Subliminal Automation South Bend IN

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.

Indiana University-South Bend (Indiana University South Bend - Music Program)
(574) 520-4872
1700 Mishawaka Ave. P.O. Box 7111
South Bend, IN
Saint Mary's College (Saint Mary’s College Department of Music)
(574) 284-4632
Notre Dame, IN
Lake Michigan College (Lake Michigan College-Music:)
(269) 927-8192
2755 E. Napier Avenue
Benton Harbor, MI
Indiana University - Bloomington
(812) 855-7998
Bloomington IN
Bloomington, IN

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University of Evansville
Evansville, IN
University of Notre Dame (Department of Music - University of Notre Dame)
(574) 631-6211
105 Crowley Hall
Notre Dame, IN
Bethel College (Bethel College - Music Department)
(574) 257-3391
1001 West McKinley Avenue
Mishawaka, IN
University of Evansville
800.423.8633 x2468
Evansville, IN

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Indiana University - Bloomington
1201 E. Third St
Bloomington, IN
St. Mary of the Woods College
St Mary of the Woods, IN
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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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