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ANA Tutorial

ANA 2: Sound Design Vol. 1

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12 Videos | Length: 2hr 15min 3sec
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Chapter 1 : Bass

  • image description 16:08

    Nasty Bass Stab

    This sound design video shows how to create a distorted stab baseline using the wavetables and distortion effects of the ANA 2 virtual synthesizer.

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    Metallic FM Bass

    Learn how to use the frequency modulation features on ANA 2 to create a metallic sounding bass.

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    Nasty Reese Bass

    See how to combine wavetable synthesis and notch filtering to create heavy modulated bass with ANA 2.

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    Distorted Womp Bass

    Learn how to create an evolving high frequency bass through automating the frequency modulation controls on the ANA 2 synthesizer.

Chapter 2 : Pads

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    Dark Synth Cellos

    Watch how the ensemble effect can be used to add modulation to a simple wavetable to create acoustic sounding instrument patches.

  • image description 8:17

    Lo-Fi Sampled Pad

    This video makes use of the sampling features of the synth to create a cinematic lo-fi pad.

  • image description 9:14

    Reverse Guitar Pad

    Learn how to use the instrument wavetables to transform a guitar sample into an ambient pad.

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    Dreamy Chorus Pad

    Discover how to create an smooth pad that can be used as a melodic backing for your projects and songs.

Chapter 3 : Leads & Plucks

  • image description 8:37

    Synth Trap Horns

    This video shows how to create a distorted synth horn stab that is commonly found in electronic influenced trap music.

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    Distorted Lead Synth

    See how create a lead synth with sync modulation for additional texture and distortion.

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    Classic Lead Stab

    Thomas now shows you how the analog wavetables on the ANA 2 synthesizer can be used to re-create a classic analog stab sound.

  • image description 14:56

    Kalimba Arp Pluck

    In the last video, Thomas explains how to create a polyphonic arpeggiator patch using the onboard arpeggiator in ANA 2.

Product Overview


Synth guru Thomas Cochran presents an in-depth ANA 2 video tutorial series! Follow along with Thomas and see how to create awesome, powerful sounds and presets for the ANA 2 virtual synth. These videos are great for those who know their way around ANA 2 and some basic synth terminology.

Thomas starts with an introduction and what to expect from the video tutorials, followed by the first of many tutorials on designing different Bass sounds. See how to craft a Nasty Bass Stab, Metallic FM Bass, Nasty Reese Bass, and a Distorted Womp Bass, all from an initialized blank patch.

Pads are up next, and Thomas reveals the steps to take to create lush, impactful pad sounds including Dark Synth Cellos, Lo-Fi Sampled Pad, Reverse Guitar Pad, and a Dreamy Chorus Pad, perfect to use as a melodic backing element for your projects and songs.

Thomas then demonstrates how to design Lead and Pluck sounds with ANA 2. See how to craft Synth Trap Horns, a Distorted Lead Synth, Classic Lead Stab, and cool Kalimba Arp Pluck patch that can be arpeggiated for interesting rhythmic parts and effects.

To see what these detailed ANA sound design tutorials show you, and how they'll help you to create awesome patches and sounds from scratch, see the individual ANA 2 video tutorial descriptions on this page. If you're ready to learn to make your own ANA 2 presets and patches, these are the videos to watch... Check out “ANA 2: Sound Design Vol. 1" today!


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Thomas Cochran electronic musician and multi instrumentalist from Austin Texas, who now lives in Los Angeles. He focuses on creating electronic music that features both ambient and classical influences.

1. When did you start dabbling in music?

I started playing music at a young age, starting with classical guitar. This started my love for music and eventually expanded into learning other instruments as well. To date, I have had over ten years of classical experience and training as well as additional instrumental experience.

2. What training have you had?

I grew up studying classical guitar and composition and eventually started applying my classical knowledge to learning other instruments as well, ranging from violin, cello, keys, and drums.

3. When did you get intro recording?

I got into recording out of necessity when me and some friends started a band back in high school and couldn't afford studio time. Through this, I learned about music production and recording and haven't looked back since.

4. Why are you so good at training people?

I love learning about the technical aspects of music production, this helps me understand the how music production works under the hood. I have also worked for several years creating music production tutorials online.

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    ANA 2: Sound Design Vol. 1

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