How use­ful is au­to­ma­tion when ar­rang­ing a track? Pro pro­ducer Ed:it shares his secrets for keep­ing a track rolling in this tu­to­rial

Computer Music - - Contents -

In my pro­duc­tions, I use au­to­ma­tion to get the most out of each sound across the dif­fer­ent sec­tions of a track. I in­crease ten­sion with fil­ters and re­verb for dra­matic growth, or use sharp vol­ume cuts to al­low the main el­e­ments to breathe. Here, I’ll demon­strate how au­to­ma­tion can bring en­ergy and drive to a com­po­si­tion when ar­rang­ing. To achieve this, I’ll be­gin by wig­gling dif­fer­ent pa­ram­e­ters such as vol­ume, mute and pan on cer­tain events. Over the next cou­ple of pages, I’ll start with a ris­ing white-noise sweep, be­fore mov­ing on to fil­tered vo­cal loops and other ar­range­ment tricks.

Au­tomat­ing the pitch of el­e­ments can pro­duce great mu­si­cal va­ri­ety, along­side time­based ef­fects such as de­lay and re­verb. I love to use tech­niques like these on sweeps, stabs and vo­cals, as you can en­rich sparser in­tros and break­down sec­tions with move­ment.

As I men­tioned last month, I like to get hand­son with my au­to­ma­tion by us­ing MIDI con­troller pots and slid­ers to give a phys­i­cal feel when pro­gram­ming fid­dly pa­ram­e­ter lines and curves like this. De­pend­ing on the sit­u­a­tion, l may go more in-depth and pre­cise with mouse ed­its af­ter – or I may leave im­per­fec­tions as they are. Vari­a­tion is key – I al­ways try to en­sure that each ‘event’ in the track is dif­fer­ent to the last, which gives things a more nat­u­ral pro­gres­sion.

Newspapers in English

Newspapers from Australia

© PressReader. All rights reserved.