[MUSIC PLAYING]
All right, we're going to continue to explore
some of the things we can do with the Trash module in Trash 2.
What we've seen so far is that we can have a wave shaping distortion
with Trash 2, and we can make our own wave shaping curves.
And it can be symmetrical, where we have the same shape for the positive values
as the negative values of the input signal,
or we can have asymmetrical distortion and have different curves
for positive and negative.
Or we can start with some kind of pre-made curve
and then modify it from there.
So already, we have lots of options to explore,
but we can go a little further now, because, in addition,
in the Trash module, you can put it in multi-band mode,
and now you can have multi-band distortion.
But the idea here is you can have up to four bands across the frequency
spectrum divided up by these crossover points,
and you can apply different kinds of distortion
to different bands in the frequency spectrum.
If you right-click anywhere in here, you get some options
for how you manage these bands.
You can copy the settings to a different band or copy the settings to all bands
or whatever you want to do.
You can remove a band.
You can add a band, and so forth.
So I'm going to start with this drum beat here,
and it sounds like this by itself.
[DRUMS PLAYING]
And I can do a number of things here.
What I'm going to try is I'm going to try just
adding a little bit of distortion to the upper mid-range.
So I want to make sure I'm clicked on the correct band here,
and this will always help me see that I have band 3 selected here.
And I can solo this band if I want to.
[DRUMS PLAYING]
And then I can change the crossover points.
[DRUMS PLAYING]
And then I can add a bit of distortion.
So here, for example, I'll just go with symmetrical distortion,
and I'll just go ahead and add a bit of gentle soft clipping in here.
[DRUMS PLAYING]
This is that band.
[DRUMS PLAYING]
I can bypass--
[DRUMS PLAYING]
--what's happening, just adding a gentle amount of crunch to it.
I can actually add another point here and add a little more.
[DRUMS PLAYING]
Bypass it.
[DRUMS PLAYING]
And in context, I'm going to un-solo it here.
[DRUMS PLAYING]
And then I can say, well, I like it, but I'm
going to change the area of the frequencies
that this band covers, get out of that 1 K area.
[DRUMS PLAYING]
And I like that.
It's a little loud compared to the other frequencies now,
so I can turn down the gain just for this one band.
[DRUMS PLAYING]
But here's where I was.
[DRUMS PLAYING]
That's got a bit more bite to it.
Then I can say, well, all right, so that's band 3,
but I can also go down to band 1 and maybe add a little keys to the kick
as well.
So I'm going, again, solo it, see what it sounds like.
[DRUMS PLAYING]
And so for this band here, I'm going to say, all right, well, let's go ahead
and also add a bit of wave shaping here.
And I could go into bipolar mode if I thought
it would be interesting to have different shapes for the positive
versus the negative values.
[DRUMS PLAYING]
A little loud, so I'm going to pull it down a little bit.
And I might blend it so that it's blending with the original sounds
for those frequencies.
[DRUMS PLAYING]
In context, I un-soloed this band.
[DRUMS PLAYING]
So here's where I was.
[DRUMS PLAYING]
That's got a lot more punch to it in the kick and a lot more snap in the snare.
Sort of added a bit of attitude to it, but I'm
in control of where and how I'm adding that distortion.
Let's try it on something else.
This is a bass part here--
just a simple electric bass line.
And I'm going to go ahead and just reset these back to where they want to be.
Clear all-- and I'm just resetting these.
So right now, this is the bass.
[BASS PLAYING]
And I decided I want to add a little bit of extra bite
in the mid-range of the bass here.
So I don't even need four bands, so I going to take away one of the bands.
And I'm really just going to focus on the mid-range,
where the bass really likes to speak here--
well, maybe something like this.
And again, I can solo this band.
I want to make sure I'm working with the correct band here.
I click here to select it, and I have it soloed.
So turn on Trash here.
And we have--
[BASS PLAYING]
--just that mid-range there.
And I'm going to go ahead with maybe asymmetrical distortion just
to see what kinds of things I can come up with here.
And I can add a bit of crunch here and then maybe something
a little softer for the positive values, but maybe kind
of help that curve a little bit.
[BASS PLAYING]
Adds some dirtiness to it and that sort of thing.
And of course, I could filter it a little bit
if I wanted to it's a little too fuzzy.
[BASS PLAYING]
And then I could say, well, I can blend it in with the original,
so I'm just adding a bit of fur, just a little bit of teeth to the mid-range
here.
[BASS PLAYING]
And in context.
[BASS PLAYING]
This is where I was bypassed.
[BASS PLAYING]
And now with this extra distortion.
[BASS PLAYING]
I'm just adding a little bit of, kind of, inner bite in that mid-range area
so the bass has just a little more attitude to it.
I could try this on some sound design elements as well.
For example, here I have a sound design element
of just somebody dropping some wood.
Bypass the plug-in, sounds like this.
[CRASHING]
And I could use this for a more abstract kind of sound design element
if I wanted to, where it doesn't have to just sound like somebody
dropping some wood.
So I could say, well, you know, I want to add some upper mid-range crunch
to it, so I can set up a band here that's just
focused on the upper mid-range.
Turn on the plug-in again.
[CRASHING]
Maybe this is what I just want to add some distortion to it here.
I might go with asymmetrical distortion, and I might even try something radical,
just kind of see what this does here.
And I might do something like this.
[CRASHING]
Here's just soloing this band.
[CRASHING]
That's got much more crunchiness to it.
I might even push this just a little more here.
[CRASHING]
And again, in context, I un-soloed this band.
So with all the bands--
[CRASHING]
--that's a little overdone.
So I can turn down this band a little bit,
and I can even change the balance so it's
a blend of the original and the distortion.
[CRASHING]
And that's just got a lot more bite to it.
Here's the original.
[CRASHING]
A little dull sounding, and here--
[CRASHING]
--it's got a little more bite to it, just a little more crunchiness in it.
And I can play with it from here.
I can expand this band a little more so it covers more frequencies.
[CRASHING]
Or whatever I want to do--
I could even start to have very different and radical distortions
for each of these bands and turn this into a completely different kind
of sound.
So this is the idea with multi-band distortion
is that you have a lot of possibilities for really focusing where and how do
you add some distortion to your sounds.
[MUSIC PLAYING]