Mak­ing CameHere ForLove’s mas­sive pi­ano cho­rus

Bruce’s big pi­ano sounds are one of his trade­marks. Here’s how he cre­ates those up­lift­ing vibes...

Future Music - - THE TRACK -

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Songcraft is of paramount im­por­tance to Bruce, and the mu­sic the­ory be­hind Came Here For Love’s cho­rus is more than an af­ter­thought. “The cho­rus is all in the same key as the verse and some of the chords are the same, but the or­der is dif­fer­ent and it starts on F#m which is the first chord of the scale” he re­veals.

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“When you play the song, that’s the chord that feels like it wants to go,” Bruce con­tin­ues. “So when the cho­rus comes in you feel the re­lease. In the verse, the chord comes in the mid­dle of the pro­gres­sion and there’s not much fo­cus on it, and that’s a lit­tle mu­si­cal trick a lot of peo­ple do.”

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The cho­rus also acts as the buildup to the drop. “I do that in pretty much ev­ery one of my tracks,” Bruce re­veals. “The pi­ano sound is two lay­ers. The first is Toon­track EZkeys which is just on the grand pi­ano set­ting, and I’ve used come com­pres­sion, Waves V-EQ4, a load of widen­ing be­cause the other pi­ano I’m us­ing is very mono. Then there’s the Waves H-De­lay, on a wide ping-pong set­ting.”

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“I tried to high­light a melody in the chords by turn­ing up the ve­loc­ity of par­tic­u­lar notes to max­i­mum,” adds Bruce. “The other sound is prob­a­bly more im­por­tant, it’s the Korg M1 House Pi­ano patch. I’ll take the hall re­verb off and add my own re­verb, and there’s quite a lot of pro­cess­ing on here.”

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“It’s quite heav­ily com­pressed” notes Bruce. “We’ve got the Waves CLA-3A; the V-EQ boost­ing the high-end stuff and cut­ting ev­ery­thing be­low 82Hz. Then we’ve got Pro Tools EQ boost­ing the mid, high-mid stuff, which is usu­ally where the en­ergy is in the pi­ano. Then there’s the OTT which is crush­ing it a lit­tle bit more.”


Next comes Na­tive In­stru­ment’s Tran­sient Master. “I wanted the pi­ano to cut through, so I boosted the At­tack so it’s re­ally punchy. Then there’s an­other EQ boost­ing the low and high mid stuff, the H-De­lay again. This pi­ano is com­pletely mono so I widened it again. Then an­other EQ to fil­ter the pi­ano be­fore the drop. Then Nicky Romero Kick­start at the drop, and fi­nally oek­sound Soothe.”

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