Seeb explain: “Of course the knobs are not in the same place as they were but that’s the charm with these modular racks. Rising in volume during the second half of the first verse, at around 0.26, the main arpeggio was built by Svidden on his “insane modular setup”. Note the v1 bounce audio near the bottom of the session for reference, and the tempo in the title of that track (113 BPM).Īrpeggios: 16. The piano/synth riffs are all exploded in blue for you to see in the context of the session. All riff tracksĪll the riff tracks together. On the final two chords, you can also hear the Air Phaser coming in to add more stereo movement. Compare the piano sound at 0.16 to 0.39, where the filter really starts opening up. The bouncy chordal piano part enters at 0.10 with a heavy low-pass filter, to give the vocal space to cut through, but the cutoff is automated to keep the energy building throughout the verse. It is basically a type of Korg M1 piano run through two Echoboys, an Air Vintage Filter that rises in the verses and a phaser that comes in on the transitions.” Seeb explains, “This is the main piano part from the Pro Tools session that came from Svidden. And at the end, they are even going to the music group that has an Ableton Filter on it.Īdding interest to the Korg M1 piano patch with plug-ins form Soundtoys and AIR (tap to enlarge) Then they and are mixed down through a group with some more Kickstart and Soundtoys PhaseMistress. Each instance is a different sound, triggered by slightly different MIDI but they all go through the same chain with a Nicky Romero Kickstart and some Ableton Echo. ![]() It consists of the main piano part that is rendered down from Pro Tools to audio with effects and stacked as you see here with a myriad of Omnispheres. Seeb: “This is the folder track with the main piano/synth riff we have going throughout the song. Here we see the folder track with the main piano part in it, and the first virtual instruments used to build it. Piano/Synth Riff: The piano part is what drives the track forward but it’s far from just being a straight sample. The instruments The piano/synth riff is a series of Omnisphere patches stacked We’ll be referring back to specific points in the track so you may want to open it up in another window. Push the boundaries and embrace the alternative with this selection of all new and original, royalty-free samples.For reference, here’s the track. As always, we engaged a high-end analog chain comprising of an AKG C414 BXLS II microphone, UA 610-B pre-amp, and applying UA SSL E channel strip treatment to capture a carefully filtered, equalised, and dynamic vocal performance.ĭesigned to deliver inspiration to any experimental producer, these sounds will instantly add character to any genre. With the creative touch of alt-pop producer pro, Charlie McClean, this pack delivers detailed vocal arrangement, transparent tuning and editing, and sculpted sound design. We’ve taken it even further to add keys, grungy synths, bouncing 808s, and resampled drum and percussion loops composed to compliment the vocals. ![]() ![]() Written and recorded in-house by Kate Wild using close-mic techniques, delicate vocal engineering, and inventive sound design.Įxpect gentle, emotive vocal hooks, stacked and stereo-widened adlibs, filtered and chopped loops, vocoded phrases, and heavily processed one shots. This collection delivers a modern take on contemporary pop music, with a rich pallet of moody lyrics combined with manipulated vocal and melodic loops. Veiled in melancholy, Sad Girl: Alt Pop explores the dark gritty electro landscape popularised by artists such as Billie Eilish, Lorde, and Halsey. Please note: You may not use Kate Wild’s name, image, or likeness in your productions or related promotional materials without 91Vocals’ express written permission.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |