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Progressive psytrance pad questions...
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iDeaL_Psy
Started Topics :
5
Posts :
5
Posted : Mar 1, 2016 21:48:39
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how can i make a intro like pad and what sounds should i align with the pad i was thinkin some parts of the melody but i just cant seem to get it fit in with the pad what type of sounds can i introduce in the pad acid? plucks? leads? and fx? but how do i make these all to fit it? im totally lost here |
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frisbeehead
IsraTrance Junior Member
Started Topics :
10
Posts :
1352
Posted : Mar 1, 2016 23:26
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Do the opposite: if you have a melody going, why not build some chords from those notes and use them for your pad? It will even give a hint of what's coming next, the elements will sound harmonized and make sense together, so it's quite a no brainer.
Pick some sounds from your arrangement and use them more sparsely, make a new arrangement from them. Process them in different ways. It all helps to build a narrative. Think about the flow, how it evolves, how one part translates into the next. Cheers |
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knocz
Moderator
Started Topics :
40
Posts :
1151
Posted : Mar 2, 2016 14:04
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^^ that this guy said ^^ 
Sound design wise - so when you get your composition to sound solid and together - can be a bit tricky. You can easily loose hours of your life just swapping between presets, and it'll seem like every one is not in sync or not fitting together. But IMO this is only in your brain, due to the contrast you've "burnt in" while spending hours listening to the same loop over and over again.
Just think of it, you can have an acoustic guitar playing, and you can literally put whatever you want  A female voice? A male one? A big black dude? Someone like "Dani Filth"? No problem. Same guitar loop, would it fit with a squeaky LFO FX lead? Yeah, Globular has done it a bunch of times. You can layer it with drums (sounds with a very high attack), other pads (sounds typically with slower attacks), "dub plucks", raging filtered saw leads that tear up the skies, and the softest glass piano that would break if you ever played it with more then 64 velocity.
Here, my friend, it's all about the contrast. When I build up the sound design part of production, I always like to point somewhere, to have a goal (and have got more efficient getting there as the years go by), but free-style is the way and really everything is legal, there are not "wrongs". Let you imagination run wild.
So, lets split it up as simple as I can explain it Divide, and conquer.
After the "composition" (so which notes you play where), the "instrumentation" (where you choose and create the sounds you want to play, with effects and whatnot), and the "recording" (which takes up your performance, if you are going to play it yourself, perfect If not, perfect as well.. There are no wrongs. This stage is about playing and recording the actual sound), you need to go for the "mixing".
For the the "mixing" you want to focus on how the sounds are "placed in a mix", so you take all your stuff you got and make them fit together in context of the whole tune. So, after you got your musical idea down, you can use effects and volumes and EQ's and stuff to make them seems like they are played together, make them fit together.
There are really tons of tools and knowledge about mixing, but "in the old days" it's considered a separate part of music making, but nowadays since everyone with a home PC is a mega-producer (yours truly included  ), the boundaries have been split wide open, and we're mixing while your making sound design, and while your are still composing your melodies and harmonies and making the sound structure. It's a "cascade methodology", where we can feedback information from the further steps to previous ones (without meetings with a bunch of guys, since 1 person did 1 task  ), but it's soo easy to get lost.
I hope this helps you find your way, and if you really don't have a clue on how to make something fit, or what to do, just post your tune-in-progress on the forum and ask for some help
Cheers!
 Super Banana Sauce http://www.soundcloud.com/knocz |
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