![]() The overall goal was to capture unique sounds with depth and character, so I recorded quantized sequences w/ Ableton’s arpeggiator, basic chord stab progressions, melodies, drones, and various one-shots. In the future, I will probably track more conservatively at -12dB. Even the drums included were made with synths. Everything was recorded at around -6 to -12dB peaks to allow headroom. Vocals were tracked with a Manley Ref C mic through an Avalon 737, Purple Audio 1176 clone, and LA2A limiter. Synths were tracked at 32bit/44k into Ableton Live 9 through a BAE lunchbox with Neve 1073 clones, some newer Rupert Neve pres, a LaChapell tube pre, and my trusty Avalon U5s. Once they were stabilized and calibrated/tuned, I started recording various 4-bar chord progressions I thought were compelling. I started by firing up all my analog synths, pre-amps, and compressors including: Dave Smith OB6, Dave Smith Prophet 08, Moog Voyager, Buchla Easel, and Virus TI2. For more on this, check out this radio lab episode. There’s a lot to be said for making music close to the tempo of indifference (94 bpm) – it’s easier to play instruments and gauge timing better. The slower tempo allows so much more groove and chunkiness. I needed to create a pack that was useful for producers beyond just EDM, so I recorded at two tempos: the familiar 128 bpm, but also 100 bpm – which I’ve been using a lot on my latest productions. I didn’t want to repeat other sample packs. There’s plenty of drum fills, huge kicks, risers, and 808s – so I wanted to make something fresh and unique to my sound. I decided to make something that spoke to my strong suits: synths and vocals. So why make my own? Splice asked me to create a hybrid pack. It’s a ton of work and there are so many amazing sample packs it’s overwhelming: Vengeance, Cymatics, KSHMR, 7 Skies – I use all their packs in my productions. Building a sample pack is something I’ve put on the back burner for nearly 15 years. ![]()
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December 2022
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