![]() ![]() You can use the freeze to file option in the freezing window to do this quickly. Bouncing your components individually (which is what I will do for my example) will allow you to make further edits to each of the stems. However, it denies you any further individual manipulation of the components. This method is consolidating and can evoke just as much interest as the longer method, especially if you do not plan to play the sound across a big range of the keyboard. The easy way would be to bounce the entire 2-mix and drop that into a sampler. Mixed or Individual – There is an easy, somewhat limiting way and a more comprehensive way to implement your components into the overall sound. The Master output should sound something like this now…. Again, it is best to keep these changes subtle as they will be exaggerated by later processes. ![]() ![]() #DETUNE MP3 FREE#It is best to avoid reverb for now since we will be adding it later to the group.Īutomate – Feel free to automate the panning, level, and FX parameters on the tracks. Smart choices for this step include: EQs, gate sequencers, delay, volume LFOs, phasers, chorus, and flangers. Individually Process (Optional) – If you want, you can add some subtle uniqueness to the components by dropping an effect on their signal chain. This sounds very natural because non-perfect and non-octave intervals exist at lower levels in the harmonic series. For my example, I used major thirds and sevenths but at very low levels. Again, although it is interesting to have non-perfect and non-octave intervals in the sound, make sure they do not influence the fundamental too much. This includes everything from subtle detuning to octaves. Tune and Detune the Pitches – Modify the pitch of the oscillators within the synths. Also, remember the note you chose to call 0, you will need this information later. It is best to avoid a hierarchy of transposition, which usually over-complicates the process and throws off the overall harmony. This will allow you to transpose pitches within the synthesizers without offsetting the 0 point. ![]() Then, make it the same note or separate them by octaves. Create the necessary amount of synth/sampler instances you will need.ĭraw the Notes – Next, draw one relatively long note for each track – at least 10 seconds long. Layered sounds typically highlight multiple timbres, like Absynth and Omnisphere do. Stacked sounds typically share the same timbre – so keep those simple, like sine waves or filtered sawtooths in FM8 or Massive. Pick the Synths – Firstly, decide how many components you want to have and whether they will be stacked (like a salad) or layered (like a sandwich). However, using the power of bouncing and resampling, you can consolidate your non-playable layers and stacks into one epic, playable sound. #DETUNE MP3 SOFTWARE#The composites are playable in this nature, unlike most stacks and layers in software – which are usually divided among separate instances (unless of course the composite consists of just a few modules). Before the recent explosion of software synths, stacking and layering was done using keyboard hardware that featured multi-timbral, split, and unison modes. They both involve combining multiple sounds to synthesize something larger. As you may already know, stacking and layering are very popular and effective techniques used in electronic music production. ![]()
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