Subliminal Automation New Haven CT

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.

Yale University
(203) 432-4155
New Haven CT
New Haven, CT

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Yale University (Music at Yale University)
(203) 432-4155
Sprague Hall, 98 Wall Street
New Haven, CT
 
University of new Haven (University of new Haven - Department of Visual and Performing Arts- Music)
(203) 932-7101
300 Boston Post Road
West Haven, CT
 
University of Bridgeport (University of Bridgeport - Music Department)
(203) 576-4552
126 Park Avenue
Bridgeport, CT
 
Center for the Arts
(203) 787-3195
84 Broadway
New Haven, CT

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Yale University
PO Box 208246
New Haven, CT
 
Southern Connecticut State University (Southern Connecticut Music Department)
(203) 392-6625
501 Crescent Street
New Haven, CT
 
Quinnipiac College (Department of Visual and Performing Arts - Quinnipiac University)
(203) 582-8200
275 Mount Carmel Ave.
Hamden, CT
 
Sacred Heart University (Music - Sacred Heart University)
(203) 371-7999
5151 Park Avenue
Fairfield, CT
 
Paul Thomas Piano Studio
(203) 488-6857
102 Sunset Hill Dr
Branford, CT

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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.

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