6/25/2023 0 Comments Iword pad drumChoose a drum groove as the source of the sidechain input of your noise gate and mute the output of the drum track. Another great way to add rhythm is to use a noise gate, think of it as an inversed compressor. Second, there’s the possibility of using a LFO to create a tremolo effect. ![]() First, you could draw or record volume automation by hand. There are several ways to accomplish this. To get your inner Flume going, add volume automation to pads to make them part of the rhythm section. This makes the pad stand out even more, a technique used in many pop productions. Another tip is to add some white or pink noise in the chorus of a song. For an electronic music track, use the drop to let your pad shine in all its glory, but filter the pad once the lead sound and beats come in again. In a verse, cut off the high end of your pad and add those frequencies back when you get to the chorus. Correlation meters, such as the one found in the free iZotope Ozone Imager 2 will tell you that’s the case when the needle drops below zero.Ī nice tip is to play with EQ in your arrangement. A word of caution: widening your stereo image can yield phase issues. Unison in modern synths often means that every voice is additionally panned to alternating stereo channels. In older synths, unison was used to stack different versions of the same voice on top of each other, each voice detuned slightly. Many digital synths have the option to spread voices using unison. Apply unisonĪ pad can open up a mix by widening the stereo image. A pad sound normally fades in and out, so choose medium to long attack times for the attack and release of the amplitude envelope. Finally, use envelopes to shape your pad sound. For example, control the rate of LFO two with LFO one and let LFO two modulate the wavetable position of oscillator one to create a complex modulation curve. Wavetable gives you the option to modulate the wave shape of the oscillators. Use a second LFO with a different rate for another modulation target to add even more movement. ![]() A nice addition is to modulate both oscillator pitches with a different LFO amount or speed. If you are looking for a Boards of Canada type of vibe, do go overboard with vibrato. Keep the pitch amount low and make sure the LFO amount is dialed down to around 10%. Choose the pitch of an oscillator as the target of your modulation and pick a sine or triangle as the modulation source. Adding vibrato to a synth patch is a very good way to introduce movement. By touching or pressing down a string, slight changes in pitch will be introduced, known as vibrato. Add some vibratoĪcoustic string instruments never stay on the exact same pitch. It’s a good idea to leave the pitch of your first oscillator unchanged or close to zero to be in tune with other elements of your track. If you detune the oscillators too much, it will dilute the clarity of the pitch and your sound starts to wobble. Don’t overdo it – a percentage between 1% and 10% is usually enough. Detune your oscillatorsĪ very simple trick to make a dull sound come to life is to detune your oscillators. Tip: in Wavetable you’re not limited to the basic waveforms, there are plenty of complex waveforms to play with. If you want a smoother type of sound, try using triangle-like shapes. If you’re after a string-type sound, go for a sawtooth and blend it with another sawtooth or square. ![]() The selection of waveforms will define how your pad sounds in the end, so choose wisely. Live’s own Wavetable is a good instrument to create inspiring pads. Because of the many roles a pad can have, almost any sound source can be used for creating a pad sound.
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