Wanna warp the hell out of a bass? I know I do. Here's one way to go about it on Ableton. 1. Add Operator 2. Play in one note for 2 bars 3. Add Saturator and turn up the drive 4. Add Amp, switch it to bass and crank up the gain 5. Add Overdrive and find a sweet spot with some more distortion 6. Add Echo and set the delays to Time and then set them very short. Around 30 ms. Up the input and set the feedback to about 30%. It should be adding an interesting metallic chorus...
After last week's writing session I have gone away and finished the writing and arranging. This week we will have a run over what I've done to the track and then start a live mix down.
Created originally by Kevin Saunderson under the alias Reese in his 1988 track “Just Want Another Chance” which was sampled by Renegade & Ray Keith in their 1994 track “Terrorist”. It has gone on to basically mean any sustained gnarly bass sound and can be heard in tons of dnb, speed garage and all sorts of other genres. Insert Wavetable 1. In Osc 1 stick with the basic shape and bring it all the way to the top for a full square wave 2. Set the effect mode to Classic and set the PW to 66% 3. Turn on the...
I'm putting on my brave face and breaking out the fresh project again. It's banger time.
In this video I am going to show you how to create a sidechained reverb rack on Ableton and then how you can go crazy with the reverb tail to create a lazer style rhythm. 1. Add Reverb 2. Create Rack (cmd+G) 3. Show chain list (little yellow toggle on the left side of the rack 4. Duplicate the chain 5. On the second chain delete the reverb and rename that chain “dry”. Call the original chain ‘Wet’ 6. On the reverb that’s left on the Wet chain set it to 100% wet and increase the decay time to...
In tonights session we will take a look at mine and Baby Rollén's track I C Jangles that I put out on Holding Hands 003. Looking closely at the wave form for the liquid pouring and the mouth flicking drip drip noises.
One of the main reasons that arrangements seem stale and hard to focus on is because the transitions are often unimaginative. Each idea comes in exactly where you expect, on the first beat of a new phrase. In this video I go over a few different types of techniques that I use to make my transitions more interesting.
It's a problem as old as time. You get a sick loop going, everything is feeling vibesy as hell. You're dancing around the studio having the time of your life and feeling like bloody David Guetta crossed with Dr. Dre. All of a sudden the realisation hits you. You can't accept the Grammy just yet, because you haven't arranged the loop into a full track yet... You stare at the big grey expanse of the timeline with nothing on it and your heart sinks. How are you meant to fill all that space with your sick loop? Which bits...
I will be going through my track Taking It Out For A Rip which came out on Touch From A Distance. We will look at all the parts. How they were made and how they fit together to make the track.
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