator
real-world type timbres.
The core idea behind physical modelling is the Exciter - Resonator relationship.
The exciter acts as the striking tool, whereas the resonator mimics the material being
struck. For example, a mallet on a xylophone.
Using the flexibility of synthesis techniques, we are able to create these acoustic-type
sounds, as well as many other non-organic possibilities, using a set of unique parameters
for both the exciter and the resonators.
In this lesson, we use Ableton Live’s Collision, which is an Ableton Live Suite-only device.
Unfortunately, there are not many free or available physical modelling synths available, as it
is not as common. If you do not have Collision or are a non-Live user, you can use trials of
the following:
• AAS Chromaphone 2
• KV331 Audio SynthMaster 2.9
See the video lesson for a full breakdown of physical modelling, as well as examples.
106
Lesson 6: Effects As Instruments
EQ & Filters
As we can use EQ/filters to emphasize certain frequencies, we can get very specific and
highlight individual tones in otherwise atonal samples/sounds.
These techniques works great on sounds like noise, rap vocals, percussion and other non-
tonal sounds. These can then be resampled and processed into other completely new
sounds.
Pitch-based FX To Create Chords
You can use FX like chorus, detune and others to

create interesting harmonic relationships. For
example, you can use 3 voices of detune on Serum’s
oscillator, and at maximum detune, you get an
interesting effect where you get 3 simultaneous
notes, each 2 semitones apart.
107
Lesson 6: Effects As Instruments
Delay To Create Tonal Resonances
Similar to how a flanger works, you can use short unsynced delays with high feedback to
create interesting tones. Generally values under 30ms work well for getting tonal sounds,
and make sure you’re using a mono delay, and not ping pong.
Overprocessing To Transform Sounds
Although this is a broad technique, you can use multiple stages of different effects,
resampling and complete mangling to create and discover new sounds. A lot of the time this
is what happens when you have dedicated sound design sessions - you simply end up
creating completely new sounds through the power of FX, resampling and processing.
See the video for a full example using reverb, FX, delay and resampling.
108
Lesson 7: Non-Realtime Processing Tools
Non-Realtime Processing
All of the FX covered in the course (besides warping/manipulation when working in audio)
have been what is known as ‘realtime processing’. The limitation of realtime processing is
that it needs to happen then and now with minimal latency.
This is where non-realtime tools come into play - they allow you to process sounds in a
different way.
Extreme Timestretching & Warping
Although timestrejeching and warping have been covered, they haven’t been perceived as a
dedicated FX tool for mangling audio in non-realtime.
In Ableton Live, you can use warp markers to move different parts of the sound to different
places, slowing and speeding different fragments of audio clips. You will get vastly different
results depending on the warping algorithm. In DAW’s like Logic Pro X, you can use the many
different Flex Time algorithms to achieve the same kind of effects.
109
Lesson 7: Non-Realtime Processing Tools
Paulstretch
Paulstretch is a unique non-realtime processing tool that applies its own unique time
stretching algorithm, that turns any sound into a beautiful ambient pad through its smooth
sound. It’s not the kind of thing you would rely on to slow something down accurately, but it
has an incredible sound that can be used to create these types of atmospheric effects.
The main control here is the ‘Stretch amount’ up on the top right, which determines how
much the original sample dragged in will slow down by. You can also pitch shift, balance
tones and noise, loop, blur and a whole lot more.
You can get Paulstretch in plugin from here for free.
110
Lesson 8: Experimental Sound Design
There is no new information for this lesson - watch the video for some different tips and
techniques for designing sounds from scratch.
111
Lesson 9: A Few More Creative FX Types
Vinyl Emulation
Vinyl effects are great for getting an old-school distortion and flavour to sounds. iZotope
Vinyl (free) does this well by adding pitch modulation, layering in noise, adding distortion,
crackles and more.
Wavefolders
Similar to waveshapers, wave folders add a type of distortion known as ‘folding’, which
creates harmonics by bending the waveform back once it reaches a threshold. Great for
experimental distortion. MWaveFolder from Melda Production is a great free option.
112
Transient Shapers
Transient designers emphasize the transient ‘click’ at the start of sounds, which is great for
plucks, certain basses and percussion sounds. Transient Master by Native Instruments is a
great option, but there are others like SPL Transient Designer Pro and Schaack Audio
Transient Shaper.
Grain Delay/Granular Echo
What do you get when you combine the sound of granular synthesis with a delay plugin?
Grain delay/granular echo. This type of effect chops incoming audio into grains and plays
them back at specified intervals after the original sound. As with many experimental plugins,
grain delays are varied and do not come with a standard set of controls.
If you’re an Ableton Live user, Grain Delay is a great included option. Otherwise, Soundtoys
Crystallizer is a great paid option.
113
Valhalla Supermassive
This particular plugin doesn’t have it’s own category, since it’s somewhere between a reverb,
delay, chorus, flanger and echo. Basically, it’s a time-based effect that adds crazy spaces to
any sound. Grab it for free and flick through the presets, and tweak some of the knobs.
RC-20 Retro Color
Similar to a vinyl emulation plugin, Retro Color adds any number of vintage effects to the
incoming signal, including random volume drift, pitch drift, distortion, noise layering,
bitcrushing, vintage echo and more. Although some of these effects could be emulated with
dedicated plugins, RC-20 is great for adding an all-in-one retro vibe to any sound.
114
Take Action
Take Action
Make some sounds using some of the techniques in this module! As you may not have
taken all of the lessons in this module, only apply the techniques you have watched.
115

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Breakthrough Sound Design Guidebook

© Copyright 2020 EDMPROD LTD

Disclaimer: The information presented in this book is based on the author’s

1. Module 1: What Is Sound Design? 5

2. Module 2: Basic Synthesis 19

3. Module 3: Effects & Processing 38

4. Module 4: Sampling, Resampling & Audio 58

6. Module 6: Integrated Sound Design 81

7. Module 7: Advanced Sound Design 96

Enjoy the course!

What is Sound Design?

Sound design can be split up into 4 main areas:

Are Presets Okay?

Yes! Presets are great, and here’s 4 reasons why:

Link: The 3Rs of Sound Design

Do I Even Need To Learn Sound Design?

Sound Design vs. Sound Selection

Sound Design Knowledge = Informed Choices

Two main types: On/Off (2 values) or Knobs (128 values)

Ableton Live’s Computer MIDI Keyboard (Credit: School Of

FL Studio’s Computer MIDI Keyboard (Credit:

Tone vs. Texture

Tones: Consistent frequencies, usually under 2-3kHz.

Texture: Inconsistent or clustered high-end frequencies without a deﬁned tone.

Partials, Harmonics, Fundamentals & Overtones

The ‘basic’ tone of a sound.

A multiple of the fundamental - sounds pleasant along with the fundamental.

More about the anatomy of sound is covered later in the course.

What’s the difference?

Separating Out Sound Design

Overcoming The Downsides

• Focus on making sounds work in a track versus designing from scratch.

Exactness vs. Experimentation

Also, not everything in your head sounds good in real life.

Synthesis is one of the 4 parts of sound design:

As opposed to an organic instrument like a piano:

How does Synthesis work?

Synthesis Types with VST Plugin Examples

Subtractive - Sylenth1, u-he Diva (Analog-modelled), Ableton Live Analog

Subtractive synthesis works by taking a harmonically complex waveform, and ‘subtracting’

Octave - determines the octave the

Cutoff - determines at which point on the

Attack - how long a sound takes to fade in to the maximum volume.

Common Modulation Destinations

• Volume - great for adding rhythmic movement to the sound

Macros allow you to control many parameters at once on a

Mono - only allows one note to be played at

Note and velocity are modulation sources that

The note source will change a parameter based

Pitch Bend/Mod Wheel

Oscillators ➡ Filter ➡ FX (Custom Ordering) ➡ Master Output

Serial vs. Parallel Routing

Different Reverb Types

Short Delay Times

Distortion vs. Saturation vs. Waveshaping

Before Waveshaping/Distortion After Waveshaping/Distortion

Traditional sidechain compression uses the concept of standard compression, except it

As the last effect in Serum we haven’t covered, Hyper/Dimension is not to be ignored.

Adjusts the frequencies of a sound up or down, by