# Pain Perdu Hidden LSDJ Tricks EP3 - "Isometric" SAV walkthrough
Channel: Pain Perdu (https://www.youtube.com/channel/UCiqCI92PN7oNhPvOu3fPuZA)
URL: https://www.youtube.com/watch?v=1KiIkSvfJec
Uploaded: 2016-07-12 · Duration: 54:48 · Views at fetch: 4615
Fetched: 2026-08-31 with yt-dlp 2026.08.19
Captions: AUTO-GENERATED (machine transcript — numbers, hex values and command names are UNVERIFIED) [1KiIkSvfJec.en-orig.vtt] · spoken language: en

## Description

TIMESTAMP TABLE OF CONTENTS BELOW
Don't hesitate to watch the video at 1.25 or 1.5 speed

Hey guys!

For our 3rd video, I'm gonna go through the sound design and arrangement of our LSDJ cover of Madeon's "Isometric".

On the menu: arps, tables, grooves, noisplosions, and many cool tricks!

Don't forget to like and/or subscribe to our channel if you like what we do!
Let us know in the comments what you thought of this cover, and of how we explained it. Got a request for an upcoming video? Comment below!

Thanks for your support
Max & Paul

===Table of contents===

INTRODUCTION
00:00 - Bleh
01:14 - Madeon - Isometric, Pain Perdu Cover

03:54 - Select/Start Retrigger trick

SONG INTRO
06:14 - Intro pulse layers
09:08 - WAV evolving arps
11:30 - "Drunk" bass & arps, syncing sections at different groove speeds
14:18 - Tempo "automation" with T command

SECOND SECTION - WHERE'S THE KABOOM?
15:55 - Single channel delay, alternating instruments
18:50 - Swelling pulse arps
20:47 - Basses

23:24 - Noise Explosions, or "Noisplosions"
Refer to the "Boy Meets Robot" video for more accurate info on how the Noise channel works.
27:30 - Filling with "crashing waves" noises
29:10 - Tempo and transitionning to the next section
31:10 - Toms

THIRD SECTION - ARPS AND LAYERS EVERYWHERE
32:00 - Layering Wav Drums and Noise impacts
33:59 - Layered Snare, the importance of tonality in percussion
35:58 - Layered Kick, the importance of transients

36:46 - Making the most of arpeggios with tables, offsets, layers and panning

Note : Slowing down the arps can be done with G commands, the 2 note technique used here has its merits too but in a different context.

42:27 - Optimizing table/instrument usage with A commands and retriggering
43:23 - Layering different arps creatively to combine notes
44:07 - "Sidechaining" envelopes on arpeggios - case 1
44:44 - Bass design
45:58 - "Sidechaining" envelopes on arpeggios - case 2
47:39 - Bass & Noise arrangement

49:03 - Going quiet to go louder

RECAP
49:30 - Final chords, adding complexity to simple arps
50:53 - Toying with the illusion of chords : offset

CONCLUSION
52:31 - Acknowledgements and thanks for watching!

## Transcript
[0:01] hello guys this is Paul from pampu and for this new video we are not going to be learning about a special kind of trick today but rather we're going to focus on a full song I'm going to do a save walkthrough for the cover I did of madon song isometric um because I think it's also important that we learn how to use special lsdj tricks and sound design in conjunction and in application within one song and it's especially important for covers because when you have covers

[0:35] you don't have to focus on actual composition you have to focus on Arrangement the most important thing about covering stuff in ldj is actually sound design so this is maybe one of the best examples of what I could do so here you go um first let let's listen to to this cover I did uh there's a whip version on Soundcloud but I don't recommend use um listening to it this will be an updated version that I actually used uh live not so long ago and I think it makes for a fantastic

[1:08] opener so here you go Medan isometric pampu cover start d the

[2:30] a okay fail well I think that wraps it up

[3:35] and then what I do live is I just then use these final chords to mix to whatever song we play next okay um so I'm going to switch my delay rep to higher um first trick I'm going to talk about is the song mode trick that I try to do which is way hard in bgb because of um input like from my controller you might notice that um I altered the key delay repeat to 77 which

[4:11] is actually counted I think in t um I might be wrong but I think it's counted in tick and what this does is when you what I did with it what I tried doing F fail spectacularly at something even remotely rhythmic it it works better on real hardware and I I I recommend using it for for live because I think it's a fantastic trick and really makes U makes it live and you edit your song live and you play with rhythm what what it does but but you you do have to to be careful about it

[4:44] because uh it's also easy to forget to set parameters right and and to fail spectacularly just like I did so what this trick does I call it the select start trick is when you're in song mode it doesn't work on live mode obviously because it's start and select when you're in song mode and you select a row it acts for a complete row um you press and hold select and then press start and hold it so it's interesting what it does is

[5:20] it it re-triggers the the whole row at the frequency of I think seven ticks the thing is it changes with the tempo so if you have like a 120 song I recommend 76 130 75 and so on for like DNB tracks I usually do this but uh the the faster you go the the harder it is to get it really on sync like you can't even hear it because of how fast it's make how fast it's going but 73 would be like so it's interesting but you don't

[5:53] overuse It Anyway this is nice this is a nice trick to use live so hold select hold start and then release Start If You release select it will stop okay um so there you go nice trick for live let's actually go and see the entrails of this save file so what I begin with with is this sound um I make use of duning so you might hear that there's um

[6:27] a wave instrument they're all on the the same note if I cycle through rows with B right and left you will see that they they're all in the exact same note so here you go normal I think this I think this is even the kick kick synth so normal triangle wave note with a V2 High FR oh uh High Frack V2

[7:03] uh then I have my non detuned um pulse wave and then I have a D- tuned pulse wave layer on top with a very slow uh low frequency vibr just sounds like it's drunk and when you layer this on top of this it it makes for interesting song effects uh interesting phase effects with a very slow periodicity to

[7:40] which I wanted to have this to which I wanted to add this so that it makes this you can hear it's almost like an owl howling in the night and I think it it sounds great for an intro and then you put on loads of Reverb and just fade it in and that sets the mood and then I gradually uh I have um then I have this sequence where where because my vibrat is low

[8:12] frequency uh the L commands react slower so I wanted I wanted this high note to go slow uh to the base note and then I had this sentence here to keep the slow vbr and then here I have the C so let's listen let's let's listen to this this transition between this phrase and this phrase so there you go it goes goes all

[8:48] the way down to uh to this note it's transposed is the same same sequence transposed E1 so it's the root note of the base then here I have my same very slow vbr note and here fun part starts chords there's kind of a lot going on here so I'm going to go uh one thing at a time you might have noticed that these scroll through very very

[9:20] slowly um this is because I think I had a very slow groove of CC which is 1212 basically uh 12 ticks per step so it Hales the tempo and we have a very slow tempo of I think 100 and this is Groove one which is 22 so in order to save tables what I did was actually write the complete ARP section in a phrase and not in a table because I I would need later a lot of

[9:51] tables you'll you'll see how and for this I have one untriggered instrument through the whole phrase notice that this the following phrase doesn't have an instrument triggered uh this refers to what I talked about in my first video where you have the wave um this is an evolutive wave instrument let me find it that ping pongs um very slowly and there you there you can't

[10:23] hear it because it's retriggered but if if I play only this section you can kind of hear it swelling and falling and that's because it starts here and throughout all the B sentences it's going to EV also so swell and fall and swell and fall so that's nice we have a ping pong that goes from I think volume six to volume 30 with a little bit of cut off so that it's just not only a volume swell but also a little bit of filtering going on so this is

[10:57] nice this is the waveform that I think it uses let's see which so yeah something very simple just gaining in volume and a little bit of filter at the end to reduce clipping this is a very very pretty clip sign wave sort of form so that that's what I have for this section of the chords then um then the fun starts uh I have

[11:34] here my slowly vibrating base that is also going to have um very slow alchem to make it cycle through the notes I like it I think the fact that it's also Dune makes it a makes it sound kind of drunk which I think really uh fights off the really robotic feel that uh pulse waves can have an lsdj went held for too long so nice trick slow ver bratos always good to go to give your

[12:06] sound some character and then the main kind of chord Melody you might have noticed that here I have a g command that goes back to the very really really slow Groove so you have this which goes super slow and this which goes super fast but time to together this is 12 and this is 2 they um they're time perfectly together you just just have to be a bit of math super slow divisions super easy

[12:40] divisions to know um to know what you want in terms of subdivision and this because you have more sentences more phrases than tables this really is useful for Ops so and because this is the one six of the previous Groove I have to put a hub here or else it's not going to be together at the end so this is I think um SE tolats uh 30 second note SE tolats of

[13:16] this or maybe 16 no se but it's it's definitely divided by six and then you have the sentence that rolls together this is basically the ARP I use here I kind of try to use the same chord but medion has like some super Lush Super Rich chords and it was really a pain to transcribe them only by ear let's listen to the chord cycle through

[13:52] second so you notice that we we still keep a pedal of the same note but the chords changed so that's a reversal of cord that's really nice so you have this Foundation but still Evolution it's a really nice composition trick that is that has been used ever since uh B made music uh and B is a genius so if you do stuff he does it will most of the time sound good and then uh you may notice that when we do this Tempo Cycles up very very slowly uh I have a t

[14:31] command here T is tempo and here I start at Tempo 100 t64 is tempo 100 and then each phrase I'll have a new Tempo that goes slightly up very organically um up until T8 which is 142 so 40 BPM increase in order to go to this which is I think

[15:04] t96 uh Tempo 150 so super uh organic increase from 100 to 150 this was really painstaking to just check all the check the tempo in every phrase really pays off in the end though so if you want to do Tempo increases do you know that the tempo command um can be input in one single Channel but affects the whole song so here this is why I took the liberty to have it on the second tick because I don't really mind I don't really mind it

[15:37] being not in sync with the first note but I I do recommend having it on this on the first note but since the first notes in the phrase are usually the the ones with the most effects such as grooves which absolutely need to be on the first slot uh you can settle I don't recommend doing it though so second section Rises and then no explosion as I like to call it so same kind of

[16:14] sentences with um octav up and uh one small modification Groove is now 66 inste instead of um instead of CC so div Grove is divided by two this goes twice as fast as the previous because I wanted to have one of my favorite tricks in here which is uh artificial DeLay So this every two notes I have the chord

[16:47] with the main instrument um following let's look at the table for this this is a table uh oh this is weird in a way this this must be the same table uh that I used on the on the first instrument which is why it doesn't which is why it only Cycles through to the first and then I have this instrument which is basically the same

[17:22] phrase but offset by one two three notes so after the third I start so they have one one and then you wait one two and then and then DeLay So This is basically this is a this is a delay that starts here but I managed to cram it uh inside one channel so what I do for this is I have two in two different instruments d and

[17:54] e d goes right e goes left and I alternate them uh you can also do it by automating a table with lnr and an H but since I wanted a table on these instruments with a little bit of pulse mod pulse wave modulation and a very slight vibr let's hear how this sounds very slight but still gives it character so it's like a delay of this of s by3 all in one channel so this is

[18:29] really nice oh and then if it's offset by three you might want to wonder what I put here this is the end note of the cycle so 1 2 3 4 I put this and I put it here because the the first note is here so the last note is just before um then here you might notice that chords are no longer here they're now

[19:02] there post Channel give them a little bit of extra abrasiveness and it really fits the deal because here you have you have a lot of base and you have a lot of going on so you you need them to cut through so pulse Channel and what I did for this was same uh instrument not r-t triggered uh very fast Groove a bit of alens in order to avoid clipping so this goes instead of

[19:37] going I need to stop with his mouth mouth explanations but I think they fit the deal quite quite well so the first part of the instrument um swells with an envelope of 1D starts at envelope one and Rises at the speed of d uh and then I hop to the next Center which is uh same instrument because it's not triggered and with an envelope that falls so it's exactly the same but with an envelope that falls so I need two

[20:10] sentences for my full uh range of chords so this is quite hungry I mean I I have two sentences for one chord fell and swell and fall but since you have way more sentences that you have tables I still prefer to use uh phrases plus it's a a tad easier to time them together with the rest of the s sorry you might notice that the swell is actually super timed wow wow right in right in sync with the rest of what happens here Yum Yum Yum

[20:46] Yum and then the base I wanted that kind of explosion so I want I want something that cuts through and that really has character not something that doesn't evolve so I have my sense standard wobble with a bit of distortion Distortion is added by having high resonance and low cut off in the second part and high cut off in the first part so you have a very round sound here that Cycles through a very abrasive squarey

[21:20] sound here so this is synth um syth 3 so let's look at the waveform this is the sound at the start so kind of uh saw wavy with a little bit of character like it looks like flat glasses and then it's cycle screen it just like goes what are you doing to me and it warps into this so this is basically how you make

[21:54] wobbles feel free to steal the patch uh warning though if you steal a patch and don't build your whole sound design around the rest of what you do it's not going to sound great this is per on purpose this is a very low sounding wobble so you might not want to use it for a big fat dub step drop just just saying if you if you still if you choose to take this I don't mind at all but just know that it it won't fit a super zombo squ XI kind of patch you might just hear it going w

[22:28] kind of an in Inception kind of horn I still wanted the base to be really subdued just going and underlining the rest because the what's interesting is here and in the chords so and then you have a slow alemin ecommand here to attenuate the sound so uh wave envelope only goes from zero to three so I have I have it gradually going down not as versatile as the pulse wave um post Channel envelope but still still

[23:01] very efficient when you use it well and uh then this base something that still Cycles but more slowly and um really subdued just to underline the base in the same way that this did okay and yeah noise explosions how do you make noise explosions so basically there's a number of tricks to this that I

[23:34] use uh this is the main instrument of the noise explosion so you might hear there's um it's it's all in the table um first you have your very high shape and then I have a Trent so the first hit and then the envelope goes straight down and slowly Rises so clack and then so then you still have the impact but it still lets the kick cut through so transient and then

[24:07] Swell this is really really useful to have impactful percussion that doesn't um eat through the rest of your sounds so this tricks your brain to thinking that it's just like that actually there's a sharp cut here you can hear it when it's uh on on its own but not really when it's all together just sounds like and then um I have the envelope go down starting from here and then the Hop cancel that Loops this part indefinitely

[24:40] so that it doesn't go this stops here and then I have this uh this is interesting still SF basically what s does is it it's going to alter this you all know when you make snare that this is uh if I change this actually it's going to completely complet completely going to change the shape of the sound noise shape is not really easily explained it's just some kind of noise profile that's already coded in lsdj um

[25:13] manual says that F Alters the first digit Alters the pitch and second digit Alters Randomness it's kind of weird to know what exactly this does but if you play around with it you'll find uh stuff that you like you have 256 FF um shapes so play around with those and find the one you like and then what I did is that this the S command uh basically adds to this to this parameter adds to the shape

[25:48] parameter it does not set the shape to fo it adds fo to the shape and it's relative so if it adds and then goes to Edge and then reads it adds on top so you're going to go and you might notice that I'm adding and not subtracting this is because I wrap it exactly um f0o times so instead of going up it goes one rep and then plus one so down each time because when when you put an F when

[26:22] you put for example an 01 kind of shape it does this but really much oh this is actually kind of nice yeah it does a explosion but really a faster one so I found this trick of going for FZ that Cycles through them a lot slower and when you adjust the timing of the Hop you can actually adjust the frequency of how much is added

[27:00] so yeah you might want to time this according to what you want if you want like a super fast do this or you can do this and what I chose to do is this because I don't want it to go into the like super slow noise shape so I cut it before okay um so that's it for first part of the song oh and then there's

[27:31] this so F commands kind of uh crashing waves kind of sound just add a little bit of character in an arithm way I wanted on purpose not to be timed with the rest because this is already super mathematic and I just wanted some kind of SWR and Fs to go around with it and just add a bit of character and then here I still have my super Tempo trick that goes from 150 uh gradually up to

[28:14] 180 here you have a different kind of no explosion okay really kind of a wave crashing kind of sound and then so it swells and then the envelope goes down so e uh OB so start at zero then goes down pretty goes up pretty fast and then stop going up at eight and then go down at the speed of four be nice kind of crashing wave kind of sound with a distinct kind of shape and I use it to underline kicks

[28:49] like no explosion that's why I call them no explosions to be used to be used parsimoniously you don't want no explosions on every cake on instead you because if you do that you won't have any room for any any other kind of percussive element and it's just drown down your side drown down your sound in all that you've done now um so Tempo goes up to 180 I think and then back down so this is 165 uh up to

[29:31] 160 and then back down down to super slow uh Tempo 80 because then I I really want that like this start starts at um this starts at 100 and then it goes up to 150 and then goes slightly down here because I want to underline the explosion so it go and then it picks up pace again up to 160 170 and then

[30:05] back down so you have a really interesting kind of swell and fall Tempo here and this slows down the cords quite a bit and then you can really hear you can really hear what the almen does to them instead of doing so it's really Legato kind of cord really more easy on the ears and the

[30:39] jump from note to note gives it a nice kind of sound and then um here I have like an empty phrase that goes back to the groove of that sets the groove for the next section and kind of puts everything on hold to keep you waiting for what's going to happen next which is this so in here I have like everything

[31:12] on hold and here THS so how do you make Toms exactly the same way you make a kick but with a slower uh slower pitch slide and uh I chose to have this so the attack is preserved and then for for the pitch down I have the envelope go down so and then you have so your T

[31:54] break and then once everything is set up in these channels in these s in this phrases uh all hell breaks loose so a lot is going on here noise we have the same kind of noise explosions Groove is set back to two because we need to have constant Tempo uh and something that's easily controllable so 66 standard Groove notice that here I have the main and here it's a copied instrument with um an envelope that goes down way

[32:30] um that goes less High way less high so it goes because uh if if I did the same instrument four times in a row uh you wouldn't hear anything so I just want really big impact on the first hit and then just a kind of subdued the but still the same instrument copied but uh quieter and my same kind of uh slowly crushing waves kind of

[33:07] sound and then here to underline the SN so snare kick transient you can hear it here oh really nice trick to have for your kicks if you have kicks that decay kind of slowly using K commands in a row if you have like in order to give a bit of differentiation to your kicks use K commands to cut them a bit sooner and

[33:42] then it cuts also the pitching envelope so this one will end up being higher than the next so then you have kind of a tum go down uh on the same same slot that the kick goes and here's my snare snare tone really important to have in order to have a kickass snare you need to have this uh keep in mind that an actual snare drum like the instrument is not just uh when you take off the actual

[34:15] snare clutch you'll hear this so um snares are a tuned instrument super common misconception that everyone makes when they start doing electronic music is that snares are only noise this is not true if you listen to any kind of like super heavy uh dub Steppy music all the snares in order to cut through and really like pounce and just have that really hard in your face kind of hit are going to have like tonality to

[34:50] them uh sometimes it's just a super super fast just Boop kind of sign noise and then they have the the actual noise going on so this is how I make kick as snares a bit of uh sine wave tone and then high high volume transient and then let's look at this near table if I can so this is super high so this doesn't really sound good on its own but

[35:24] when you pair it with um with the snare to that I showed in the wave Channel we're going to hear to hear the hits and then you're going to pay attention to the snare 1 2 3 one more time 2 3 so you hear there's a sh and the P so um character in the high end and character in The

[35:55] mids really important for kickass snares just in the same way that a kickass kit needs uh a pitch down and and a noise transient a trans what a transient is is um this kind of super fast just kind of the snap of the kick oh

[36:28] will be defined by this so you heard the kick this is the kind of the T the T sound it's really important for your kick to cut through so don't forget this and then we have my best friend the Arps okay uh you noticed that in this uh in this uh mother BL I do not have uh ARS in the phrase I

[37:02] have arms in the tables because these are really too fast and it would eat through phrases way too much let's look at this this this is maybe one of the sound design tricks I'm most proud of so if you use it please use it well and please uh if you can credit me for it that's fine I'm not the one who invented actual Arps but I believe that I'm the one who uses those uh um In This Very way the most uh let's look at the first channel at this at the post two channel first because this is the the

[37:37] basic uh AR that I use which is um major 7th so you have root notes major 3D uh fifth and then is this an octave yes so so this is how you make a four sound chord without the C command which only gives you uh option for three sounds in the in one tick periodicity so

[38:13] I have two ticks per note 00 4477 CC um so so this is slower and it really gives you the time to appreciate each note in the arp um not like I I found that faster arbs are really you you can just hear the the clip noise uh between each note and not really the note itself so I use slower arbs so you might listen to this as a

[38:46] major but since the base is not this this is not actually the root note this is the this is the first SEC this is the second sound of the r the base is like and this is like two so this makes for like a five sound um chord which is really rich uh so if I listen to only uh let's listen if I listen to only this and this uh and only this and

[39:25] this okay let's try go live mode is tricky so you have the Bas is here so Bas is this note and it starts on a just as if the base was this but since the base is here on the relative minor 3D this this gives

[39:57] um I I don't know the English notation of the chords but this is a minor chord with I think a sus somewhere in there I don't I don't really know what the chord is but it's a more interesting chord that just your standard uh minor or major with an added seventh and the way I do this crazy thing is by layering layering two Arps on top of another with a different shape so this

[40:35] is uh 25% pulse wave and this is 50% pulse wave so you have interesting phasing going on here and this has like a really complicated table with um pulse wave modification that is timed in the same way that the cord is and you might notice that this is the exact same chord but offset by three so it actually starts here so 0 0 4 4 77 CC as opposed to um as opposed to

[41:12] to this one which is which starts here so you have the first note being already um in sync with this note and then you have a bit of phasing going on because it's it's not going it's going on at the same same speed but offset not by two but three so you have a lot of I I I wish I could use it I wish I could illustrate it a little more uh visually but I really can't so

[41:46] you you you're going to have to figure it out sorry um basically this is the same chord but offset not by one not by two but by three um play around with how you can delay the chords I I'm going to do a a video on Arps where when I will where I will demonstrate what you can do with ar offset it's really really interesting and interesting offsets you have like because there is two ticks per different note in the ARP you can have five different kind of interesting

[42:18] offsets if you delay the Ticks by 1 two 3 four or five so this is something to keep in mind when you're doing Arps make them as rich as possible so you have this uh which is lined up with this this goes with lnr commands and I think this doesn't yeah this is dead center and then I use the tables with different chords in order what what I used to do before was to have one different

[42:51] instrument per chord with a table but if you optim carefully uh and choose your root notes well you can just like slap the same instrument with a different table on top table OC is uh the same thing the same cord as before but with three instead of four so minor instead of major really interesting chord at the

[43:26] end I think it's minor seventh sus n or sus two or something um really interesting because you have like the minor 3D and the major 2 that um rub together these two sounds rub together to give you this magnificent chord at the end the end like the very end this kind of sound which I I really try

[44:01] to use as much as I can so that's it for Arps uh a lot of sound design went into it I'm really proud and then you have each instrument triggers um a rising envelope because I want my arbs to be kind of side chainy notice that they're really quiet but when put together like this is super quiet when you put them together it kind of doubles up

[44:36] um it really um adds to the sound you have both arbs mashed together in one F swop of pure awesomeness and then you have this so uh kick standard kick and base uh this is like a a nice base that I timed at six like speed six just three uh you're going to hear that it only Cycles through three frames 1 2 3 2 one 2 3 2

[45:14] 1 and I have an F3 because I want to offset them by three frames because it starts too quiet if I don't if I if I offset them by three it's going to go look for a frame that's rest here that offsets the wave cycle as told as talked about in my former video on the wave Channel this I think is the The Single

[45:47] part that took the most time to sound design and to put together and then you have basically the same but with different chords and the side chain is in a different place so that I have this uh this instrument and here I don't retrigger it because I want the table the table doesn't change and the

[46:21] envelope changes here so I don't need a new instrument I just I just switch uh notes and the tables change each cord so tables where when I want the chords to change change and envelopes on every beat because I want them to go uh to give way for the kicks that

[46:54] that will sound just on this tick just on this step I want the kicks to really shine through and it gives you this kind of and this time together with this kind of same uh just the same kind of mash together ARP awesomeness you can really really hear the kick

[47:28] really well because everything goes down when it hits this is kind of your poor man's uh side chain compression emulation in sdj with just volume so same base uh different kind of frame offsets in order to give it a little bit of differentiations throughout the so that the the frame cycle is not the

[48:03] same on every hit it really really makes a bit of differentiation to something that's really Forge to the floor really repetitive it gives it some kind of nice um Evolution to it and then just uh no explosion at the beginning and then started on the third beat uh just plain kick transient can actually hear it it's kind of like a and if you choose your shape and your

[48:36] length well you'll hear that this actually adds not only high end but the pop of the noise actually can can add a bit of low end uh pump to your kit to your kick when it's loud enough so I usually my K Trans in are like the highest volume possible and everything is like maximum of volume six cuz actually if you want to go loud go quiet that that would that would be my main motto like

[49:10] if you want something to sound loud don't make it loud make the rest quiet you can really hear it loud because it swells not because it is loud because it's only loud referentially and that's this is something something I that blew my blew my mind when I when I discovered it Go quiet to go loud and then you'd have this so you hear the this is because I want the cord to not be the same so you have

[49:46] like oh oh man uh this must be like a head scratcher but let's say the cord starts here so you have your root note your third and your fifth and the fifth is this is like the same chord twice but this note this notes changes so you have it's like on a piano you would have like your four fingers and one of the fingers shifts one notes uh once every chord and then I switch to to this chord

[50:26] which is and a standard minor chord because the next song we usually play Live starts in this key nice pulse modulation wide narrow wide narrow so yeah how to make um super wide sounding

[50:58] super uh cord sounding ARS that really sound like I don't know 12 LS DJs uh this is being a bit modest here I think in two Ls DJs you would you could have like one note in each Channel and have then a thus a four a four note chord in two lsdj so four pulse channels but I found a way to like cram it all into two channels um haveit ofet actually makes your brain think that four notes are played at the

[51:32] same time when there's only two uh but two who go really fast and are not at the same position are not at the same start position so your brain just kind of glues them all together and and it and it goes like this when it's done right like this could use a bit of work still but when it's done right you you just hear the cords well and you don't you don't even

[52:04] hear the note switch in the ARP like you don't hear this at all you just hear you just hear cords so there you go I think that goes around the most things that I did in this video

[52:38] which is already pretty long I think I haven't timed it yet uh yeah I think I actually went went through it all uh thanks for watching guys um I know you Faithful supporters actually will watch the video to the end because I received comments that you do so this is really motivating to make more um check out the original Sound by median tell me how mine Compares please I have a hard time uh I have like self-confidence issues when it comes to

[53:09] comparing my work to to the one of full-fledged uh genius producer such as Medan so um here you go uh I hope you like it I might just release the save for this song because it's not mine like I didn't make it and I no I didn't I did cover it but I I I don't own the song per se so I I I'm completely fine uh giving away the safe for it so that if you nerds want to study What's Done inside uh further up or just straight up copy patches that's

[53:42] fine with me just ask for it in the comments and I'll just maybe give the sng file so this has been Paul from pampu thank you guys for watching um uh please give us a like or subscribed if you if you thought that was helpful or informative uh shine on in the comments to tell us what you thought of our work um and yeah tell us what you what you want us to talk about in the next videos thanks a lot I really uh enjoy what you've been giving us as far as

[54:17] support goes we've hit 100 likes we've hit a th plays this is awesome this is all thanks to you and yeah great things are coming so stay tuned it might have to do is an EP release soonish uh I don't know yet but I really hope it's going to do it's going to be so yeah show us your support it's really really helping us out so far great things have happened and great things will happen thanks to you Paul out