| Author
|
How to shuffle synths?
|
alajarvela
IsraTrance Junior Member
Started Topics :
20
Posts :
130
Posted : Jan 13, 2013 20:39:26
|
I know how to make your basic beats and bass. Synthesizing the sounds for psy isn't that "hard" either but what I'm struggling most with, is structure.
Now I'd like to ask do you have any tips or learning resources on how to shuffle between small sounds and synths to create a sort of "question and ask" relationship?
https://soundcloud.com/mentalsubstance/faders-feelings-mental
I feel this track after 39seconds is a great example, lots of different small sounds that fit together etc. |
|
|
PoM
IsraTrance Full Member
Started Topics :
162
Posts :
8087
Posted : Jan 13, 2013 21:20
|
|
haven t listened the sample but a easy way to make question anwser is to first write one melodie , then copy it on 2 or 3 tracks or more with different presets and erase some notes here and there to get the effect wanted,stuff like this |
|
|
|
c2c
Started Topics :
1
Posts :
8
Posted : Jan 13, 2013 22:10
|
Hey there.
Couple things to point:
1. Your sounds could vary in EQ (one sound in mid-freqs, other in higher freqs f.e.)
2. One sound is delayed, other is not delayed
3. One is with closed cutoff, other with open cutoff
--
Also you must decide are your question and answer sounds will be either similar or different (chord and fx, fx and fx, band pass automated cutoff vs not automated cutoff..)
For lessons I would just copy things you hear in your favorite tracks.
My two cents:
your example track is boring, monotonic and wihtout general structure (one part as whole track). |
|
|
|
knocz
Moderator
Started Topics :
40
Posts :
1151
Posted : Jan 13, 2013 22:20
|
Listening to the example (which I profoundly regretted), he glitched up the synth line to make a small buildup. That section olny has has a raise sound, a percussive sound, a stab and the pad. However, there isn't a typical "question-response here".. its all about the mix, to make them fit together.
But what your asking isn't only about synths, it goes for acoustic instruments as well. To simplify a lot, you should make it work at 2 levels:
-sound design: the various parts shouldn't clash together or fight (unless that's what you want), so each should have it's space in the mix. If they must use the same space, then at least try so they aren't using it at the same time (sidechain can do wonders here)
-musical concept: the various parts should respond to each other musically - this is all about melody, harmony and rhythm (basically what notes are playing, and how the are played). Much can be said here, but it's best for you to find (and define) your own music theory, as what's good for me can be horrible for you. Also, producers tend to automate parameters musically (and in psy it's become a must) so try to relate musical concepts to those.
Listening back at the tune (argh..), the mix is very minimalistic, and although he's got lots of little sounds, they aren't playing at the same time or in the same space.
Try just jamming with a few synths and effects and make a bunch of little sounds with delays and reverbs (recording them as audio as you play with the synth - don't forget to twist every single knob while recording  ), and then sort the recordings out->cut them up by the sounds you like. After doing this 3 or 4 times with different synths and effects you've got more than enough to fill a track with beeps, blips and stabs. Then start putting them in the mix, seeing what's missing and searching you a sound that might fit.
To know what's missing, try to contrast what's already there, say oyu have a boing in the center, with some mids and lows, then try to get something that's really open in the stereo (like bouncing left and right) and using the mid highs - you cant go wrong. then keep the second sound goind, but find something to replace the boing with. If you can manage 3 synthlines (plus perc and beat), you've got it done.
Keep experimenting and just try to do your own thing. Super Banana Sauce http://www.soundcloud.com/knocz |
|
|
|
alajarvela
IsraTrance Junior Member
Started Topics :
20
Posts :
130
Posted : Jan 14, 2013 00:15
|
You're right, the example track as a whole isn't the best but I just ran into it today and it had the kind of shifting between different sounds that I happen to like so I thought it might get the point across 
Mix-wise I can handle things, theory isn't the hard part for me but rather the creative side. So I'm struggling to make some interesting.
But yeah, the thing I'm going for are small sounds that aren't playing at the same time but have some space and rhythm between each other.
Thanks for the tips guys! |
|
|
|
ansolas
IsraTrance Full Member
Started Topics :
108
Posts :
977
Posted : Jan 14, 2013 15:59
|
|
mubali
Mubali
Started Topics :
71
Posts :
2219
Posted : Jan 25, 2013 11:08
|
a technique I use to simulate a call and response is by making two busy synth lines (16th note based rhythm with a few longer notes to provide accent) each with a different timbre and using something like a tremolo or autopan to cut up the sounds. I set the rate for the tremolo on the first sound, and then use the same settings but inverted for the second sound. Because they are triggering in opposite of each other, the sounds have a sort of conversation. I do several groups of these "two-instrument conversations" and set each conversation group's tremolo to be a bit different than each other, so it helps create some complexity. You do have to bear in mind that some sounds between the conversation groups will overlap, so making sure the right sounds are playing at the right time is key.
Another option with any sort of evolving rhythmic sound is to manually cut up chunks. You can just search for the good hits and use those as recommended in an earlier reply, or you can just cut the audio into parts and space out their placement in the arrangement. Say you have a four-bar synthline that you want to make eight bars or longer. By chopping that part into one bar sections, you can now arrange the pieces to play for one bar, and then one bar of silence followed by another bar of the continuing part that is also evolving over time, and so on. This space that is created just begs to be filled, or not to be filled if you want to play with the energy level.
I've built a few things in Live as well as Logic that will take midi information coming from a singular track and split it between multiple instruments. I'm a big fan of call and response, and was trying to find different ways to go about the process.
An Eagle may soar, but Weasels don't get sucked into jet engines. |
|
|
|
snowdogg
IsraTrance Junior Member
Started Topics :
17
Posts :
482
Posted : Jan 25, 2013 19:43
|
nice info this is an interesting topic!
sounds very random (loads of one-shots taking turns)
ive had ok results just dragging around a bunch of audio clips around a couple of audio tracks (so you can layer if needs be)
i love these type of leads but i cant really figure out a standard method for getting it to sound like that.. maby start with the most prominent stab (most imortant for the groove) and build more one-shots around it. (kind of like laying down drums - start with kick etc) |
|
|
|
snowdogg
IsraTrance Junior Member
Started Topics :
17
Posts :
482
Posted : Jan 25, 2013 19:44
|
Quote:
|
On 2013-01-13 22:20, knocz wrote:
Listening to the example (which I profoundly regretted)
|
|
start of the tune is ok
haha then that vocal "you can run run run" *CRINGE*
holy shit almost makes me feel sick:) what were they thinking!!? "Swedish Psytrance Mafia" |
|
|
|
|
