» » »

Subliminal Automation Peoria IL

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.

Bradley University
(800) 447-6460
Peoria IL
Peoria, IL

Data Provided by:
Illinois Central College (Illinois Central College - Department of Music)
(309) 694-5113
1 College Drive
East Peoria, IL
 
Eureka College (Eureka College -Music Department)
(888) 438-7352
300 E. College Ave.
Eureka, IL
 
Wheaton College Community School of the Arts
501 College Ave.
Wheaton, IL
 
North Park University
3225 W. Foster Ave.
Chicago, IL
 
Bradley University
1501 W. Bradley Ave
Peoria, IL
 
Bradley University (Slane College of Communications and Fine Arts)
(309) 676-7611
1501 West Bradley Avenue
Peoria, IL
 
NIU Community School of the Arts
(815) 753-1450
DeKalb IL
DeKalb, IL

Data Provided by:
Conservatory of Central Illinois
(217) 356-9812
Champaign IL
Champaign, IL

Data Provided by:
Benedictine University
5700 College Rd Rm 105
Lisle, IL
 
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