>Step by step
Constructing a detuned, rich, moving pad
1 I begin by loading Steinberg’s Padshop into Cubase. Using the default patch, I start by turning on both layers A and B, setting the mix equally. For layer A, I’ve switch the sample to Waveform » Pulse Wide. Following this I’ve decreased the stereo Width to 57% and Position to 73%, creating a richer harmonic content and narrower image.
2 Staying with layer A, to add shape and tonal control, I move onto the envelopes. For the amp envelope, I adjust the Attack to 76ms and Sustain to 70%. For the filter envelope, it’s Attack 278ms and Sustain 58%. I also add some tube distortion at 10% and adjust the low-pass filter to 10kHz. To detune the waveform, I offset the Formant to -12 and the Fine tune to -2.
3 By this stage, I’ve drawn in an Fmin7 chord and increased the BPM to 174. Following this, I start to modify Layer B, first changing the oscillator to Detuned Pulse. Again, to shape the tone, I’ve tweaked the envelopes: The amp envelope has an Attack of 350ms and a Decay to 2730ms. The filter envelope has a 1450ms Attack and 82% Sustain.
4 Continuing with layer B, I move to the filter section. I switch to a 24dB highpass with a Cutoff of 172Hz and Resonance of 11%. For saturation and warmth, I use the tube distortion again, with a 40% mix. Moving onto the pitch. I decrease the Formant for a softer timbre: -16.80 semi.
5 Now the raw pad is ready, I want to create movement and space, so I turn to Cableguys’ ShaperBox, activating the Filter, Pan and Width. The Filter is a 12dB low-pass, modulated at 1/8. Being careful within the Pan section, I set to a rate of 1/2 and a mix of 18%. For breadth, I’ve synced the Width section to 6/4, applying an odd sine-like waveform.
6 To enhance the pad’s character, I’ve used FabFilter’s Timeless 2 on the tail of the sound. I’ve kept things simple by loading the default setting. After this comes Ozone 7’s EQ, cutting any low-end rumble from 100Hz and boosting at 3kHz and 10kHz.
7 Next, I’ll bulk out the sound with saturation and warmth. After the EQ I’m using Fabfilter’s Saturn, with a Clean Tube drive set to 41%. To bring out the crunchiness, I’ve boosted the Presence, Treble and Mid bands by +2dB. Alongside, I increase the Feedback by 15%, adding to the harmonics, and turn up the Output to +4dB for more level.
8 To give the pad its own spatial environment, I’ve used Audio Damage’s Eos, a delightfully strange reverb. I switch to Plate 1, decreasing the Size to 23m and the Decay to 4.40s. I’ve left some Predelay for faint early reflections at 27ms. A Low Cut around 150Hz gets rid of low-end mud. I’ve drawn the Mix back to 10% for a subtle blend.
9 For a creative splash of character, I’ve called up Endless Smile by Dada Life. I’ve chosen a preset named Smack in the
Park. This effect’s main application is for build-ups, but in this scenario I’m using it subtly – automating the Intensity introduces a soft rise over the tail of my pad sound.
10 At this stage, enhancing the sound with a parallel copy can highlight top end crispness and character. Once I’ve made an exact copy of the original, I delete the Endless Smile instance and decrease the Eos Mix to 2%. The duplicate track is now acting as the dry signal. Next, I apply Cubase’s channel EQ, low-cutting at 210Hz and boosting by 8.5dB at 2.30kHz.
11 Now to glue the tracks for a richer balance. I’ve sent both tracks to an auxiliary channel. On this send I’ve inserted NI’s VC 160 compressor set up subtly: a
Threshold of 135Mv and a Ratio of 2.8. Next comes Ozone 7’s Vintage Tape module, providing faint drive and warm saturation. I mix the all three tracks, and watch for any clipping on the meters.
12 Finally, I render the pad to an audio file and load it into a Cubase Sampler Track. I’ve reversed the entire sample and created a three-chord progressive phrase, changing the start locator and looping the section. With another copy of the sound, I’ve formed a dub lead by shortening the sample length and applying a filtered tape delay with spatial reverb.