All language subtitles for 12-09 - Digital Vs. Analog Synths - deadmau5 Teaches Electronic Music Production

Queso

What I'm going to do is that what you just heard there was a pure

As pure can be

Analog

Saw wave

So I'm going to take that analog saw wave go into

An analog filter

What I'll do is I'll take a

I'll take a digital synth here

Like what I don't know anything I'll do it

Massive or something

Which is

Not analog

Match that frequency

It's always

So massive here consists of three odd oscillators and modulation oscillator Non-Stop

But just for

Demo Sig

I'm going to use a

Single oscillator

So what I need to do is just match

On Silver analog when it's slightly out-of-tune

Cuz that sounds analog for you

Change that envelope a bit

So we can actually hear it

Instavoice all Obama

4

So I got to close and this is something I might end up

Through a lot with analog senses you know you have to reference your pitch to a

A digital sent because the digital sins will never be out of tune

So I'm going to try my best to line up the the pitch

Close enough

And the thing about analog as you don't

Necessarily want it precise because

So this one is digital

And that's analog

Set an alarm giving it a little more warm to it even though I am running it through a low pass filter but the filter is why

Wide open but if I go direct out

Oops

Set an alarm

And that's digital

Now in a square wave

You're going to hear there's no there's no filter being applied on on this digital synth

Fashion bypassed

And it's pretty close because of the saw but

When you start introducing things like filters

So say I put a low pass a 4-pack for polo pass on that with

No resonance

You'll hear the way that

Now it's hot it's hard to amb it at the same time but the way that works with this filter

Is it fire

You're going to get

You'll hear things like this ringing in the resonance in an analog phone

Shelter

But then a digital filter it some unless it's being oversampled

A ridiculous amount of times you're not going to get that kind of resonance

NFL player like a digital filter

It's close but it it's more it's

Steppy you can actually hear the steps in it as you're turning

So the analog with

There's there's no there's no amount of steps

Did sentence

But with digital you're obviously locked into certain increments values to do to the do interpolation

Turn on the filter the oversampling amount which is

Basically Amor oversampling the more

Divisions it'll have within you know a filter stepper an oscillator or something like that that's what oversampling does

Some digital since have oversampling that

Come pretty close to recreating that to the point where should I wouldn't even be able to tell the difference but then

Some don't entire just so obviously blatantly digitally can here in a mile away

Another thing vsts really choked at sometimes this one not so much because it's actually well done

Especially if you go to

In the options of this scent is

Steve taking the time to do some really big now

Oversampling

Which is basically going to let you

But

As I reduce the sampling that that effect isn't going to be as good

There are other since that just absolutely suck at that kind of thing and that's sad that's frequency

Modulation

So doing that with analogs actually a lot better because then even get really

Goofy with that kind of thing

Like

So what I was doing cuz I was just feeding

Hello oscillator to control a filter

Channel my own again

Sounds good

There's my filter again

Now I can do that same thing with an analog synth have to do is just

Patch the

The output of one oscillator into the input

Of that filter just

It's the same thing I I just just clicking there and saying assign a telephone to this so I can take

That output

And then go to the

Input of

Other one just

So if I go

Down that cycle is the pitch of this oscillator so I

As I put this up that's going to get faster and faster but if I cranked the range

Like

That way that's analog so there's no limit as to how

Quick you can do that well 20000 Hertz which is you couldn't hear anything after that anyway but

See you in even notice it after that point but

Closest

Some of them Sonic possibilities that you know are capable using analog equipment because

You can get it at you know a certain type of sound of serum bike doing that same kind of thing

Think so

That same kind of routing if I bypass the

Telefon that and I just have my note again

I don't want to say Okay I want I want

This to be modulated by

Oscillator B

Not quite the same especially if I start changing it

The pitch is on blocks to certain intervals

My FM from B

It's it's really accurate which is sometimes

X not what you want

They can hear that the frequency that oscillator it's super low

But I mean it's super crazy precisely not going to get those weird random

Facts that you know just by finding you know

Arrange you have a a certain digital range between you know one note and then acts like over a semi

It's like locked to a

Afloat

It's what it's called Man Down

In analog there are no Floats or integers or anything it's just voltage level

Which is

You know

Can give you more range of control like an infinite range of control actually is supposed to you know what's fine

Range of control traditional

So actually here I have a

A recording of

A few analog since

That I used in snow cone

Sebat sound

There is from a

I don't profit 10m and you know just the way when I take the effect off at here I had some

EQ and compressor but the dry input

It's just a really warm analog oscillate

That you can't get

You know what the digital send so there's some like machine

Kindergartner

I'll all sorts of weird

The nature of analog stopwatch

But that one too so this is been treated as well but it's an analog recording

Vanoss career

Oscar's assumed that's like about as old as me

And it's because it's that old there's a lot of cake and

Black dirt crap in the in the potentiometer for the filter control so

Turning that knob and recording and listening to it live and it's going to induce a lot of that kind of grit

Teacher that hiss a computer can calculate

That kind of stuff you know I didn't know to put it in you could sample along his nose and included in your VSCO

Mix it in with it but it's not

Analog digital

So that

Then that weird the tuning of the oscillator it's like slightly out-of-tune it's not an exact science with a

First thing I'm but

It produces

Kind of weirdness and out of Tunis and like more organic sounding even though yeah it's electric

Tronic instrument but a lot of

Variables

You know our

A present because it's like you know what it's like

If if that thing's been sitting in a warehouse for 20 years is going to sound different you know and

And if you can find little bits and pieces of stuff like that working in your track you know it is

Turns out like a cool little featuring here so I hear I used it

Not only is it just you know it's it's

A certain Sonic fatality for it and it got to gives it that kind of mood but it also gives me the satisfaction that I

She went and created that sound from this

Like stopping and have my hands on it and that's like tactile feedback on the filter opening and then it stopped

Henry Corden in

Brought it into my dog into my project and then use that you know it's like then I can say I I didn't

I didn't download that sound from somewhere and no one else will ever be able to use that no one will ever be able to make that

I guarantee you that

Because no one

Sure maybe someone has an Oscar right but good luck trying to recreate that patch and then even if you did

Good luck getting it to sound in the exact same old s*** condition that's in