Subliminal Automation Kenosha WI

By applying what I call "subliminalautomation," you can hold listeners' attentionwithout resorting to abrupt shifts. The idea isto use very small brush strokes to keep a partchanging continuously but subtly.

Carthage College
(800) 351-4058
Kenosha WI
Kenosha, WI

Data Provided by:
University of Wisconsin - Parkside
(262) 595-2355
Kenosha WI
Kenosha, WI

Data Provided by:
College of Lake Country
(847) 223-6601
Grayslake IL
Grayslake, IL

Data Provided by:
College of Lake County (College of Lake County - Music Program)
(847) 543-2551
19351 West Washington Street
Grayslake, IL
 
Carthage College
(800) 351-4058
Kenosha WI
Kenosha, WI

Data Provided by:
University of Wisconsin - Parkside
PO Box 2000
Kenosha, WI
 
Prarie School Summer Chamber Music Workshop
(262) 260-7213
Racine WI
Racine, WI

Data Provided by:
College of Lake Country
19351 W. Washington St.
Grayslake, IL
 
University of Wisconsin -Milwaukee
(414) 229-2222
Milwaukee WI
Milwaukee, WI

Data Provided by:
University of Wisconsin - Parkside
(262) 595-2355
Kenosha WI
Kenosha, WI

Data Provided by:
Data Provided by:

Subliminal Automation

As one of Brian Eno’s ObliqueStrategies cards states, “Repetition is a formof change.” For dance music, this isn’t merely astrategy, but a mantra. However, the fact of thematter is — unless your audience’s intoxicantsare extremely good — too much repetitiongets old fast. Too little, and you risk breaking the spell you’re casting on the dance floor.

The most common technique for keeping a riff interesting is to dramatically morph the synths and effects, creating crescendos andpeaks to enhance the listener’s journey. Thisis well-suited to progressive dance, sometypes of house, and of course, trance. Butdrastic or sweeping changes don’t always mesh with the tech and minimal genres.

By applying what I call “subliminalautomation,” you can hold listeners’ attention without resorting to abrupt shifts. The idea isto use very small brush strokes to keep a part changing continuously but subtly. To illustratethis, we’ll automate an analog-style square wave riff over a beat from Loopmasters’ JoeyYoungman library. The end result is a cyclingriff that keeps tickling the ear, while leaving sonic space for embellishments in the drumsand other synth bits.

0.001_StrobeStep 1. Create a simple riff with a sound that’s not too complex and has a bitof room to morph subtly. Here’s the isolated square wave riff, created withFXpansion’s Strobe synth from DCAM Synth Squad (reviewed Nov. ’09).

0.002_FilterAutoStep 2. Let’s start with a touch of filter automation. Inthis example (using Ableton Live), we’ve lowered thecutoff ever so slightly, then put a slight peak at themiddle of the eight-bar loop.

0.003_SawAutoStep 3. To change the wave shape slightly, we’llblend in a bit of sawtooth twice, with peaks atbar 3 and bar 7.

0.004_SustainAutoStep 4. Another useful parameter to automate is theenvelope sustain level. Large shifts are great forbuilding peaks and crescendos. A tiny amount addsjust a dash of flavor.

0.005_NoiseAutoStep 5. As a final touch, we’ll blend in a bit of noise. Aswith sustain and filter, a little goes a long way. For thepeaks, you can get a lot crazier, as we’ve discussed inprevious columns.

Click here to read the rest of the article from Keyboard Magazine

 
Subscribe Live Bookmarks Advertise Contact Us Privacy Policy Terms & Conditions
 



 
Keybord Magazine is a trademark of New Bay Media, LLC. All material published on www.keyboardmag.com is copyrighted @2009 by New Bay Media, LLC. All rights reserved