Top Zebra Tutorials
Top Zebra Tutorials

Top 20+ Zebra Tutorials 2022

We have created for you a rating of the Best 20 Zebra Tutorials as the most viewed and by excellent reviews of musicians

Tutorials list navigation:

  1. Make Ambient Vocal Pads In U-he Zebra
  2. Design Cool Arpeggiator Sounds in Zebra
  3. Design Huge Cinematic Bass Sounds In Zebra
  4. The Power Of X&Y Pads in U-he Zebra
  5. Using GeoMorph and SpectroMorph in Zebra
  6. How To Make Powerful Low Basslines in U-he Zebra
  7. Replicate Real World Sounds with Zebra
  8. Design Melodic Drops With Zebra
  9. Setting Up An Acoustic Kickdrum Chain In Zebra
  10. Creatively Use Filter FM in Zebra To Improve Your Sounds
  11. Get Custom Waveforms for Zebra
  12. Make Great Melodies With Noise in Zebra
  13. Designing Gritty Bass Synths for Electronic Music in U-he Zebra
  14. Make Beautiful Hans Zimmer Style Cinematic Sounds in U-he Zebra
  15. Make Unique Sounds With the Sideband module in Zebra
  16. Using GeoBlend and SpectroBlend in Zebra
  17. Create Warm Ambient Basslines in U-he Zebra
  18. Using Aftertouch To Create Big Bass Sounds in Zebra
  19. Make Crazy Bass Sounds With Ringmodulation
  20. Make Big Bass Sounds With Zebra and Zebrify

1. Make Ambient Vocal Pads In U-he Zebra

Pad sounds are always useful and when done right they can really make your song come alive, for this week let’s check out how to make some vocal pads in U-he Zebra!

This weeks patch has a lot going on, and it’s a bit more complicated than some of the other tutorials, the concept is very simple though.

Whenever I want to make rich patches that sound harmonically full and interesting I try to program as many subtle variations as I can.

I often use a lot of lanes, oscillators and filters and do all sorts of small modulation routings to make the sound interesting enough to hear throughout a full song.

Phase modulation is a very good choice here because it is adds a lot of movement without distracting the listener from the other elements in your song.

You want the pad to be nice and full but at the same time, it has to be a background element.

After that you can also add vibrato, oscillator effects and really small amounts of filter modulation.

Don’t always go for the low-pass filters with pads like these, also try all-pass filters (more phasing), peak filters and high-pass filters.

If you want those clean vocal-like tones a bandpass filter is always a good option because it only allows specific frequencies through, the same way a vowel filter does, so now you can carefully select the frequencies that sound like the human voice.

If all your oscillators are set up you can move to the envelopes, play around with the attack time and the release but also don’t forget to tweak the curve of the envelope, this has more effect than you would think and can really improve the human feel in a patch, this is true for all sorts of sounds!
You can use a different envelope for each oscillator to get even more variation.

Now you’re almost there, time to add some reverb and play some good chords.

This last thing is perhaps one of the most important parts and one that you really have to find by yourself, make sure the progressions are interesting and keep moving, you can do this by chord inversions and chord changes.

Don’t be afraid to completely change the chords in a bridge or buildup, knowing a little bit of music theory never hurts when we’re talking chords!

I hope this helps you a little bit with designing your own pads, and if you have questions just let me know!


2. Design Cool Arpeggiator Sounds in Zebra

The last few weeks have been a lot of theory so today lets check out some fun stuff! Learn how to make some cool arpeggiator sounds in Zebra.

In this Zebra video I show you how to make nice and bright arpeggiator sounds in Zebra.
Instead of working with the arpeggiator mode, that you can select in the global tab, we are going to use MSEG’s and LFO’s.

There are a few advantages that MSEG’s have over the “real” arpeggiator, one important one is that you can still decide to let other notes sustain.

For example, you use 2 lanes in Zebra, one uses the pitch modulation, like an arpeggiator and in the other lane you want a sustained sound.

You can now do that by just applying the MSEG to one of the oscillators.
When you use the “real” arpeggiator it is always global and you would have to use another instance of Zebra to get the same result.

The other cool thing demonstrated in this video is the wave morphing.

Like we talked about last week you can morph or blend the different waves inside a “WaveSet” this makes for interesting, constantly evolving sounds.

You can choose to slowly blend between the different waves with a slow sine LFO, or you can jump between the values with a square LFO.

I really like this last method because you get clicky and interesting sounds that way, it already sounds like an arpeggiator without having to do the pitch modulation!

You can add as much effects to this sound as you want but keep in mind that the brightness and the sharp edge of the sound might disappear when you clutter it with reverb and delays.

As an extra you can add some EQ to accentuate the highs of the sound even more, you can add some panning, and maybe cut a little bit of the low pops aways.

Have fun practicing and, as always, let me know if you have any questions or request!


3. Design Huge Cinematic Bass Sounds In Zebra

This week I will show you how to make big cinematic bass sounds in Zebra, you can use this as an effect or as the main foundation of your song.

Reverb is often the key when it comes to big and cinematic sounds, today is no exception!

The function of this sound is to give perception to your mix and to make everything sound wider and deeper, you accomplish this by putting sounds way in the “back” of your mix and other sounds at the “front”.

This makes the music sound a lot deeper, just as it would in a painting or a photograph.

The sound in this video is obviously going to live in the background, because of the reverb, but it’s still providing a lot of low end and punch!

Be careful with these low sounds though they can easily eat up all your low frequencies, meaning that you cant use a lot of other low sounds at the same time.

To make sounds like this is pretty easy, you create a rhythm with an MSEG or Envelope and you tune the oscillator down a few octaves. After that you apply a low pass filter and a lot of reverb

The choice of reverb is important here, because this is the sound that people are going to hear the longest, so spend some time on it. It is never a bad idea to practice with reverbs anyway!

Have fun!

– Jorgalad

4. The Power Of X&Y Pads in U-he Zebra

Finally we are going to look into the X&Y Pads in u-he Zebra! About time, because this is going to rock your world.

The X&Y pads in u-he Zebra are a great tool to add flexibility to your sounds, they can mangle and morph a sound into anything you want.

If you go to the Perform page inside zebra you see four pads with and X and an Y Axis and a dot in the middle.

You can think of the dot as being the “current state” of the sound, in the middle it is always going to sound like it was before you started messing with it.
You can reset the dot to the middle by double clicking on it.

Lets start with one of the four pads first, it doesn’t matter which one you choose, they are all exactly the same
If you click on the first one for example you can see a lot of empty modulation slots below, this is where you can define your modulation target.
The source is always going to be the X&Y Pad.

Another, and perhaps faster way to assign knobs is to go over to the synthesis page, right click on a knob you want to modulate, and choose which X&Y pad it should be assigned to.

Once you have done this for a few parameters you can go over to the Perform page again and start dragging that little dot around, you will get some awesome sounds!

A few things to keep in mind:

  • – The way I use the X&Y pads is pretty random, just to come up with new ideas
  • – You can also use the X&Y pads to precisely modulate filter cutoff
  • – Things can get very loud, use a limiter if your going for the random approach!
  • – MIDI learn two knobs to control the X and the Y axis of the pad
  • – The more controls you assign, the more crazy it’s going to be (often in a good way)

You are in for so much fun!


5. Using GeoMorph and SpectroMorph in Zebra

Using  GeoMorph and SpectroMorph in Zebra brings some great new possibilities to our sonic pallet, so let’s learn how it works!

Zebra has some really great options that you don’t find in any synthesizer, one example of this is the wave editing mode.

In the wave editor you can draw your own waves and design totally unique sounds.

Last week we learned how to download new waveforms for Zebra and use them to get a different starting point for our sound design.

This week we are going to make the waves ourselves!

There are four different modes of editing in Zebra, this week we are only going to focus on the first two.

These first two edit modes look exactly the same, but they work very differently!

Try right clicking inside the Wave Edit Window to get some useful options like straightening out the waveform or erasing everything.


In GeoMorph you really draw the wave the way you want it to look, for example, if I want a saw wave I just draw a saw, or if I want a square wave I draw a square.

This mode is the most straightforward to use, what you see is what you get.

You can really go crazy here and make up some awesome waveforms that look nothing like a saw or a square, you have 32 breakpoints to mess with so a lot of flexibility!


SpectroMorph, as the name implies, works with the “Spectrum” of a sound, in other words, you draw the harmonics.

If you draw a straight line all the way at the top of the window you get a really bright wave with all harmonics in there. (Like a saw!)

When you just draw something on the left side of the window you get more of a “dull” sound with less brightness.

This mode is a little bit more difficult to explain, but if you work with it for a few minutes you will quickly get a feel for how it works!

Try to rebuild a square wave for example, do you know which harmonics you should use? Every wave has its own ingredients so this is a very good way to find out how it works!

Experiment with both modes and see which one you like most, next week we are going to look into the GeoBlend and SpectroBlend options.

Have Fun!


6. How To Make Powerful Low Basslines in U-he Zebra

Making powerful low bass lines in U-he Zebra might be easier then you’d think! Check out this video on rhythmic bass sequencing.

The preset I am explaining in this video contains two parts, the first two lanes in Zebra contain the melody parts, this includes the bass as well!

The last two lanes are rhythmic elements, created with noise and filter modulation.

This video only explains the melodic content, but I also have a video on the rhythmic parts, you can find it by clicking here

Allright, let’s talk about bass. Bass is awesome!

As true as that might be, bass frequencies can also be a bit overwhelming, you can make the craziest lowest sound in the world, but without context its not going to sound as heavy as you intended. A great way to solve this problem is to work with rhythmic bass lines.

Work the rhythm!

The rhythm not only sets a nice groove for you to dance on, it also allows your speakers and your listeners to “Breathe” and they like that sometimes!

When you have a full blasting sound it will definitely sound loud, but only for a moment, after that it gets annoying or you stop paying attention to it, this is different for rhythmic sounds – each time the sound comes up again your ears are going to focus on it.

This makes for a much more enjoyable listening experience, and it’s also going to sound louder, so extra bonus points for that!

In this tutorial although I show you how to create some rhythmic movement with filter modulation, but there are lots of other ways to accomplish this, like side-chaining, arpeggiators, delays, etc.

I hope this video will help you getting your production skills to the next level!

– Jor

7. Replicate Real World Sounds with Zebra

Sometimes the best sounds already exist, but how do you replicate them? In this weeks user request we take an advanced Zebra journey into realistic sound design!

A few weeks ago I got a request through our Facebook page from Sandi, he wanted to know how to create the sound of a coin falling on the ground.
We haven’t really talked about recreating real world sounds with Zebra yet, so it’s about time!

The approach to recreating sounds is a bit different from just making a bass sound or a lead because you have to carefully listen to each part of the sound and decide how you are going to make that specific part.

It is often a good idea to separate the sound in your head and think about how you want to make each part individually.
You could separate the sound either in frequency bands or in time, for example you work on the attack first and use a different layer to make the tail.

For this particular sound we have a sharp and high attack, so we start with the pitch to its highest value and a short envelope.
After that the sound quickly gets lower in volume and in pitch.
The easiest way to reproduce this is by modulation the filters and envelopes.
In the outside world a sound almost never has a constant pitch and the constant amount of harmonic, that is why filter modulation can really make your sound more “believable”.

We also have to deal with the sound of the coin bouncing of the floor, I got pretty close by modulating the delay ratio/time with an envelope, be careful though this can easily cause heavy feedback!

There is no right or wrong in reproducing sounds, I look at it more as an excuse to go crazy and experiment with all kinds of modules.
The big advantage of this is that you will find a lot of sounds that you where not aiming for, and those can sound more awesome than you could ever imagine!

So here’s your challenge
Find some sounds that you like, it can be anything, a drawer opening, a squeaky door or your dog barking, and try to remake it in Zebra!
And let me know how it went down, what did you find difficult, what did you discover?
Let me know if you need help with anything and I’ll try and give it a go!

Experiment away!


8. Design Melodic Drops With Zebra

Creating heavy bass sections that sound clear and logical can be very difficult, so for this week I wanted to share some insight on how to go about this. Let’s learn how to design melodic drops with Zebra!

When you want to build aggressive and/or bass heavy songs like the pro guys do there are lots of things that you need to pay attention too, for example the mix, the right reverb, a great rhythm and off course you need some good sounds.

But there is also one element that is easy to forget, and that is what I like to call “The Focus Point” .

When I just started out making music I wanted to create sick drops like Noisia, Spor, Trifonic, etc. but often this didn’t turn out very well!

What I started noticing was that my drops had the heavy sounds, but they did not have the consistency and the melodic flow of the pro guys.

If at this point you don’t have any idea what I’m talking about, go and check out some of your favourite (heavy) songs, I think you will notice that almost every drop section has some sort of melodic line above all the heavy bass sounds.

This can be a melody with a different synth, or it can be the bass sounds themselves creating some kind of melody.

Sometimes this “line” is very obvious and appears upfront in the mix, and other times it is very subtle.

The goal is always the same though; To give the listener something to hold on to, an element that is easy to follow between all the other madness.

The most common technique to use is the “Call and Response” method where the last phrase of the melody responds to the opening line.

What I like to do is use a combination of pitched bass sounds and combine these with some arpeggiator or other thinner sounds to give a bit more melodic interest.

This week I’ll show you how to make on of those arpeggiators in Zebra and I show you how I work with these concepts.

I hope this helps you out in creating some sick bass sections!
Otherwise just send me a question and I’ll try to expand on these ideas!

9. Setting Up An Acoustic Kickdrum Chain In Zebra

A few weeks ago I got a request to rebuild an acoustic kickdrum chain in Zebra, explained in an Sound on Sound article. Let’s dive into it!

Sound on Sound offers a great series on synthesis, called Synth Secrets. In part 34

The patch that is shown looks a little tricky, with some terminology that might not be familiar to you, but it’s actually pretty simple!

The most important thing to notice right away is that the kickdrum consists of 2 sounds that we need to synthesize.
Off course in a real kickdrum with a real drummer there are a lot more things involved, but these two sounds can get us pretty close.

The Click
The first one is the click, the high end of the sound, caused by the beater of the kickdrum pedal hitting the membrane. You can easily recreate this part using a noise module, but a more advanced way is using a FM oscillator, this gives us a little more harmonics to work with.
This click is very important for us musicians, because it helps pulling the kickdrum through the mix, causing it to be upfront and loud.

The Thump
The second part is, you guessed it, the low thump off the kick, just as important! We typically make this with either a triangle wave or a filtered saw, this has to to with the harmonics and their amplitudes in these specific waves.
When you don’t want a realistic kickdrum feel free to experiment with some different waves!

After that we mix the sound, we use a high quality compressor and a lot of tweaking.
Small changes can really alter the sound, so don’t be afraid to spend some time on this.
Have fun!


10. Creatively Use Filter FM in Zebra To Improve Your Sounds

Filter FM in Zebra is a great tool to use , and this can all be done with the powerful XMF Filter!

XMF Stands for Cross Modulation Filter, this little tool combined with the filter FM in Zebra can greatly improve your sounds.

This week I show  you how to use a second oscillator to control the FM speed of the filter cutoff, this might sound a bit complicated but its actually pretty easy!

Your sounds will immediately get more gritty and just more professional.

You can send as many oscillators through the filters as you like and you can even try to do more FM in Zebra with the FMO modules.

You can make the basic start of your sound as easy or complicated as you want, use all the routing options in de mid panel to really go crazy.

After you’ve done that there are a lot of things you can do next, for example modulate the tuning of the main oscillator with an LFO or even modulate some parameters on the Oscillator that is controlling the FM amount.

After that you can play with the different filter types and combine them in new original ways.

There are different modes that you can choose from when combining filters, and all of them have something to it.

You can set the filters to serial, parallel or any of the other modes and your sound will completely change.

Try to mess with some of these techniques, its a fast way to get unique sounds.

Awesome right!?

– Jor

11. Get Custom Waveforms for Zebra

Did you know you can download custom waveforms for Zebra? This is a great way to add some variety to your sonic pallet!

Click here

There are several ways to create your own custom waveforms, you can make them in Reaktor

The easiest way, off course, would be to use Zebra or Zebralette, excellent wave editors that you already own!
But how about using some waves that have been sampled from old analogue gear?

This week I show you how to download waves for Zebra and where to install them on your computer or mac.
(check the bottom of this page for the download link)

After you have done that you can access the sounds through the load panel in the oscillator module inside Zebra.
You can not edit anything in that menu so if you want to change some folders you need to go to the specific location on your hard drive.

It is advisable that you make some folders there to organize your patches, you could for example make different folders for aggressive waves and for soft waveforms.
This allows you to work a lot quicker when you just want to make a sound for the song you are working on, and in most cases this quick work flow is very helpful for your creativity!

Hope this helps you out, next week we are going to look into actually creating these waves ourselves.

– Jor

12. Make Great Melodies With Noise in Zebra

This week we take a closer look at the noise module, especially at making melodies with noise in Zebra.

Making layered patches in u-he Zebra is the most fun you can have, and Zebra is perfect for the job!

Because you have 4 different lanes you can easily make one oscillator for the bass, one for the melody and then you still have 2 channels left.

In this multi layered patch the Noise module is the most interesting part, because by default a noise module does not listen to pitch.
This is because noise is not a frequency, it is all frequencies at an even level.
So we are going to need a few more things to make melodies with noise in Zebra.

First we need a filter and send the noise through it, if we then crank the resonance of the filter very high it will start to feedback (provided that you use a filter that is capable of feedback.
A more fancy term for this would be “Self Oscillation” this basically means that the tone is going to continue to sound on after the noise has been taken away.

But now for the cool stuff, if we have a self oscillation filter like this we can use the Cutoff Knob to change the tuning of the self oscillation.
We don’t want to keep turning the cutoff knob throughout the song, so let’s choose a modulator to do this for us.
An MSEG would be the best for this, but generally takes a bit more time to set up, so I went with an LFO instead.

You can now use a tuner on your channel to check if you are still in tune, because it’s not going to give you the notes that you play on your keyboard.
In fact the noise module doesn’t care what note you play on your keyboard!
So make sure you check everything is in tune with the other sounds, and you should be good to go!

Have fun guys, and try to master this technique, it can really give you some unique sounds.

– Jorgalad

13. Designing Gritty Bass Synths for Electronic Music in U-he Zebra

When it comes to gritty bass synths that are flexible enough to be used in a wide range of modern electronic music genres, U-he Zebra is one of the best synths you can turn to!

We are happy to welcome Timaeus

Digging deep into the various options available to you in parameters like voicing and filters allow you to find just the right mix of attitude and character when you’re working with sounds like these in U-he Zebra. This is actually one of the big reasons why it is one of my all-time favorite synths out there. You can jump into a sound you made a couple years ago and still find new things hidden away by experimenting with some of the finer details. And this is something you should always feel free to do with your own sounds. This is a nice way to find balance in intentional and experimental design. Knowing the sound you want to make and making it is jus the tip of the iceberg, because there are countless more variations waiting to be unlocked inside of U-he Zebra. It’s just a matter of understanding it well enough to know where to go looking for that magic.

You can check out more sounds for U-he Zebra from Timaeus on the ADSRsounds


14. Make Beautiful Hans Zimmer Style Cinematic Sounds in U-he Zebra

Let’s talk about some cinematic sounds! There is a great preset pack for Zebra which contains a lot of Hans Zimmer style sounds, in fact, most of them are from the man himself!

In this video I explain the “Batcave” preset which is a sound used in the movie “The Dark Knight” – it is a great sound using just a few modules in Zebra.

The arpeggiator

First what we need to do is go to the global page and enable the arpeggiator, next move over to the arpeggiator tab and spend some time making a nice melody. It doesn’t have to be same melody, we are going for the sound here!


All the oscillators in this patch are the same except that some of them are tuned down one or two octaves, this way you can beef up the sound when you want to by raising the volume on the other oscillators.


But the main character of the sound really comes from the attack, using a slow attack in combination with an arpeggiator gives a great spooky sound, and its perfect for ambient or darker music. The other advantage is that you don’t have those sharp attacks in the sound, meaning nothing is going to be in the way of your awesome drums!

Control it

When you finished building your patch spend a bit of time assigning useful controllers, for example map your modwheel to some reverb parameters or the volumes of different oscillators. You can use a ModMapper to scale the automation, this is a great way to get new unexpected results!

– Jorgalad

15. Make Unique Sounds With the Sideband module in Zebra

The sideband module in Zebra is great for a wide variety of sounds, let’s learn more about this great little module!

In essence the sideband module in Zebra is just a frequency shifter, like the one you find in the insert effects section in NI Massive or in various modular systems.
A frequency shifter is also called a Bode shifter, after it’s creator Harald Bode.
This handy little device shifts the incoming signal in Hertz rather than ratios, this means that it is very difficult to use when you want to make melodic sounds, but great for a whole range of other stuff!
You can make great chorus sounds, flange effects or weird shifting pads, all with this little module.

The sideband module in zebra is even more flexible.
Because it is a stereo frequency shifter we can alternate between the two “bands” or channels using the offset knob.
Additionally we can choose 3 bipolar frequency ranges, 10Hz, 200 Hz, and 4000Hz, in this case bipolar means that we can alternate which frequencies are going to be the loudest.
If we turn the control to the right the upper sideband is going to be louder then the lower one, and vice versa.

And off course, in good old Zebra fashion, we can modulate all the controls as much as we want to, and this is definitely recommended!

Try to route an LFO too the frequency for example, or modulate the mix, or the offset! The sky is the limit here.
If you want to experiment to create some new and unique sounds the SideBand module is definately a must to check out!

Have fun!

16. Using GeoBlend and SpectroBlend in Zebra

Last week we checked out GeoMorph and SpectroMorph, so this week GeoBlend and SpectroBlend are up!

When I just started out with Zebra I thought the names GeoMorph, SpectroMorph, GeoBlend and SpectroBlend where a bit confusing, but just look at it like this:
The first word in the name says something about what you do in that editor, for example, GeoMorph and GeoBlend are both for drawing the waveform, exactly how you want it to look.

The second word says something about how you do that, in the Morph modes you work with dots, in both Blend modes you draw the waves more freely.
In both Spectro modes you work with the Spectrum of the sound, you don’t draw the wave here, but you draw the harmonics!

To do so you need to know a little bit about harmonics, and why waveforms sound a certain way, you can find a good starting point here

Personally I really love both Blend modes, they are very easy to work with and you can make very clean edits.
You can also draw in the phase of a specific harmonic, if you have ever worked in the Absynth oscillators this concept should be familiar to you.
Phase is a tricky concept and if you want to become a master at waveform drawing I recommend you to do more research on it, this

I’d like to end with sort of a contradiction here, so bear with me:
Drawing waveforms is great and you can get some awesome unique sounds that no one has ever made before, or you can very precisely recreate familiar sounds, but it is also very easy to lose yourself in it.
When I was starting out with Zebra I felt like I needed to know everything about the Wave Editor and draw all waves myself, but this takes a lot of time and it can cause you to lose focus on the most important thing, the music.

So always pay attention to the sound more then what it looks like and save your oscillators, this makes the process a lot quicker the next time!
Because at the end of the day it’s all about writing a good tune.
(Unless you are a sound-designer of course, in that case: Go Crazy!)

Take care and have fun with the new ideas!


17. Create Warm Ambient Basslines in U-he Zebra

This week we are going to learn all about simple but nice ambient basslines in U-he Zebra, with the comb filter and some oscillator FX we can really get great results fast!

Sometimes it is great to build patches fast and simple with just a few modules.
There are a few advantages to this approach, one of them being that you really get the most out of a specific module, because you have to!
Another nice side effect is that you will also be able to make great sounds with less sophisticated synthesizers, for example a simple analogue hardware synth.

So lately I have been practicing with this and trying to restrain myself in using only a few modules instead of all the stuff that Zebra2 has to offer.
This sound is a good example of just that, it uses one oscillator with some simple oscillator FX, one FM oscillator and a comb filter.
Much different from a year back when I would open all oscillators and filters before I even started designing sounds!

The cool little trick in this sound is the registerizer effect, this effect will almost always sound like an organ (great if you like those sounds!) but it also has another purpose.
This registerizer FX boost the octaves of the fundamental frequency, meaning that it will sound very high even if the main pitch is at minus 4 octaves.
And since I’m always trying to look for sounds that do sort of the same thing but with a different approach I found this to be a cool starting point.

And stuff like this can be a good approach for those of you trying to take your creative sound-design to a new level.
I always try to find something that is weird to start off, like setting the detuning to minus 50 or lowering the pitch way too much.
This way you have to find a new approach to get to the sounds that you like, and you always find some new ideas in the meantime!

The last module in this patch, before the reverb, is the comb filter, a feedbacking filter that can give you really great sounds.
Your can design realistic bass sounds, electric guitar tones or beautiful vocal like pads.
We have talked allot about this already so this filter should be your best friend by now, if not, go check it out!

Try some of these techniques and try to make your own sound with these ideas, also don’t hesitate to let me know when you find something cool!
Have fun yo!


18. Using Aftertouch To Create Big Bass Sounds in Zebra

This week we are going to check out how to use aftertouch to create big bass sounds in Zebra, for those of you that never used this, now is the right time!

Having a MIDI keyboard with aftertouch gives you some great extra possibilities when you are working inside Zebra.

For those of you that don’t know how it works, aftertouch is basically a modulation source, just like velocity.

You can assign velocity to a lot of parameters in Zebra and this means that when you hit the key harder it will send a bigger amount of modulation, when you hit the key softly it will send a smaller amount of modulation.

You can use this to get a more playable sound, for example when you use it on the volume of the patch, it will give you more expression and it acts more closely to what, for example, an acoustic piano would do.

Aftertouch is a bit different, it doesn’t listen to how hard you hit the key on the initial strike, but it checks out how hard you press the key down AFTER you’ve hit the key, hence the name.

So to use it you hold the key down and then press harder, or with less pressure, to send out different amounts of modulation.

Not all keyboard have aftertouch available though, so you have to check they manual of your controller to find out if it has this function available.

If it has nothing of the kind I strongly recommend getting a keyboard with aftertouch, because the uses are endless.

In this video I will quickly show you how to create a looping bass patch, after that we’ll look into the uses of aftertouch and how we can modulate stuff with it.
I also wanted to talk about velocity and the modwheel for a bit, but that’ll have to wait for another video.

At the end of the video I show you how to get a lot of variations into your sound using the aftertouch source, and how to make some nice bass sounds.

The technique I often use is to bounce down a fairly complex sound with a lot of modulation.

After it has been bounced to audio I search for the good parts in the sound and make new sounds out of that.

This re-sampling technique can be really useful and quick for those of you who want to create big bass drops or anything like that.

So there is a lot to learn this week, check out the video and enjoy some of these ideas.

If you have questions or request for new videos let me know!


19. Make Crazy Bass Sounds With Ringmodulation

This week is going to be a bit of a heavy one, let’s create some bass sounds with ringmodulation!

Ringmodulation is a feature that has been in synthesizer for a long time, dating back to the oldest modular synths.

It is a technique where two sounds get multiplied with each other leaving only the sum and the difference of the two sounds.

This often results in a metallic like sound, and its great for bells and percussive material.
It gets it name because the circuit used to combine these oscillators looked like a ring.

There are more useful things to do than just making bell sounds though, so today we discover how to enhance our bass sounds.
By choosing two oscillators and using the ringmodule to combine them we get more movement into our sounds, which is great for Drum and Bass or Dubstep bass sounds.

The ringmodule doesn’t have a panel with controls, instead you use the parameters on the oscillator that feeds to the side chain of the ringmodule.
You can use the tuning, the feedback and even the oscillator effects to completely change the sound and sculpt it to your liking.

After that I used a mix module to combine the dry sound with the ring modulated sound and I’ve set up a LFO to control this mix for us.
The next step is to use some filters to get even more movement, I used a bandpass filter and a peak filter.
The peak filter is basically an EQ band with a narrow Q, which I modulated to get some resonance sweeps.
As second filter I used the bandpass to give it some extra spice and color.

Once all that is set up you can use the X&Y pads to get even more variation and movement, record this MIDI automation and then bounce your sound down to audio.

Now the real fun starts, you can reverse this audio, stretch it, grain it, make it twice as long and cut out the parts that you like.
You could even throw it in a sampler to get some different options again!

I think you will like these ideas and it is definitely great for getting some unexpected results!

Have fun with these ideas and let me know when you find some cool new tricks!

– Jorgalad

20. Make Big Bass Sounds With Zebra and Zebrify

This week we’ll take a look at making some of the bigger Bass sounds in life, and we are going to use Zebra and Zebrify!

To make big bass sometimes you have to go a little bit further then you would normally do, in this video I start my sound out in Zebra, I make sure it’s a big sound and it has plenty of harmonics to play around with.

After I have done this I am not nearly done with my sound, first I am going to bounce it down to convert it from MIDI to audio. Now there’s a lot more I can do with is, for example reverse the file, stretch it out easily chop it up in nice rhythms.
I Can also split the sound up in different frequency bands here and process each band differently, for example I might make the low-end mono and the high frequency’s very stereo.

I also have the ability to automate filters and bounce the sound down again, if you do a lot of stuff like this it will generate a very complex sound in the end, where lots of stuff is happening.

And now Zebrify comes in really handy, because we can use it as an insert on our audio channel, which means that we have pretty much all Zebra FX on an audio track!
So we can set up LFO’s here and MSEG’s to start all over again with our sound, you can repeat this process until you happy!

Personally I love this workflow where I use both Zebra and Zebrify together to get rich and complex sounds, try it yourself, it’s great!

– Jor

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