Category : Producers BlogDED_HERE
Adding deeply rich textures to your tracks can add a new dimension to the sound. It can add depth, interest, warmth, and even a cinematic feel. To help create cinematic texturs I put together an Ableton Live Pack called Morphonic Texture.
This collection of instruments lets me easily create a unique and moving background for me to perform or produce with. I wanted to share one of the instruments in the pack. It was actually the first one I created for the track Depth Of Field. This video walks through what it does and how you can use it. Free download below it.Ash and Air Instrument
Author: Subaqueous License: CC Attribution-NonCommercial-ShareAlike Date: September 21, 2014
Here is an example track I made with this instrument and the others in the pack.
Download the full (aq) Morphonic Texture Live Pack here, and enjoy the free pack.
Creativity is an elusive subject. It’s hard to quantify when and what is creative. Then take it a step further and try to get in a creative mode is even harder to comprehend, well with the logical mind that is.
The other day I watched this amazing talk by the legendary John Cleese from Monty Python. He has had an astoundingly creative career. In this video he shares some interesting research and ideas around what he called the creative mode.
John Cleese brings up a point that really hit home for me.
The most creative professionals always played with the problem much longer before they tried to resolve it. Because they were willing to tolerate that slight discomfort and anxiety when you haven;t solved the problem.
This brings up a really interesting and powerful point. When you sit down to write music you might hash out an idea in the first hour. You might want to just jump on it and finish it up to feel like you did something creative. If you follow the easy route of what comes first, you might be holding back your true potential of what comes next.
The greatest song ideas can come if you are willing to push yourself just a little bit more. In practice, I do this by writing many sketches of songs. This way I can bust out a bunch of different ideas. I have endless amounts of useless sketches at this point. Sometimes I will make my first sketch and it is amazing. Then I make the next 3 and they are no where near as good as the first. Then other times I make a sketch I think is amazing and want to work on it, but the 3rd sketch of the day ends up being the most powerful track I have ever made.
The point is to push your boundaries, play with the problem / idea longer than you might need to. This will help new original ideas surface. Once you have multiple ideas, though, you can go through and pick the best then fully commit to it.
This idea has been really true about my unreleased album, Tides of Twilight. I got the basic work on this album done in April / May. Basically the album was 70% done. Now normally I would just push it out in a month or so. I get this feeling that if I am not making new music and getting it out then I am losing steam. For this album I decided to take a different approach. This time I decided to truly take my time.
Now 3 months ago I thought the album was almost done. Since then I have just worked on the album lightly when I have time to get creative. Something amazing happened during the process. Since there was no need or rush lots of little improvements happened. I found other musicians to collaborate on a few of the tracks and write new melodies. It feels as if it lets the music really round it’s self out in an organic fashion instead of being forced.
Now the album goes out for mastering in a few days and I feel it is a much better piece of work than if I stressed to get it out instantly. Sticking with that slight discomfort has lead to a much more original and high quality work.
Take your time and enjoy the process.
The new PMX-300 Instruments are a series of Ableton Live 9 instrument racks which are going to be released in packs of between 6-12 instruments by category. The packs are developed by Animus Invidious ofPerforModule, and will be released at IsotonikStudios.com in sets of 3 packs at a time. The first three sets, now released, are “PMX-301 Classic Pianos”, “PMX-302 Funky Pianos” and “PMX-303 Organs”.
Here at subaquousmusic.com, exclusively, is one of the instruments from the “PMX-303 Organs” pack: the “PMX-300 Drawbar Organ”.
The samples which have been recorded through a dual triode vacuum tube at 96kHz with per-note reactive intelligent processing for maximum audio quality. (more…)
So far I have clocked over 350 hours on my next album. I know that because I actually track my time. Through out the process of writing tracks there are some major landmines you have to avoid. One of the biggest ones is tweaking things to death. Since I am getting all my tracks ready to send to mastering I am finding myself running into those landmines, so I am writing this article as a reminder to you and myself.
My good friend Danceher once shared the concept of diminishing returns with me. The idea is there is a point in which your effort brings you less of a return. So in this case working on a track past the point of anyone being able to notice or care.
I am so honored to finally share this. About a year back Akara asked me to do a remix of the track. I have been able to play this at festivals this summer, and was so excited to share it online. The original always moved me so deeply and it was an honor to blend in some of my own craft and interpretation.
Original Track: akaramusic.bandcamp.com/track/project…album-version
An important part of any mix is the Low End. Getting that sounding solid, having a punch to it, and bring out a lush bassline is the key to an epic track. Mixing all the Bass Elements is also one of the hardest things to do. The first key in understanding the low end of your track is to understand there is more than one layer to your bass.
There are multiple layers and frequencies that make up a good bass. The way they flow together and interact with your other elements is what will make the bass truly punch through, or be a murky mess. A bass can have a click on it, a warm mid range, a synthy top end, or more. In this article I will go over the different parts that make a up the domain of the low end and share some insight on how to wield it in your music.
Here is a chart to show off the 4 Layers of Bass:
There are a lot of DJ’s and performers out there. It can be a monumental task climbing up the endless heights to be known as a performer. One way you can quickly rise above the crowd and get recognition is through bootlegs and remixes. You can take any track and make your own spin on it. By taking popular dance tracks and adding your own spin you can quickly get your sound and vibe out to the world.
I just created a new Bootleg Remix Pack to help speed up the process and wanted to share some techniques and tips I use a lot in remixing.
WHAT IS A BOOTLEG REMIX?
To start, lets define what a Bootleg is.
A Bootleg is one type of remix of a song in which the remixing DJ uses an entire song or samples from a popular song without the explicit permission of the original artist. A bootleg remix generally uses the stereo master track and or accapella of the track.
In production sometimes I am working with harmonically complex samples or found sounds. For instance, if I a wind sound it has a lot of frequencies and isn’t necessarily in key to my track. In some of these cases I use EQing to bring out the frequencies of one note to make it resonate more to the key of my track.
I do this by using Audio Effect Racks and EQ8 in Live.
This technique lets me bring out certain frequencies of a note, or even take them away. This can be a great way to make something that might not have a distinguished note, be interpreted as if it were a specific note.
I have gone through and used my List of Notes by Frequency and made an effect rack that can bring up all those frequencies at once. I then repeated this rack for each of the 12 notes.
I have included this collection of racks in the updated Mix Down Toolkit to help in production, but am also releasing it for free to members of the site.
Login or join the site to download files:
This is but a fraction of the tools that can help you with mixing found in the Mix Down Toolkit. Check it out, and order it if you want some slick and easy tools to level up your mix.
When I am mixing and working on sound design I sometimes like to turn to a list of the frequencies of notes. It helps me bring up the resonance of a note, or keep the fundamental harmonic of my sound design at to fit the key of my track.
Here is the list of frequencies. Keep in mind this is for equal temperament with A being at 440.
Frequencies of Notes at 440
Octave Note Name Frequency Hz -3 C 32.7031956626 -3 C#/Db 34.6478288721 -3 D 36.7080959897 -3 D#/Eb 38.8908729653 -3 E 41.2034446141 -3 F 43.6535289291 -3 F#/Gb 46.2493028390 -3 G 48.9994294977 -3 G#/Ab 51.9130871975 -3 A 55.0000000000 -3 A#/Bb 58.2704701898 -3 B 61.7354126570