Subliminal Automation Santa Fe NM

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.

Santa Fe Youth Symphony
(505) 982-8483
Santa Fe NM
Santa Fe, NM

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University of New Mexico
(800) 225-5866
Albuquerque NM
Albuquerque, NM

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New Mexico Junior College (New Mexico Junior College - Music)
(505) 392-4510
5317 Lovington Highway
Hobbs, NM
Western New Mexico University (Music at WNMU)
(505) 538-6614
1000 West College
Silver City, NM
New Mexico State University (NMSU: Department of Music)
(505) 646-2421
Box 30001 MSC 3F
Las Cruces, NM
College of Santa Fe (College of Santa Fe - Contemporary Music Program)
(800) 456-2673
1600 St. Michael's Drive
Santa Fe, NM
Santa Fe Youth Symphony
(505) 982-8483
Santa Fe NM
Santa Fe, NM

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New Mexico Highlands University (New Mexico Highlands University - Music program)
(505) 454-3243
PO Box 9000
Las Vegas, NM
San Juan College (San Juan College - Music Department)
(505) 326-3311
4601 College Boulevard
Farmington, NM
New Mexico Tech (NMT Music Program)
(505) 835-5200
801 Leroy Place
Socorro, NM
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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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