Produce Music Like Solar Fields, Ableton - Part 1 скачать в хорошем качестве

Produce Music Like Solar Fields, Ableton - Part 1

How to produce music like Solar Fields in Ableton, first part with sounds selection, effects, session view, creating parts and ideas. I put together a few notes, see below, use these to have a go yourself or to inspire a session: Talks about the track as a story, different chapters on the journey. Depth and movement to sounds, chorus, tremolo, loads of reverb. Uses a lot of NI, Kontact 5, uses Reaktor for its unpredictability in sound design. Bass, layering with a pad like sound, dirtying up with saturation / overdrive. Rhythm, uses polyrhythm and plays with the perception of the actual rhythm. Additional rhythm in a different key rather than using the same pitch. Nord Modular is his go-to hardware synth. Reversed cymbal and reversed flute, lots of reverb, create a sound that pushes you forward. Shortwave radio samples, random scream like sounds, building up tension. Filters on the snare group for slight variations in each snare hit. Gradually bringing in some stability to the rhythm. Cuts and boosts with EQ on every channel. No sidechaining, either cuts away a sound or uses EQ to give room in the track. Doesn’t want to have a pumping feeling. Bringing sounds into the middle of the track that are part of the main theme, reversing so it’s there but just a tease and not overt. Introducing the theme up to the section gradually, tension then release as the theme hits. A lot of focus on bringing up tension in the piece. A big focus on using forms of distortion to give life to the sounds. A few happy accidents with sound design, left in because they worked with the arrangement. The kick that comes in later had a click that he couldn’t remove. Used a mandolin to create an acoustic feel as the theme comes in, along with an arpeggiated acoustic sound. Table with EQ on a section to cut it through the mix. Track builds up to the peak, which is the main theme and how it fades out. The peak loses the polyrhythm and goes to a 4/4. A lot of different parts that come in and go out in different sections. Automation of quite a few parameters, likes to make sounds a little bit wonky for variation. Same pad for outro as intro – piano with attack removed, sequenced, load of reverb, delay, modulation. Always keeps the master channel clean. The whole album was made in the same arrangement. Creates and makes things in the moment, doesn’t plan out beforehand. Big sounds and pads, uses distortion to bring the sounds out, early in the signal chain.