ABSTRACT
INTRODUCTION 7HEN IT COMES TO SOUND DESIGN FORMELODIC SOUNDS THERE ARE SEVERAL BROAD CATEGORIES OF SOUNDSWE SHOULD CONSIDER BASS PADS STABS LEAD SOUNDS AND ARPEGGIATED SOUNDS 4HIS IS NOT A COMPLETE LIST BUT IT COVERS MOST TYPES OF SOUNDSYOUSHOULDNEED)TDOESNTREALLYINCLUDEMANYACOUSTICINSTRUMENTS BUT YOUREMOST LIKELY TO USE SAMPLES FOR ACOUSTIC SOUNDS RATHER THAN TRY TO PROGRAMASYNTHVERSIONOFTHEM(OWMANYOFTHESEARERELEVANTTOTHEPAR TICULARGENREOFMUSICYOUMAKEDEPENDSALOTONTHATGENREBUTWEWILLTAKEA LOOKATEACHOFTHEMINTURNHERETOMAKESUREYOUHAVEALLBASESCOVERED
)HAVENTGONEINTODETAILABOUTHOWTOPROGRAMSPECIlCSOUNDSASTHATCOULD EASILYlLLUPANOTHERBOOKOFTHISSIZEALLONITSOWN)NSTEAD)LOOKATTHEFAC TORS YOU SHOULD CONSIDER WHEN PROGRAMMING OR SAMPLING SOUNDS OF EACH TYPEANDTHEKINDSOFCHALLENGESYOUMIGHTCOMEUPAGAINST
BASSES 4HEBASS IS A FUNDAMENTALLY IMPORTANTASPECTOFDANCEMUSICANDASA RESULT THEREISPROBABLYMOREEMPHASISPUTONITTHANANYOTHERSINGLETYPEOFMELODIC SOUND4OMAKEMATTERSEVENMORECOMPLEXTHEREARETWOFUNDAMENTALLYDIFFER ENTAREASOFBASSSOUNDSSYNTHBASSANDACOUSTICBASS
4OSTARTWITHWELOOKATPROGRAMMINGSYNTHBASSSOUNDSBECAUSEFORTHEMOST PARTATLEASTSYNTHBASSSOUNDSAREUSEDINASEQUENCEDORKEYBOARDPLAYED MANNER"ECAUSEOFTHISYOUDONTNEEDTOCONSIDERWHETHERTHESOUNDISLIKE A REAL BASS PLAYER IN YOUR TRACK 4HIS MAKES PROGRAMMING THE SOUNDS EAS IERBECAUSE LESS EMPHASISNEEDS TOBEPUTON THEPERFORMANCEASPECTSOF THE SOUND4HATSNOTTOSAYTHATSYNTHBASSSOUNDSCANNOTBEEXPRESSIVEANDmUID BUT THEEXPRESSIONHAPPENS INADIFFERENTWAYANDONETHAT ISNTUPFORCOM PARISONAGAINSTANALREADYESTABLISHEDBENCHMARK
4HE BIGGEST PROBLEM WITH ANY SYNTH BASS SOUND AS OPPOSED TO ACOUSTIC OR hLIVEvBASSSOUNDSISTHATTHEYARECAPABLEOFGENERATINGEXCESSIVELOWFREQUEN CIES 3YNTH OSCILLATORS DONT HAVE THE PHYSICAL CHARACTERISTICS AND THEREFORE
CONSTRAINTSOFACOUSTICORINTHISCASEELECTRIC INSTRUMENTSSOTHEYAREINTHE ORYATLEASTCAPABLEOFGENERATINGFREQUENCIESTHATGOFARBEYONDTHERANGEOF THEHUMANEARBOTHHIGHERANDLOWERTHANOUREARSCANREGISTER4HISCANBEA PROBLEMBECAUSEITISENTIRELYPOSSIBLETHATASYNTHESIZERCANGENERATEFREQUEN CIESTHATWEOURSELVESCANTHEARBUTWHICHCANHAVEAHUGEIMPACTONOURlNAL MIXBYDECREASINGHEADROOMANDPUSHINGOTHERAUDIBLE SOUNDS INTODISTOR TION!SSUCHTHElRSTTHING)ALWAYSDOWHEN)AMPROGRAMMINGASYNTHBASS SOUND IS TOPUTA SIMPLEHIGH PASSlLTER AT LEASTD"OCTAVEBUTPREFERABLY OREVEND"OCTAVE SETTO(ZACROSSTHECHANNELTOMAKESURENOINAU DIBLESUBSONICFREQUENCIESGETTHROUGH
!NOTHERFACTORTOCONSIDERWITHTHEREALLOWENDOFBASSSOUNDSISTHEKEYOFTHE REMIX4OILLUSTRATETHISLETSCONSIDERASIMPLESCENARIOWHEREWEHAVEABASSLINE THAT SIMPLY CHANGES FROM THE ROOTKEY TO THElFTHˆFROM# TO' FOR EXAMPLE )N THIS CASE THE FUNDAMENTAL FREQUENCIES OF THOSE BASS NOTES WOULD EITHER BE (ZOR(ZFORTHE#AND(ZOR(ZFORTHE'&ORTHEPURPOSESOF THISILLUSTRATION)AMIGNORINGTHEOPTIONOFUSINGTHELOWER'WITHAFUNDAMENTAL OF(ZBECAUSEVERYFEWMONITORINGSYSTEMSWOULDBEABLETOREPRODUCETHIS )N FACT EVEN THE LOWEROPTION FOR THE#OF(ZMIGHTBEPUSHING ITON THE MAJORITYOFSMALLERMONITORS3OLETSSAYWEUSETHE#(Z AND'(Z OPTIONS"ECAUSETHESEFREQUENCIESAREPRETTYLOWTHEBASSSOUNDWOULDFEELLIKE ITHASALOTOFWEIGHT)FWEWANTEDTOSHIFTBOTHOFTHESEUPSEMITONESSOTHAT WEWOULDBEUSING%AND"WEWOULDHAVETHEOPTIONSOF(ZOR(ZFOR THE%AND(Z(ZOR(Z FOR THE" )FWEHADSIMPLY TRANSPOSED THEWHOLEBASSLINEUPSEMITONESWEWOULDENDUPUSINGTHE%(Z AND" (Z !SARESULTTHEBASSLINEWOULDNOWFEELLIKEITHADLESSWEIGHT!TTHIS POINTWEHAVEA COUPLEOFOPTIONS7ECANEITHER TRANSPOSE THE%DOWN TO THE LOWEROCTAVEOF(ZORWECOULDSIMPLYADDASUBOSCILLATORTUNEDANOCTAVE DOWN TO THESOUND )NSOMECASESSHIFTING THENOTEWILLWORKBUT INOTHERS IT MIGHTNOTBECAUSETHENOTEYOUWANTTOTRANSPOSEMAYBEPARTOFAMELODICBASS LINE)NTHISCASETRANSPOSINGTHENOTEDOWNANOCTAVEMIGHTRUINTHEmOWOFTHE MELODY%ITHERWAYTHISWOULDGIVEEXTRAWEIGHTTOTHESOUND)FWEDOTHISTHEN THELOWERSUBHARMONICOFTHE"BECOMES(ZWHICHISONCEAGAINPUSHING THELIMITSOFAUDIBILITYONSMALLERSPEAKERS
!SYOUCANHOPEFULLYSEEITCANBECOMEACASEOFJUGGLINGTHEOSCILLATORTUNINGS AND SUBOSCILLATOR LEVELS AGAINST TRANSPOSING INDIVIDUAL NOTESWITHIN THE BASS LINE TOKEEPTHEMELODICSTRUCTURE INTACTBUT THEREWILLALWAYSBEAGOODBAL ANCETOBEHAD)TSCERTAINLYSOMETHINGTOKEEPINMINDWHENYOUAREACTUALLY PROGRAMMINGTHESOUNDBECAUSE THEREARE TIMESWHENASOUNDTHAT ISAMAZ INGONONENOTEDOESNTWORKSOWELLONOTHERS7HENYOUTRYTOSHIFTTHEBASS NOTEUPORDOWNITMAYLOSEDElNITIONMOVINGDOWN ORWEIGHTMOVINGUP )FTHISHAPPENSTHENYOUCANEITHERTWEAKTHESOUNDITSELFORLOOKTOMOREELAB ORATEMEANSSUCHASAUTOMATIONOFCERTAINPARAMETERSINORDERTOGETAROUND THIS/NCETHEREALLOWENDOFTHESOUNDHASBEENDEALTWITHITSTIMETOLOOK ATTHEHIGHERFREQUENCIESOFTHESOUND
4HEHIGHERHARMONICSGENERALLYPRESENT FEWERPROBLEMSSINCE THEYAREHARDER TOHEARBUTTHEREARESTILLCERTAINTHINGSTOTAKEINTOACCOUNT4HEMAINONEIS HOWMANYOTHER SOUNDS ANDWHATKINDSOF SOUNDS ARE IN THE TRACK )F YOU KNOWORAREPRETTYSUREATLEASTTHATYOURlNALMIXWILLBEMINIMALANDWONT HAVE LOTSOFMIDRANGE SOUNDS THENYOUWILLWANT TOHAVEABASS SOUND THAT ISMOREOPENANDEMPHASIZES THEHIGHER FREQUENCIES!FTERALLYOUWILLNEED TO lLL UP THE FREQUENCY SPECTRUM SOMEHOW )F ON THE OTHER HAND YOU ARE FAIRLY SURE THAT YOURMIXWILLHAVE A LOTOF THINGS GOINGON IN THEMIDRANGE YOUMIGHTBEBETTEROFFWITHABASS SOUND THAT ISMOREhSUBBYvANDHAS LESS HIGHFREQUENCIESINIT INORDERTOMAKESOMESPACEFORTHOSEOTHERSOUNDS)F INDOUBT)WOULDPROGRAMASOUNDTHATHASMOREHIGHFREQUENCIESTHAN)FELT) WOULDNEED)TSEASYTHENTOTAMEANYEXCESSTHROUGHASIMPLELOW PASSlLTER
!NOTHERTHINGYOUMIGHTWANTTODOISHAVEAlLTERENVELOPEAPPLIEDSOTHAT ATTHEVERYBEGINNINGOFTHENOTETHEREAREMOREHIGHERFREQUENCIESTHANINTHE SUSTAININGPARTOF THESOUND"YDOINGTHISYOUCANMAKETHEBASSSOUNDCUT THROUGHTHEMIXANDGIVEMOREDElNITIONTOTHEBEGINNINGOFTHENOTES4HIS WILL INTURNMAKESURETHAT THETIMINGSOUNDSREALLY TIGHTANDGIVEASOUND THAT IS FOR THEMOSTPARTNOTOVERLYBRIGHT4HIS TECHNIQUE ISUSEDA LOT4HE ACTUALDECAYTIMEANDSUSTAINLEVELOFTHElLTERENVELOPEHASAHUGEIMPACTON THEOVERALLTONEOFTHESOUNDANDISCERTAINLYWORTHEXPERIMENTINGWITHEVENIF YOUFEELTHATTHESOUNDWORKSREALLYWELL7HICHBRINGSUSTOTHENEXTPOINT…
!NOTHERTHINGTOCONSIDERISTHEPACEOFTHEBASSLINE)FTHEBASSLINEISSLOWER ANDMOREmUID THEN THEDECAY ANDOR RELEASE PORTIONS OF ANY ENVELOPES CAN PROBABLYBESETTOSLOWERVALUES!FASTERORMOREBOUNCYBASSLINEWILLBENElT FROMQUICKERDECAYANDRELEASETIMESTOGIVEMOREhSNAPPINESSvTOTHESOUND 4HERE ISNO RULE THAT STATES THAT THINGShave TOBE THISWAY BUT ITS DElNITELY WORTHlNE TUNINGTHESOUNDTOGETITTOlTJUSTRIGHTINTHEMIX)HAVEONOCCA SION PROGRAMMED TWO DIFFERENT VERSIONS OF THE SAME BASS SOUNDˆDIFFERENT ONLY IN THEDECAYANDRELEASE TIMESˆTOUSE INDIFFERENTSECTIONSOF THE TRACK 9OU COULD PROBABLY ACHIEVE THE SAME EFFECT USING AUTOMATION IN YOUR$!7 BUTHAVINGTHETWODIFFERENTSOUNDSSUITSMYWORKmOWBETTER4HEEFFECTISTHE SAMEEITHERWAYASOUNDTHAT ISPERFECTLY TAILOREDTOTHEDIFFERENTSECTIONSOF THETRACKWHENTHEREISACHANGEINPACEBETWEENVERSEANDCHORUS4HISWONT APPLY IN EVERY SITUATION BUT FOR THOSEWHERE IT COULD HELP DElNITELY GIVE IT ATRY-OSTOFUSUSEAUTOMATIONREGULARLYBUTFORMANYTHElRSTCANDIDATEIS lLTERCUTOFFTOOPENASOUNDUPTOEMPHASIZECERTAINSECTIONS4HISDOESWORK BUTISNTTHEONLYOPTION
4HERE IS HUGE AMOUNT OF SCOPE FOR PROGRAMMING SYNTH BASS SOUNDS AND THEY CAN RANGE FROM THE SIMPLEST SUCH AS THE BASIC SAWTOOTH WAVE USED IN h3ATISFACTIONvBY"ENNY"ENASSI TO THEMORECOMPLEX SUCHAS THEONEUSED BY#ALVIN(ARRISINh!CCEPTABLEINTHESvWHICHSOUNDSLIKEITHASFORMANT lLTERSAPPLIED 0ERHAPSMOREFORBASSSOUNDSTHANANYOTHERKINDOFMELODIC SOUNDTHEPARTICULARSYNTHORPLUG INYOUUSEWILLHAVEAMAJORIMPACTONTHE
lNAL SOUND/F COURSEWHEN YOUMENTION SYNTH BASSMOST PEOPLE IMMEDI ATELY THINK-INIMOOGBUT THEREAREMANYOTHERWAYSOFACHIEVINGHUGEBASS SOUNDS!ND INDEEDYOUDONTALWAYSWANTAHUGEBASSSOUND3OMETIMES) HAVE FOUNDMY-OOG WELLMY!RTURIA-INIMOOG BASS SOUNDS ARE JUST TOO DOMINANT SO )HAVEENDEDUPUSING SOMETHING THAT SITSBETTERWITH THEKICK DRUMINSTEADRATHERTHANATTEMPTINGTOTAMETHEBASSSOUNDUSINGCOMPRES SIONAND%1
h,IVEvBASSSOUNDSPRESENTUSWITHLESSOFAPROBLEMBECAUSEYOUWILLBEUSING EITHERA REALBASSORA SAMPLEOFONE SO THEBASIC TONEWILLALREADYBE THERE 4OMAKEANYCHANGESTOTHETONEYOUCANUSECOMPRESSION%1ANDPOSSIBLY RE AMPINGEITHERTHROUGHAREALAMPORANAMPSIMULATORPLUG IN /FCOURSE THE ACTUAL BASS GUITAR USED IN THE lRST PLACEWILL HAVE AN EFFECT ON THE BASIC TONEBUTTHEREISFARLESSVARIATIONINhLIVEvBASSSOUNDSTHANTHEREISINSYNTH BASSSOUNDS
7HETHERYOUUSEASYNTHFORYOURBASSSOUNDORALIVEBASSORINDEEDACOM BINATIONOFTHETWOONCEYOUHAVETHEBASICSOUNDYOUCANAPPLYANYOFTHE USUAL EFFECTS "E WARY OF USING REVERB HOWEVER OR TO A LESSER EXTENT DELAY EFFECTS"OTHOFTHESETIMEDOMAIN EFFECTSCANSMEARTHEBASSSOUNDSOTHAT ITBECOMESDIFlCULTTOTELLWHEREONENOTEENDSANDTHENEXTSTARTS7ITHBASS SOUNDSPERHAPSMORETHANOTHERSOUNDSHAVINGACLEARLYDElNEDATTACKTOTHE SOUNDCANBECRUCIALINDElNINGTHEGROOVEOFTHETRACK4HEREARETIMESWHEN) HAVEUSEDBOTHREVERBANDDELAYONBASSSOUNDSBUTINTHOSEINSTANCES)USED AHIGH PASSlLTERTOREMOVETHELOWERFREQUENCIESBEFORETHEEFFECTWASAPPLIED 4HATWAYWHAT)GOTWASONLYTHEHIGHERPARTOFTHESOUNDWITHADDEDREVERB ORDELAY)NTHERIGHTCONTEXTTHISCANBEAREALLYNICEEFFECT!LITTLElNE TUNING GIVESYOUEXACTLYTHERIGHTBALANCESOITFEELSLIKETHEREVERBORDELAYBELONGSTO THEBASSSOUNDWHILEMAKINGSUREITDOESNTCLOUDORSMEARIT
)COULDGOINTOMUCHMOREDETAILABOUTPROGRAMMINGBASSSOUNDSASWELLAS ALLOFTHEOTHERS BUT)RECOMMENDYOUCONSULTTHEMANYRESOURCESANDTUTO RIALS THATARE FOCUSEDONTHESPECIlCSOFPROGRAMMINGTHESEKINDSOFSOUNDS 7HAT ) PROVIDEDWASMORE OF AN OVERVIEWOF THE DECISIONS YOUMIGHTMAKE ABOUT THEKINDSOF SOUNDSYOUWANT RATHER THAN TOOMUCHDETAILABOUTPAR TICULARSETTINGS7ITHTHATSAIDWECANMOVEUPTHEFREQUENCYRANGEALITTLEAND LOOKATPADSOUNDS
PADS ! PAD SOUND IS A SUSTAINING SOUND OFTEN WITH A SLIGHTLY SLOWER ATTACK AND LONGER RELEASE TRADITIONALLY USED TO IMITATE A STRING SECTION OR CHORAL TONES ,ITERALLY THEY PAD OUT THE BACKGROUND OF A TRACK 4HE ORIGIN OF PAD SOUNDS IS THESTRINGSYNTHESIZERS FROMTHE LATES4HESE INSTRUMENTS TRIED TO REP LICATE THE EFFECT IF NOT THE ACTUAL SOUND OF A STRING SECTIONPLAYING TOGETHER 7HILE THEYDIDNT SOUNDVERYMUCH LIKEA REAL STRING SECTION ITDIDNTMATTER TOOMUCHBECAUSETHEIDEAITSELFWASTOTALLYREVOLUTIONARY-ODERNSYNTHESIZERS
AND SAMPLING TECHNOLOGY ARE LOADED WITH EVERY STRING SOUND IMAGINABLE WHICHDOAGREAT JOBATIMITATINGTHEREALINSTRUMENTS3ODOESTHATMEANWE DONTNEEDTHEHUMBLEPADANYMORE
/FCOURSEITDOESNT!REALSTRINGSECTIONCANPRODUCEATRULYBEAUTIFULSOUND BUTITDOESNTMEANTHATTHATSOUNDWILLBERIGHTFOREVERYOCCASION!LTHOUGH REALSTRINGINSTRUMENTSAREHUGELYEXPRESSIVEANDVERSATILEINTHERANGEOFTONES THEYCANPRODUCETHEYWILLNEARLY ALWAYSHAVEARECOGNIZABLESOUNDTOTHEM 3OMETIMESTHATSOUNDCANBEALITTLETOOBRIGHTORALITTLETOOWOODY7EHAVE THEOPTIONTOCHANGETHATTOSOMEEXTENTWITH%1ANDlLTERINGBUTTHEREARE TIMESWHENEVENTHATWONTGIVEUSQUITEWHATWEARELOOKINGFOR3OMETIMES WE JUSTNEEDSOMETHINGA LITTLE SOFTERWARMERANDMORE ROUNDED4HEPOINT ISTHATEVENTHEMOSTBASICSYNTHPADSOUNDCANlLLUPSPACEINTHESAMEWAY A REAL STRING SECTION CAN BUT IN AMOREUNOBTRUSIVEWAY THAT SITSNICELY INTO AMIXWITHOUT EVERDOMINATING IT 4HATSNOT TO SAY THATPAD SOUNDS can’tBE MOREBRASHANDDOMINANTASTHEYCANBUTTHEYAREOFTENUSEDASANEFFECTIVE WAYOFJUSTMAKINGATRACKFEELMOREFULLANDCOMPLETEEVENIFTHEYAREVERYLOW INTHEMIX
!NOTHERCOMMONTYPEOFPADSOUNDISTHECHORALPAD!LTHOUGHTHISSHARESA LOTWITHASTRINGPADTHEACTUALTONEOFITISMOREAKINTOACHOIRHOLDINGASUS TAINEDNOTEOFTHEhAAAAHvORhMMMMvVARIETY!GAINWEHAVETOCONSIDERTHAT THEREARESOMEVERYCONVINCINGSAMPLEDCHOIRSSOIFWEWANTAUTHENTICITYTHEN USEASAMPLEBUTIFWEJUSTWANTTOimplySOMETHINGRATHERTHANHAVEITOBVI OUSLYTHERETHATSWHENWEWOULDUSEACHORALPAD0RETTYMUCHANYSUSTAINING ANDNONINTRUSIVEEVENTHATISNTAPREREQUISITEINSOMECASES SOUNDTHATCAN SERVEASAhBEDvFOROTHERSOUNDSISCLASSEDASAPADSOUND
7E HAVE ALREADY SEEN THAT PAD SOUNDS ARE SUSTAINING IN CHARACTER BUT THAT STILLLEAVESALOTOFROOMFORVARIATIONS4RADITIONALLYPADSOUNDSHAVESLIGHTLY SLOWERATTACKSANDLONGERRELEASESBUTTHISISNTALWAYSNECESSARYORDESIRABLE 4HEMOREABRUPTTHEATTACKANDRELEASESETTINGSARETHEMOREUPFRONTTHElNAL SOUNDWILLBE!NOTHER THING TO CONSIDERWHENPROGRAMMINGPAD SOUNDS IS JUSTLIKEWITHBASSSOUNDSHOWMUCHSPACEYOUWANTTHESOUNDTOlLLUP)TIS EASYTOGETCARRIEDAWAYWHENPROGRAMMINGPADSOUNDSANDENDUPWITHAN EPICANDMESMERIZINGSOUNDTHATISEVOLVINGCOMPLEXANDAWASHWITHEFFECTS )TSOUNDSSPECTACULARUNTILYOUTRYTOACTUALLYlTIT INTOAMIX4HISISAWELL KNOWNPHENOMENONSOMETIMESREFERREDTOASh0RESET3YNDROMEvBECAUSE INTHEGOODOLDDAYSOFHARDWARESYNTHSITWASUSUALFORTHElRSTPRESETSOUND TO BE SOMETHING HUGE AND IMPRESSIVE THAT BEGGED YOU TO PLAY IT 3OUNDS LIKETHATCOULDSELLASYNTHONTHEIROWNANDTHEYDOAGREAT JOBOFSHOWCAS INGWHATTHESYNTHISCAPABLEOF-OREOFTENTHANNOTTHOSESOUNDSWOULDBE UNUSABLE IN A TRACK BECAUSE THEY WOULD DOMINATE EVERYTHING AROUND THEM 4HATSNOTTOSAYTHATTHEYCOULDNTBEKNOCKEDINTOSHAPEWITHALITTLEEDITING BUTITJUSTPROVESTHATBIGGERANDMOREIMPRESSIVEISNTALWAYSBETTER
!PPLYING THIS TOPADSOUNDS THEMOSTOBVIOUS THING TODO ISbracket THE FRE QUENCY RESPONSE OF THE SOUND EITHER WHEN YOU ARE ACTUALLY PROGRAMMING
THE SOUNDOR LATER THROUGH%1ORlLTERING4HEBASS SOUNDYOUHAVECHOSEN ALONGWITHTHEKICKWILLALREADYBETAKINGCAREOFTHELOWESTFREQUENCIESAND MORETHANLIKELYTHELOWERMIDRANGEASWELL9OURPADSOUNDSHOULDAVOIDTOO MUCHREALLOWENDOTHERWISEITWILLCLOUDTHEBASSSOUNDYOUWORKEDSOHARD TOCREATE )FYOUAREUSING%1ORAHIGH PASSlLTER ) RECOMMENDUSINGAGEN TLERSLOPED"OCTAVEORMAYBED"OCTAVE ANDSETTINGTHECENTERFREQUENCY HIGHSOTHATTHETRANSITIONFROMBASSSOUNDTOPADSOUNDISGENTLE
$ECIDINGHOWBRIGHTYOUWANTTHEPADTOBEWILLAGAINDEPENDONYOURPRO DUCTIONSTYLEANDTHEREMIXINQUESTION!LLPROGRAMMINGDECISIONSSHOULDBE MADE IN CONTEXT !LTHOUGH ) RARELY START PROGRAMMING A SOUNDWITH THE REST OF THE TRACK PLAYING ) ALWAYSMAKE SURE THAT )MAKE ANY lNAL TWEAKS TO THE SOUNDWITH EVERYTHING ELSE PLAYING SO ) CAN HEAR HOW IT WILL SOUND IN CON TEXT 3OMETIMESWHAT YOUMIGHT THINK OF AS JUST A SMALL CHANGE TO A SOUND CANHAVEAHUGE IMPACTONITSSOUNDINTHEMIXOTHER TIMESWHATYOUTHINK SOUNDS LIKEAMASSIVECHANGEWHEN LISTENING IN ISOLATION ISBARELYNOTICEABLE INCONTEXT)WOULDHOWEVERAPPROACHPADSOUNDSINTHESAMEWAYAS)MEN TIONED FOR BASS SOUNDS PROGRAM THE SOUNDWITHMORE BASS AND TREBLE THAN YOUTHINKYOUNEEDANDTHENREMOVETHENECESSARYAMOUNTRATHERTHANUNDER ESTIMATE AND HAVE TO USE %1 TO BOOST FREQUENCIES OR FUNDAMENTALLY CHANGE THESOUND
'ETTINGTHERIGHTLEVELFORPADSOUNDSCANBEQUITEDIFlCULTASWELL)FANYTHING) WOULDMIXITALITTLELOWERTHANYOUFEELITSHOULDBE5NLESSYOUAREWORKINGON ANEXTREMELYMINIMALPRODUCTIONITISALWAYSMUCHEASIERTOlLLUPSONICSPACE THANITISTOEMPTYIT"YKEEPINGTHEPADSALITTLEMOREINTHEBACKGROUNDTHAN YOUMIGHTPERHAPSWANTTHEMTOBEYOUMINIMIZETHERISKOFTHEMlGHTINGTOO MUCHWITHOTHER SOUNDS )DONT THINK )HAVE EVERPROGRAMMEDAPAD SOUND ORANYOTHERTHAT)HAVEGOTRIGHTIMMEDIATELYANDHAVESETTHELEVELAND NOTLATERCHANGEDIT!SYOUADDMOREELEMENTSINTOYOURREMIXITISINEVITABLE THATYOUWILLGOBACKANDADJUSTTHINGS)NOTHERWORDSDONTGETCAUGHTUPIN THElNERDETAILSOFTHETONEANDLEVELWHILEYOUARESTILLGETTINGALLOFTHESOUNDS TOGETHER4HATCANWAITUNTILABITLATERINTHEPROCESS
STABS )NMUCHTHESAMEWAYASPADSOUNDSARECALLEDPADSBECAUSETHEYhPADOUTvTHE SONIC SPACE STAB SOUNDSARE SO CALLEDBECAUSE THEYARE SHORT STACCATO SOUNDS THAT ARE VERY PUNCHYˆAS YOU WOULD PROBABLY EXPECT FROM THE KNIFE RELATED NAME )lND STABSMOSTUSEFUL ASAWAYOFPLAYING CHORDS INA RHYTHMICWAY 7HEREAS A HELD PAD SOUND IS GREAT AS A BACKGROUND SOUND STAB SOUNDS ARE GOOD FOR ACCENTING THE CHORDS AND EVEN INCORPORATINGMELODIES )T IS ENTIRELY POSSIBLETHATASTABSOUNDCANCOMBINETHERHYTHMICFEELOFABASSSOUNDTHE MOVEMENTOFACHORDPATTERNAND THEMELODICNATUREOFA LEADSOUNDALL IN ONE!NDITISPRECISELYBECAUSEOFTHISUNIQUECOLLECTIONOFATTRIBUTESTHAT)lND STABSOUNDSTOBEAMONGTHEMOSTUSEFULANDINDEEDVERSATILE
7ITHTHISVERSATILITYCOMESVARIETYASWELLBECAUSESTABSOUNDSCANHAVECHARAC TERISTICSTHATINCORPORATEELEMENTSFROMBOTHBASSSOUNDSandPADSOUNDS4HEY CANBEREALLYHARSHANDCUTTINGORTHEYCANBESOFTERANDMOREROUNDED3OME STABSAREVERYHIGH INPITCHANDOTHERSEXTENDDOWN INTOHIGHERBASS TERRITORY 3OME ARE VERY SHORT AND STACCATO WHILE OTHERS HAVE LONGER ATTACK AND RELEASE TIMES(OWEVERALLOF THISVERSATILITYANDVARIETYDOESCOMEATAPRICE"ECAUSE STABSSOUNDSCANTAKEONATTRIBUTESOFBOTHBASSSOUNDSANDPADSANDTOALESSER EXTENTLEADSOUNDS ITCANBEACHALLENGETODIFFERENTIATETHEMENOUGHFROMTHE BASSANDPADSINTHETRACKSOTHATTHEYFEELLIKEANELEMENTINTHEIROWNRIGHT)TS IMPORTANTTOGIVETHEMTHEIROWNSPACEASWITHTHEBASSANDPADSOUNDS
&IGURESHOWSAMAPOFTHESONICSPACEFORMELODICSOUNDSATLEAST THAT COULD HELP YOU IDENTIFYWHERE EACH CATEGORY OF SOUNDS BELONGS 4HE VERTICAL AXIS REPRESENTS FREQUENCY LOWER FREQUENCIES AT THE BOTTOM AND HIGHER ONES AT THE TOP ANDTHEHORIZONTALAXIS REPRESENTS THEDEGREEOF RHYTHMICCONTENT MORELEGATOANDSUSTAINEDSOUNDSTOTHELEFTANDMORESTACCATOANDRHYTHMIC SOUNDSTOTHERIGHT
7HEN YOU LOOK AT THE POSITIONS OF THE lVE MAIN GROUPS OF SOUNDS DISCUSSED IN THIS CHAPTERITSHOULDBECOMEMOREOBVIOUSHOW YOU CAN lND SPACE FOR EVERYTHING IN A BUSY MIX(OPEFULLYYOUCANSEE THAT IFYOUHAVE TWOSOUNDSTHATFALLINTOTHESAMEPARTOFTHE FREQUENCYSPECTRUMTHENASWELLASTHEUSUAL %1 SCULPTING TO SEPARATE THEM IN THE FRE QUENCY DOMAIN ANDPANNING TRICKS TO SEPA RATETHEMINPHYSICALSPACEITISALSOPOSSIBLE TOSEPARATETHEMINTHETIMEDOMAINTHROUGH THEUSEOF CONTRASTBETWEEN LEGATOAND STAC CATO 9OU MIGHT NOT THINK ABOUT THIS CON SCIOUSLY ASWHEN YOUREWORKING BUT IT CAN BEUSEFULTOTRYTOVISUALIZETHESOUNDSINTHIS WAY FOR A SENSE OFWHAT YOUMIGHT NEED TO ADDORTAKEAWAYFROMTHEMIX
7ITHTHATSOUNDMAPINMINDYOUSHOULDBEABLETOSEEHOWSTABSOUNDSMIGHT WORK4HEYCAN TAKEON THE FREQUENCYHARMONIC CHARACTEROFAPADSOUNDBUT WITH THE RHYTHMIC ELEMENTS OF THE BASS 4HIS DOESNT MEAN THAT THE CHORDS OR SOUND HAVE TO BE IDENTICAL OR THAT THE RHYTHM HAS TO BE IDENTICAL )N FACT YOU WOULDNORMALLYCHOOSEASOUNDTHATWASCOMPLEMENTARYTOANYPADSOUNDAND POSSIBLYHAVEARHYTHMTHATWORKSINFULLORINPARTASACOUNTER RHYTHMTOTHE BASSLINETOPROVIDEANADDITIONALBOUNCE4HEREWILLALWAYSBETIMESWHENTHINGS HAPPENINUNISONSUCHASBASSNOTESANDSTABHITS ANDTHISCANBEIMMENSELY POWERFULBUTLETSKEEPOUROPTIONSOPEN
)N TERMS OF SONIC CHARACTERISTICS OF STABS WE HAVE TO CONSIDER THE BRACKETING THATWEDOWITHTHEFREQUENCYSPECTRUMOFAPADSOUNDASTHEYSITINASIMILAR
FREQUENCYRANGE7EALSOHAVETOCONSIDERTHEAMPLITUDEANDPOSSIBLYlLTERENVE LOPESTHATWEMIGHTUSEFORABASSSOUNDASWEWANTOURSTABSTOBESIMILARLY SHORT ANDPUNCHY ,ETS TRY A LITTLE EXPERIMENT ,OAD APLUG IN SYNTH INTO YOUR $!7NOTAMONOPHONICONEBECAUSEWEWILLNEEDPOLYPHONYFORWHATWEARE GOING TODO AND SPENDA LITTLEWHILE RUNNING THROUGHA FEWOF THEPRESETSOR SOUNDSYOUHAVECREATEDTOlNDAPADANDABASSYOULIKE.OTETHEAMPLITUDE ANDlLTERENVELOPESETTINGSFORYOURBASSSOUNDALONGWITHANYlLTERENVELOPE DEPTHSETTINGANDTHENGOTOTHEPADSOUNDANDTRYAPPLYINGTHOSESAMEENVE LOPESTOTHEPADSOUND7ITHANYLUCKWHATYOUWILLNOWHAVEISBASICALLYASTAB VERSIONOFTHEPADSOUND)NFAIRNESSSOMESTABSOUNDSOCCURBECAUSEWEONLY PLAYSHORTNOTESONTHEMANDIFWEWERETOHOLDDOWNTHEKEYSTHENTHESOUND WOULD SUSTAINMUCH LIKEAPAD9OUCANPROGRAM IN THE STACCATONATUREUSING ENVELOPES OR YOU CAN SIMPLY APPLY THAT STACCATO NATURE THROUGH THE WAY YOU PLAY%ITHERWAYITSTILLCOUNTSASSOUNDDESIGN
)NTHEREALWORLD)WOULDNEVERADVOCATEMAKINGASTABVERSIONOFAPADSOUND USEDINYOURREMIXBECAUSEEVENWITHPANNINGAND%1ANDTIMINGDIFFERENCES THESTABANDPADVERSIONSWOULDBEVERYHARDTODIFFERENTIATE(AVINGSAIDTHAT IFYOUAREPREPAREDTOPUTINTHETIMEITISPOSSIBLETOCREATEASINGLESOUNDTHAT CANWORKASEITHERAPADORASTABVERSIONBYHAVINGENVELOPETIMESANDPERHAPS lLTERMODULATIONDEPTHSASSIGNEDTOTHEMODULATIONWHEELOROTHERCONTROLLER 7ITHTHESOUNDSETUPIN THISWAY IT ISENTIRELYPOSSIBLE TOCREATEASOUNDTHAT CANMORPHFROMONETOTHEOTHER9OUCOULDPLAYAREGULARANDSTEADYTH NOTE RHYTHMOFTHESAMECHORDANDWHENTHESOUNDWASINTHEPADSETTINGITWOULD TOALLINTENTSANDPURPOSESSOUNDLIKEANORMALPAD"UTWHENYOUMOVEDTHE MODULATIONWHEELGRADUALLYTHEENVELOPEANDlLTERCHANGESWOULDSTARTTOTAKE EFFECTANDEACHTH NOTE CHORDYOUPLAYEDWOULD START TOBECOMEDISTINCTAND SEPARATED)TMIGHTTAKEALITTLELONGERTOPROGRAMANDSETUPASOUNDTOBELIKE THISANDYOUMIGHTDECIDEINTHEENDTOUSEITONLYINEITHERITSPADORSTABSTATE BUT YOU CAN ALWAYS SAVE IT AS A USER PRESET AND THEREMIGHTWELL COME A TIME WHENYOUNEEDASOUNDTHATDOESEXACTLYTHAT
/NElNALCONSIDERATIONFORSTABSOUNDSANDLOOKINGATOURSOUNDMAPAGAINIS THATALTHOUGHSTABSANDPADSARESEPARATEDINARHYTHMICSENSE)WOULDSTILLTRY TOGIVETHEMASMALLAMOUNTOFTHEIROWNSPACEINAFREQUENCYSENSEASWELL)F) HADAPADSOUNDTHATWASVERYSOFTANDWARMWITHOUTTOOMUCHHIGHFREQUENCY CONTENT )WOULD PROBABLY PROGRAM A STAB SOUND THAT HAD A LITTLEMORE OPEN NESSANDBRIGHTNESSANDPERHAPSALITTLELESSWEIGHTTOGIVESOMESEPARATION7E ARENTNECESSARILYTALKINGABOUTALOTOFDIFFERENCEHEREJUSTENOUGHTOBEHEARD #ONVERSELYIFTHEPADSOUNDWASQUITETHINANDBRIGHTTHEN)MIGHTUSEASTAB SOUNDTHATSALITTLESOFTERANDMOREMUTEDTOBALANCETHINGSOUT
LEAD SOUNDS !POSSIBLETHIRDDIMENSIONTOTHESOUNDMAPSHOWNIN&IGUREISMOVE MENT )TS ANOTHER WAY IN WHICH SOUNDS CAN BE DIFFERENTIATED FROM ONE
ANOTHER.OT IN THE TONAL SENSEBUT IN TERMSOFMELODY-ELODIC COMPLEXITY IS THE THIRD AXIS TO RHYTHMIC COMPLEXITY AND FREQUENCY 4WO SOUNDS THAT ARE SUPERlCIALLYSIMILARINTERMSOFTONALQUALITIESandRHYTHMICQUALITIESCANSTILL BEDIFFERENTIATEDBYUSINGADIFFERENTMELODY4HEDIFFERENCEHEREISMUCHMORE SUBTLETHANTONALORRHYTHMICCHANGEWHICHISWHY)DIDNTINCLUDETHATTHIRD DIMENSION IN THE ORIGINAL SOUND MAP 4HIS THIRD DIMENSION INCLUDES LEAD AND ARPEGGIATED SOUNDS ,EAD SOUNDS SHARE THE SAME FREQUENCY SPACE AS THE PADSBUTAREHIGHERONTHEMELODICCOMPLEXITYAXISWHILEARPEGGIATEDSOUNDS DESCRIBEDINTHENEXTSECTION AREINTHEGENERALDIRECTIONOFSTABSOUNDSBUT WITHMOREMELODICCONTENT
7HAT LEAD SOUNDS HAVE IN COMMON WITH PAD SOUNDS IS THAT THEY ARE OFTEN LONGERNOTESWITHMORE LEGATOAND SUSTAINING SOUNDS LIKE THEVOCALMELODY FOREXAMPLE4HEHUMANVOICEINTHISCONTEXTHASALLOFTHEREQUIREDQUALITIES COMPARATIVELYSUSTAINEDNOTESAMIDRANGESOUNDNOTOVERLYCOMPLEXBUTNOT REGULARLY REPEATING RHYTHMS EITHER AND MOST IMPORTANTLY MELODIC INTEREST /FTEN THEVOCALSWILLBE THEONLY LEADSOUNDS INASONGOTHER TIMESAGUITAR MAYHAVEAMELODYLINETOO-ELODIESARETHEMOSTMEMORABLEPARTSOFALOT OFSONGS-ANYTIMESYOUMIGHTHEARPEOPLEHUMMINGTHEMELODYTOASONG THEYHAVEHEARDEVENIFTHEYDONTREMEMBERTHEWORDS"ECAUSEOFTHISHAVING TWOMELODIESˆUNLESSONE IS A SIMPLEHARMONY LINE TO THEOTHERˆCANOFTEN BE COUNTERPRODUCTIVE BECAUSE RATHER THAN THE ADDITIONAL MELODY ADDING TO THElRSTTHEYlGHTWITHEACHOTHERANDCANLEADTONEITHERMELODYBEINGCLEAR ENOUGHTOBEMEMORABLE
7HEN PROGRAMMING LEAD SOUNDS YOU SHOULD IDEALLY AIM TO HAVE THEM SIT TING SLIGHTLYHIGHERUP THEAUDIO SPECTRUMTHAN THEPADSANDSTABS4HIS CAN BEDONEEITHER THROUGHPROGRAMMING THE SOUNDACCORDINGLYWITHMOREHIGH AND LESS LOW FREQUENCY INFORMATION OR BY PLAYING HIGHER NOTES 4HIS DOESNT MEAN THAT LEAD SOUNDS SHOULD BE HIGH PITCHED AND SCREECHY 4HE DIFFERENCE ONLYNEEDSTOBESUBTLETOMAKEENOUGHDIFFERENCESBETWEENTHESOUNDSTOGIVE EACHITSOWNSPACE!DEGREEOFOVERLAPBETWEENTHEDIFFERENTKINDSOFSOUNDS ISINEVITABLEANDINMOSTCASESDESIRABLE)FWEHADATRACKWITHANUMBEROF DIFFERENTSOUNDSTHATALLOCCUPIEDTHEIROWNEXCLUSIVEFREQUENCYRANGEWITHOUT ANYOVERLAPATALLITWOULDFEELQUITEUNCOMFORTABLEANDDISJOINTED
7HENYOUHAVEDECIDEDONTHEBASICTONALCHARACTEROFTHELEADSOUNDHARSHOR SOFTSLOWATTACKORFASTATTACK YOUCANTHENSTARTBRACKETINGTHESOUNDTOGIVE ITSOMESPACETOWORKIN)FYOUALREADYHAVEPADSANDORSTABSINYOURREMIX )WOULDSUGGESTSTARTINGWITHTHE%1SETTINGSANDTHENINCREASINGTHEFREQUENCY OFTHEHIGH PASSlLTERALITTLESOTHEREISLESSBASSINTHELEADSOUND!TTHESAME TIMEIFTHEREWASALOW PASSlLTERTAKINGOFFSOMEOFTHETOPENDONTHEPADAND STABSTHENINCREASETHEFREQUENCYONTHATALITTLEASWELLTOSHIFTTHEOVERALLFRE QUENCYRANGEUPWARDALITTLE)NTHISCASETHEREWILLBEALOTOFOVERLAPINTERMS OFFREQUENCIESBETWEENTHETWOTYPESOFSOUNDSBUTTHATDOESNTMATTERBECAUSE OURLEADSOUNDWILLHAVESOMETHINGTHEPADSORSTABSDONTHAVEMELODY
!SEXPLAINEDAT THEBEGINNINGOF THISCHAPTERWHENDISCUSSINGBASSSOUNDSA LEADSOUNDCANBEMADEORBROKENBYHOWFASTTHEATTACKANDRELEASESETTINGS ARE )F ITWILL BE USED FOR AN ELABORATE OR FASTMELODY YOUWILL NEED A FASTER ATTACK TIME SO THAT THEBEGINNINGOF EACHNOTE ISNT LOST ANDON SHORTNOTES YOUWANTTOBEABLETOHEARTHESOUND)FATTHESAMETIMEYOUHAVEASNAPPY BASSSOUNDANDAPUNCHYSTABITMIGHTBEAGOODIDEATOSLOWDOWNTHEATTACK OF THE SOUND A LITTLE ASMUCH AS YOU CAN IF YOU ARE PLAYING A FASTMELODY BECAUSETHESLOWERATTACKWILLHELPTODIFFERENTIATETHESOUNDFROMTHOSEOTHER TWO)TreallyISALLABOUTLIGHTANDSHADEHIGHANDLOWQUICKANDSLOWSHORT ANDLONG)FYOUCANGETTHERIGHTBALANCEOFallOFTHESEQUALITIESINYOURMIX YOUWILLHAVEANIMPRESSIVEOVERALLSOUND
!S WE ADDMORE CATEGORIES OF SOUNDS THERE BECOMES MORE TO THINK ABOUT ,AYINGDOWNTHEFUNDAMENTALSOFTHEGROOVEFORATRACKORREMIXISALWAYSTHE EASYPARTATLEASTINTERMSOFlNDINGSPACEFORTHINGS"UTWITHEACHADDITIONAL LAYERTHINGSSTARTTOGETTOUGHER7EHAVEWORKEDTHROUGHTHESOUNDSINALOGI CALORDERDRUMSANDBASSlRSTFOLLOWEDBYPADSANDSTABSANDTHENLEADSAND lNALLYARPEGGIOS/FCOURSEYOUMIGHTWORKOUTSOMECHORDSlRSTSOYOUKNOW WHERE THE BASS LINE HAS TO GO BUT GENERALLY YOUWILLWORK IN THE ORDER JUST DESCRIBED9OUCANALWAYS THENGOBACK INANDWORK FURTHERONEACH TYPEOF SOUND)TSLIKEBUILDINGAHOUSEFOUNDATIONSlRSTDRUMSANDBASS THENTHE WALLSPADSANDSTABS ANDTHENTHEROOFLEADSANDARPEGGIOS 9OUMIGHTBE ABLETOPLANEACHSTAGEBEFOREDOINGITBUTYOUSTILLHAVETOACTUALLYBUILDTHE HOUSEINTHERIGHTORDER
ARPEGGIATED SOUNDS !NDSOWECOMETOTHElNALCATEGORYOFSOUNDS7ITHARPEGGIATEDSOUNDSYOU WILLMOSTLIKELYSTARTOFFWITHALEADTYPESOUNDFORITSTONALQUALITIESANDTHEN MODIFYITSENVELOPEANDlLTERSETTINGSTOBEMORESTACCATOANDPUNCHY)NOTHER WORDS
Lead > ArpeggioWORKSINTHESAMEWAYASPad > Stab
4HEUSUALCONSIDERATIONSALSOAPPLYHERE INASMUCHASALWAYSMAKINGSURETHAT YOULISTENINCONTEXTERRINGONTHESIDEOFCAUTIONWHENSETTINGLEVELSANDADJUST ING%1"EPREPAREDTOGOBACKANDMAKECHANGESBUTATLEASTBYTHISPOINTYOU HAVEPROBABLYlGUREDOUTHOWALLOFTHEDIFFERENTSOUNDSlTTOGETHER
7HEN PROGRAMMING ARPEGGIATED SOUNDS IT HELPS IF THERE IS SOME KIND OF MODULATIONGOINGON TOSWEEP THESOUNDSOMEHOW4HISCOULDBEASSIMPLE ASAmANGERORPHASEREFFECTAPPLIED TO THE SOUND IT COULDBEAN,&/SETUP TOMODULATETHElLTERCUTOFFORITCOULDBEMANUALCONTROLOFTHElLTERCUTOFF OR OTHER PARAMETERS "UTWITHOUT SOMEKINDOFMOVEMENTWITHIN THE SOUND OVERAPERIODOFTIMEARPEGGIATEDSOUNDSRUNTHERISKOFSOUNDINGTIREDQUITE QUICKLY4HISISALMOSTCERTAINLYDUETOTHEIRVERYREPETITIVENATUREANDBECAUSE OUR AUDITORY SYSTEMBECOMES ACCLIMATIZED TO REPETITION VERY QUICKLY )N FACT ITISAGENERALRULEINMUSICPRODUCTIONTHATFORASOUNDTOREMAININTERESTING
THERESHOULDBEMOVEMENT4HATCANBEUSEDINBOTHAPOSITIVEANDNEGATIVE WAY)FYOUWANTANARPEGGIATEDSOUNDTOBEAMEMORABLEFEATUREANDIMPOR TANTPARTOFTHETRACKTHENKEEPINGTHESOUNDMOVINGAROUNDCANBEALMOSTAS EFFECTIVEASACTUALLYTURNINGITUPINTHEMIX(OWEVER IFYOUWANTTHEARPEG GIATEDSOUNDTOBETHERESIMPLYASAMEANSOFPUSHINGTHETRACKALONGANDGIV INGTHEWHOLETHINGSOMEPACEWITHOUTBEINGAMAJORPARTOFITTHENKEEPING THESOUNDQUITEUNOBTRUSIVEANDMOREIMPORTANTLYTONALLYSTATICCANHELPTO ACHIEVETHIS
SUMMARY 4HROUGHOUTTHELASTCOUPLEOFCHAPTERS)HAVEGIVENYOUSOMEPOINTERSABOUT THE TYPESOF SOUNDS YOUMIGHTWANT TO CREATE ANDHOW TO SET ABOUT CREATING THEM ) SPENT MUCH MORE TIME TALKING ABOUT DRUMS PERCUSSION AND BASS SOUNDSPURELYBECAUSETHEYFORMTHEBASISOFMOSTKINDSOFDANCEMUSIC4HE USEOFPADSSTABSLEADSANDARPEGGIOSCANVARYALOTDEPENDINGONGENREAND PERSONAL TASTE AND INMY EXPERIENCE THEY ARE NOT AS HARD FORMOST PEOPLE TO GET RIGHT AS DRUMS PERCUSSION ANDBASS )T DOESNTMEAN THAT THEYRE NOT IMPORTANTANDTHATYOUSHOULDNTSTRIVETOMAKETHEMTHEBESTYOUCANMORE THATAPAD SOUND FOR EXAMPLE IS LESSOFADEALBREAKER INGETTINGA REMIX TO SOUNDGREATONACLUB0!SYSTEM
!NOTHERTHINGWORTHREINFORCINGISTHATITISNTALWAYSNECESSARYTOTRYTOGETALL OFTHETONALATTRIBUTESYOUWANTFORASOUNDFROMJUSTONESYNTHORPLUG IN!S MUCHASITISMORECONVENIENTTOHAVEJUSTONESOUNDSOURCEFOREACHSOUND ITSNOTTHATMUCHEXTRAWORKTOLAYERTWOORMORESOUNDSTOGETHERTOMAKEA COMPOSITESOUND)DOTHISALLTHETIMEPARTICULARLYWITHBASSSOUNDSBECAUSE )lNDTHATTHEENDRESULTISCAPABLEOFMUCHMORESUBTLETYANDDETAIL)COULD HAVEONESYNTHWITHQUITEASUBBYSOUNDTHATREALLYDOESNTCHANGEMUCHLAY EREDWITHASECONDSYNTHTHATHASAREALLYSHORTSPIKYSOUND)LLGIVETHATSEC OND SOUND AMODULATED RELEASE TIME AND A DELAY EFFECT THAT HAS BEEN %1ED TOHAVENOREAL LOWBASSANDNOTAGREATDEALOF TREBLEAND THENlNALLY LAYER THATUPWITHASAWTOOTHANDWHITENOISECOMBINATIONFROMANOTHERSYNTH/N THIS THIRDSOUND)VEADDEDAHIGH PASSlLTERWITHCHANGING THE LEVELS TOGIVE THEEFFECTOFAKINDOFCONTROLLABLEDISTORTIONWHICHLEAVESTHEORIGINALSOUND COMPLETELY UNTOUCHED WHEN ) WANT IT TO BE /N THIS BOOKS ACCOMPANYING WEBSITEYOULLlNDANUMBEROFSHORTVIDEOSTHATGIVEEXAMPLESOFMANYOFTHE SOUNDDESIGNASPECTSMENTIONED IN THE LAST TWOCHAPTERS INCLUDING THE TECH NIQUEOFLAYERINGSOUNDS
/FCOURSENOTALLMUSICALSTYLESWILLHAVEALLOF THEDIFFERENTSOUNDTYPESWE HAVEMENTIONED$ONTFEELLIKEYOUNEEDTOINCLUDEEACHJUSTTOlLLUPATRACK 4HESOUNDMAPSHOWNIN&IGUREISNOTINTENDEDASAROUTEPLANNERBUT MOREOF AN INDICATIONOFPOTENTIALDESTINATIONS TO VISIT ALONGYOURPARTICULAR JOURNEY THROUGHA REMIX-ANYOF THE REMIXES ANDPRODUCTIONS )DO TEND TO INCORPORATEALLORMOSTOFTHEDIFFERENTTYPESOFSOUNDSBUTTHATISJUSTMYOWN PERSONALSTYLE!NDTHATSTYLEISALWAYSDEVELOPINGANDCHANGING&OREXAMPLE
MYPRODUCTIONSTYLENOWISMOREMINIMALTHANITUSEDTOBE)USEFEWERINDI VIDUALSOUNDSANDCOMPETINGRHYTHMSANDMELODIESTHAN)USEDTOANDTHAT CAN ACTUALLY MAKE THE SOUND DESIGN PROCESS A LITTLE MORE FUN )M WORKING MOREONBIGGERANDMOREUNUSUALSOUNDSASTHEREISMORESPACEINTHEMIXTO PLACETHEMINTO
4HELASTTHING)WANTTOMENTIONARESO CALLEDsignature sounds#ERTAINGENRES OFMUSICHAVEBECOMEINEXTRICABLYASSOCIATEDWITHCERTAINKINDSOFSOUNDS/N A LESSMACROSCOPIC VIEW CERTAIN REMIXERS ANDPRODUCERSHAVEBECOMEASSOCI ATEDWITHCERTAINSOUNDS)CANSEEGOODANDBADINTHIS)FYOUCOMEUPWITH ATRULYAMAZINGSOUNDWHICHTHENBECOMESYOURSIGNATURESOUNDPEOPLEWILL START IDENTIFYINGYOURWORK!SAMARKETINGANDBRANDING TOOL IT IS THEAUDIO EQUIVALENTOFA LOGO"UTUNLIKEAVISUAL LOGO THERE ISNOTHING TO STOP SOME BODY ELSE FROM CREATING A VERY SIMILAR SOUND !NOTHER POTENTIAL PROBLEM IS THAT THEMUSIC SCENE CHANGES VERYQUICKLY SOWHAT ISde rigueur TODAYWILL VERYQUICKLYBECOMEpassé SOUNLESS YOUARE EXTREMELY LUCKYANDHAVE COME UPWITHASOUNDTHATSITSCOMFORTABLYINANEVER EVOLVINGPRODUCTIONSTYLE IT ISUNLIKELYTHATTHISSIGNATURESOUNDWILLLASTYOUALIFETIME.ONETHELESSANY THINGTHATYOUCANDOTOHELPYOURBRANDINGANDMARKETINGISAGOODTHINGSO GOFORITASLONGASSTAYSCURRENT
3OUNDDESIGNISONEOFMYFAVORITEASPECTSOFMUSICPRODUCTIONANDITSSOME THING)COULDEASILYSPENDALOTMORETIMEONWERE)NOTKEPTBUSYWITHMEET INGDEADLINES)HOPETHATWHAT)HAVESHAREDWITHYOUISHELPFULWHENYOUARE WORKINGONYOUROWNSOUNDSANDMAKESTHEWHOLEPROCESSALITTLEEASIER
.EXTWEWILLMOVEONTOSOMETHINGTHATISAFUNDAMENTALASPECTOFREMIXERS JOBTHEMANIPULATIONOFTIME
