Sound Design Flagship

Before we even get started – A bit about the structure of the program.

Welcome to Level 1 of Slam Academy’s Online Sound Design Program!

The History, Physics, and Musical Nature of Sound

Vibrations and the Subtractive Signal Flow Path

Here we go for the 3rd lesson of Level 1 – The Filter!

Now we finally look deeply at how to breathe life into our patches with modulation generators!

Here’s a fun read on the core concepts behind sound as an artistic medium.

Level 2: Advanced Modulation and FM Synthesis

It’s time to build on the basics and turn our relatively thin and basic subtractive patches into something more meaningful.

In this class, we will be uncovering the various ways we can enhance our analog synthesis patches using advanced modulations such as Pulse Width Modulation, Oscillator Sync, and Audio Rate Modulation!

Let’s apply advanced modulation techniques to our signals within Analog, Operator, Monark, Massive, and Serum!

Now let’s dig into the core of Level 2 – FM Synthesis! This lesson is about the concepts and basic techniques, next we’ll cover workflows!

One of my favorite sets of lessons begins. FM Workflows investigates advanced modulation techniques and uncovers special functions of the Operator that apply nicely to Drum or Percussion Synthesis, as well as sound effects like swooshes, risers, etc.

Design your own custom FM Drum Machine. Include at least 5 original drum sounds and a few percussion sounds.

Welcome to Level 3! For this level, we will begin with the fundamentals of audio signal processing.

For Level 3, let’s start to look at the tools we can use to refine our audio signals.

Here we break down the core elements of Signal Processing, beginning with understanding the 3 dimensions of sound and the categories of signal processing. Enjoy!

Now for the next dimension of signal processing: amplitude. The volume of a signal is simply adjusted with the volume fader of the mixer, but addressing the “dynamics” of the signal over time with compressors, gates, and more, are critical in the creation of professional sounds.

The 3rd dimension of signal processing is TIME, or duration. Reverbs simulate space and ambience with diffused reflections, where Delays create echo at long delay times, and phase cancellation (aka “Modulation Effects”) at times less than around 40 milliseconds.

Now we tie everything together by creating an array of advanced signal processors.

OK CREW! This is it! The midway point.

For this level we learn the art of sampling, from top to bottom.

Congratulations for completing the first half of the Online Sound Design Program at Slam Academy!

Here we go for the beginning of Level 4 with Sampling Fundamentals. We’re going to cover all of the things you need to know to get the best possible quality audio recordings.

Now we apply what we learned within the Simpler to the more robust Sampler instrument.

This class is the culmination of all of our advanced techniques covered thus far. Advanced modulation, wavescanning, and now resynthesis.

So now that we are sampling and mangling our audio, let’s consider how to make the most of the audio files.

Build a custom Sampler Instrument Rack with Macros and Effects, and then design a few Composite Sounds to save into your Sample Pack Directory.

For this level, we will be covering a variety of advanced synthesis languages. All of which take advantage of modern computing power and cutting edge interface designs.

And now we begin Level 5 – Advanced Synthesis. Both a culmination of everything covered thusfar, and also a variety of brand new twists on classic synthesis languages.

Let’s start off the incredible Level 5 with Wavescan Synthesis and Granular Synthesis. We begin here with the Reaktor Travelizer.

Physical Modeling textures and pads with Kaivo and Collision.

Wavetable Synthesis within Massive and Serum.

Serum’s advanced wavetable editor plus U-He’s Zebra2 Wavetable/Hybrid instrument.

Level 5 Projects!

Distortion and waveshaping, both as audio effects and within Hybrid Systems such as Absynth. Then using saturation and distortion to polish and finalize our sounds to stack them up to world-class content.

Level 6 completes the program by covering a variety of professional workflows essential to great Sound Design. We begin with analog, digital, and algorithmic distortion techniques within Live, then we apply those same concepts within the even more robust 3rd party processors of U-He, Sound Toys, Absynth, and more.

Kicking off Level 6 with Analog Distortion! Learn the sounds of solid state, tape, and tube distortions within Live, and apply those models to specific types of sounds for great results. Then learn the more advanced distortion models of the Glue Compressor, Auto Filter, Amp, and Cabinet.

Let’s sweeten and/or texture-ize with digital distortion tools both inside of live and within these industry standard tools.

Let’s explore an industry-standard instrument that incorporates all kinds of synthesis, sampling, and effects processing. Build and layer your own combinations of elements, and then distort and shape those layers with Absynth’s custom wave design interface!

These 3 projects exist to challenge you as a Sound Designer. Any of them can be just for fun, or taken to the level of becoming “demo reel” material. Taking these seriously will set the standard for future sound creation projects in your life!