Full transcript
1:02Hi gang I am NOID and today we are going to learn how to make this type of atonal atmospheres
1:16This type of atmospheres normally deals with genres such as dark progressive or Zenonesque
1:23and also in genres like forest, this time we are working on a track the
1:29dark progressive and well, the really interesting thing about these atmospheres is that
1:36we are going to make them, we are going to create them from the sounds that I already have here, which are GLITCHY LEADS,
1:43if you haven't seen how I make this type of sounds, then here on the screen you go to
1:51see the cards you are going to send the video where he explained a little how to create such
1:58sounds and the interesting thing is that we will deconstruct those sounds to create a
2:04completely different element are atmospheres, these
2:09atonal atmospheres have certain dissonances that give a dark
2:15and deep feeling ... as if you were well lost CARNAL
2:26let's start, it really is something super simple, I like this type of work
2:31where I We are going to deconstruct what we already have and without playing a single
2:35instrument, in reality it will simply be to deconstruct and add effects then ...
2:42well, we are going to listen to how it sounds, how the leads sound without even being
2:50these pads of the ones we are talking about.
3:09and once we work on them, they will sound as follows,
3:32this makes your track have greater depth and
3:37these atonal elements will give the track enough darkness ... then
3:43well let's start, let's get to work , Actually it is very simple this
3:47all we have to do is open an audio channel we are going to resample the group, in
3:55this case I want to resample a group but you can do it with any sound, I am
3:59choosing the leads because somehow the leads have harmonic content of the track
4:06have certain notes that are within the harmony of the track so
4:13we are going to choose, in this case I am going to solo this channel.
4:18we are going to record and we are going to record the group of leads here, we are going to click here on
4:26the little red button to the channel we want to record and we are going to hit play
5:07ready now that we have all our group of leads recorded on this channel now the
5:17following is going to be very simple, you just have to choose the clip well here and we are going to double
5:23the time, we are going to double it twice, x2 and this What you are going to do is stretch
5:30the clip so that the sounds have a little longer duration, now what we are going
5:36to do is put the texture and we are going to listen, we are going to adjust it, we
5:41could even record these automations that we can do with the grain size and well, it
5:47is a bit there to find the sound that we like, in the end the sound will change too much
5:54and really well, that will not be very noticeable but it is important to always
6:02look for results that you really like then let's go to adjust it a little
6:22I think I like it there a lot and now what we are going to do is, we are going to
6:29put an effect here, the effect is going to be the echo, actually I could also put
6:34a delay, there are many ways to do this , in this case I I really like the echo,
6:41we are going to put a mid side here, then remove the stereo link because I would like the repetitions
6:48in the center to be a little slower than the one on the sides and we are going to raise the feedback a little,
6:55we are going to raise it, no You have to go over 100 since what the echo does is repeat and repeat and
7:03repeat and it begins to feed back.
7:09That is a good effect in fact but it is not the case so we go up there more or less
7:15we are going to turn up the reverb and we are going to leave it there, we are going to turn up the decay here
7:22we are going to make it a little more stereo and in this case we will It is going to raise the volume a little here to
7:30the pads that I feel that
7:35if they are quite low, but hey it begins to sound in the following way
7:52it is already a sound a little more spatial and it sounds a little more then more to pad although without achieving it
7:59without get there, but it won't just stop there, now what we are really going to do
8:06to change the sound and create these detunings, we are going to do it
8:11with the corpus we have the corpus here and what the corpus does
8:19is generate resonances that are similar to certain materials, we have marimba here
8:28, we have strings, we have tubes, etc., you can play a lot with different
8:35materials and you will get different textures. But in this case I am going to occupy
8:41the strings here , we are going to put the LFO here and well, first of all we are going to tune
8:50our resonance, what does it mean that OK if we are going to detune but we are always going
8:57to maintain at least one harmonic , a note is in tune with our track
9:05in this case I'm in D and I'll leave it in D, going up an octave
9:12we leave here at D and LFO what to do are the dissonances that we want to achieve
9:18we two types of random, in fact both work quite well for this type of atmospheres
9:25for the genre, in the case of square random what it generates is a sensation
9:33of bells, look, let's listen to it, we increase the amount
9:52here you have to have a lot Be careful since the corpus when adding resonances tends to
9:59hurt your audio, so what you have to do is lower the volume enough
10:06, in the end we can raise it or whatever you want, but not saturate.
10:21It sounds pretty good but in this case I'm going to use the random sinus, which
10:28rather sounds a bit like these strings going out of tune little by little like a glide
10:41I love it, yes ... really nothing else is that, we can put it
10:47in SINC and we can play a little here with the rhythm
11:05now what we can do is record it and resample it and do many other things,
11:11in reality it is already a creative matter but this is something very simple from which
11:15you get a very interesting result when you put it with your track
11:21we are going to listen to how it sounds, in this case I made two variations
11:26in some I moved it in different parameters so that they had a little
11:33difference in the sound, then we are going to listen to how it sounds with the track
12:32moving the parameters a little we can create different textures , on this occasion
12:42we can check here that if we change the material a bit and also the shape of the LFO we can
12:52obtain other results as in this case it may sound like bells a little out of tune
13:26not ol viden subscribe I am really giving this with all the desire that
13:43it serves you please subscribe if you do not become weyes because the bottom line is that
13:47cool things are coming now so the good carnal is coming and well
13:51well without more to say thank you very much and see you next time bye