Subliminal Automation West Hartford 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.

The Hartt School
(860) 768-4296
West Hartford CT
West Hartford, CT

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Trinity College (Trinity College - Music Department)
(860) 297-2000
300 Summit Street
Hartford, CT
 
Saint Joseph College (Saint Joseph College - Fine and Performing Arts )
(860) 232-4571
1678 Asylum Avenue
West Hartford, CT
 
Wesleyan University (Wesleyan University Music Department)
(860) 685-2650
Middletown, CT
 
Macri School Of Music Llc
(860) 793-8455
109 New Britain Ave
Plainville, CT

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Central Connecticut State University
(888) 733-2278
New Britain CT
New Britain, CT

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University of Hartford (THE HARTT SCHOOL : MUSIC-DANCE-THEATER)
(860) 768-4454
200 Bloomfield Avenue
West Hartford, CT
 
Central Connecticut State University (CCSU Music Department)
(860) 832-2912
1615 Stanley St.
New Britain, CT
 
Be A Guitar Star
(860) 463-2734
10 Thornton Dr
Newington, CT

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Aimee Badner School of Music
(860) 677-7701
14 Eddy St.
Avon, CT
Hours
By Appointment

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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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