Full transcript
0:01[Music]
0:09future media academy
0:13uh we can move on nick on the grouping
0:15so basically
0:16what you see here closing this side
0:19folders
0:20are related sounds so on this yellow
0:23folder
0:24all drum sounds on this uh
0:28what no food needed they do them big
0:32uh and on the scene cells are mostly
0:34synthesizer
0:35uh sounds atmo and sample i group them
0:39together
0:40because most of my of the app will use
0:42the sample
0:43using this track are basic atmospherics
0:46and so all each of these goes into
0:51their groups their groups so kick and
0:54bass
0:55quickly uh constantly we'll see
0:59in each of the groups is sound toys
1:04santo is mostly decapitator as a first
1:07guy
1:07on the on the on the chain decapitator
1:12is a uh one of the best sounding
1:15and best emulation recreation of
1:19five different old
1:23analog machines as you can see here
1:27but basically is a saturated okay as you
1:29can see here is the other a r
1:31a and t a these are different
1:34style five different style so a stay
1:37as an emulation for ampex which is a
1:41old tape tape
1:45is a pre-amp of a tape recorder okay
1:48so this is a modeled on the preamp which
1:51is a very typical sound
1:53the e is from the me tg channel mikriam
1:57the n is from the famous nev 1057
2:01germanium preamp so it's actually made
2:03on a very particular
2:05metal so this sound is very physical so
2:09it's something that
2:10these guys emulate very well and the
2:11last two tmp
2:13are most very the most famous of
2:16all culture vulture the first dt is from
2:19a triad
2:21preamp and the piece from a painter
2:23there don't ask me
2:24too much about what it is so you can go
2:26read it but just to let you know that
2:28these guys spend their time
2:30to go through these really iconic
2:32machines
2:33and give you the possibility to uh put
2:36this
2:36on your on on a click basic and it's
2:40i mean i don't want to say that
2:43i mean if you have the money go buy and
2:44leave go buy a culture vote
2:46for sure i will do it but these guys you
2:48have in your hand
2:49are [ __ ] it's a it's it's incredible
2:53it sounds incredible
2:54you have few parameters drive they
2:57actually
2:57output is balanced is more uh the drive
3:01is automatically lowering the output in
3:05order to don't
3:07clip you can also take it off of course
3:09there is a punish button
3:10which will completely over overdrive
3:13everything
3:14so this guy here now i think
3:18uh we put it on each channel basically
3:21just to give this uh analog feeling this
3:24analog
3:25shape to our otherwise very digital and
3:29very
3:31straight sounding music
3:34if you want to add something nick yeah
3:37uh
3:38vintage emulation actually is something
3:40that's very important that i think a lot
3:41of
3:42digital music is sort of um losing
3:46the vintage emulation that we like to
3:49instigate
3:50basically is for purpose of adding
3:52character uh we're
3:53even though we're making music in the
3:55digital environment we want to try and
3:57add an
3:58element of tangibility to everything and
4:01analog gear because of its little
4:02nuances
4:03and and and because of its its bugs and
4:07problems
4:08adds sort of a a feeling of being alive
4:11to the sound
4:13vintage emulation is something
4:16that we use on each of our groups
4:21no group is uh is without some form of
4:24vintage emulation
4:25and again that's just to add a little
4:27bit of spice a little bit of noise a
4:28little bit of distortion
4:30to each of these tones to kind of pull
4:31away from that that surgical
4:33clean sound even though we we are
4:37very clean in our in our uh equalization
4:40um however we want to add a little bit
4:42a little bit of distress to everything
4:44and that
4:45i mean it really um translates very well
4:48uh on the big rig and also um you know
4:51on headphones and everything
4:52it just adds a nice spice i definitely
4:55recommend
4:56maybe checking out if you have the waves
4:57plug-ins there's tons of vintage
4:59emulations on the waves
5:00plug-ins check out all the tape
5:02emulations check out the
5:03compressor uh emulations check out um
5:06any tube uh emulations if you if you
5:09don't uh own the waves thing you don't
5:11have money for uh sound toys but you
5:12want to get into emulation
5:14uh two uh wave arts which is not waves
5:17it's a different uh
5:18uh company wave arts offers a free tube
5:21um emulation that is an emulation of a
5:25tube saturator um or lamp saturator
5:28so uh yeah it's just good give it a try
5:31really it might add some nice
5:32uh you know analog warmth you know i
5:35don't like to use that term
5:36warmth too much but it really does add
5:38that a little bit of a different
5:39character to your tone
5:41this character you can call it
5:42definitely character and here we use it
5:44on the kick and bass group
5:46going on so then this will make
5:49the kicking bass that goes together to
5:51this thing will take the same tone of
5:53this
5:53uh decapitator then we in this case we
5:57just
5:58did a basic cut again 30 years
6:01uh 19 like the audible just cut
6:05up and down to clean up and here we use
6:08another plugin from elisha
6:12to basically uh
6:15glue together a
6:18kicking bass so i want to show you how
6:21it sounds without
6:22if you can hear it because you know
6:24still uh well
6:26maybe you can hear it afterwards on the
6:28recording but
6:29so i just pulled this out
6:34[Music]
6:41i mean it makes makes a big difference
6:43uh anyway on headphones when you hear it
6:46and on the overall mix this glue
6:49together kicking base
6:52and after we do have again
6:55a basic uh mid-side
6:59cut side cut to
7:02make everything that goes be before 300
7:06hertz
7:07not on the stereo field let's say on the
7:10side field
7:12there is actually not much here again
7:14sounds good already but we can
7:16definitely work a little bit more on
7:17equalization and compression but once
7:20again
7:21you know if the overall sound of the
7:23track is okay
7:25maybe it's also good to leave it my
7:28single
7:28or my opinion because if you say
7:30seriously then you want to go to
7:32surgical one day
7:33maybe focus yourself on
7:36cutting everything that's and then you
7:38play it again this kicking bass on
7:40all the sounds that were made in another
7:42concept
7:43and it sounds not good as before this
7:46happened to me many times that i
7:47said okay [ __ ] it now i want to change i
7:50want to make it perfect
7:51then the key can be itself or something
7:54perfect but
7:55the truck loses his energy
7:58that is a very important thing to note
8:00actually that kind of goes along with so
8:02i'll keep it simple stupid
8:04in terms of synthesis and processing
8:07it's better if you don't know what
8:09you're doing to just
8:10don't do it read about it first read
8:13about whatever effect you're gonna put
8:14on there
8:15uh read about it and test um in
8:17different environments
8:18the effect of that effect uh before you
8:22um just blindly put stuff on for example
8:25we're talking about a lot of stuff here
8:26in our project
8:28and unless you really try and wrap your
8:30head around
8:31the basics of each of these tools it
8:34might be better to
8:35to not just throw stuff on because we
8:37told you to certainly
8:39read about everything do your own
8:40research these are
8:43very tried and true tools that we if you
8:45like our music
8:46this is you know we're an open book here
8:48we're showing you exactly what we use
8:49but
8:50again don't over process there's no
8:52reason to do that also because you will
8:54get your track
8:55most likely mastered by a professional
8:57engineer that may add things
8:59like some vintage emulation or some
9:01compression or some eq
9:03of course don't also don't rely on your
9:04track being mastered to
9:06you know to polish your turd you know
9:08per se
9:09but uh you know don't don't overthink it
9:12i think is
9:13is important to know and again we uh in
9:16terms of the group processing
9:17it's all going to be the same it's all
9:19going to have some form of eq on the
9:21group
9:21some some sort of sort of vintage
9:23simulation some sort of saturation
9:25probably and then
9:28we can go quickly we can go click
9:29through as you said that there is not
9:31much else to say
9:32we basically group all the sounds as we
9:34said before drums
9:35goes and again another vintage emulation
9:39this time from another neve
9:42amp which is yeah maybe here is our
9:45overdue stuff we put the radiator and
9:47decapitator one after another but yeah
9:49sounds good
9:50so this makes like pretty uh
9:55yeah dirty especially in the drums and
9:57here we go
9:58using a melder production which is
10:00another big nice brand
10:02uh transient uh
10:05multiband transient generator which
10:08here we use even up a preset
10:12to punch high hands so in fact we will
10:15you know emphasize the transient around
10:17this area
10:19and once again a basic basic basic basic
10:23eq
10:23we cut what we don't need especially in
10:25percussion you don't need
10:26much unless you have a i don't know
10:29which kind of style you want to do
10:30but in this case you don't need much
10:33here on the very bottom low end
10:35and same things goes for synthesizer
10:38which
10:38with a little bit trick there is another
10:42once again decapitator here
10:49this is uh this is again from some toys
10:52it gives you the possibility as you can
10:54see here to have
10:55or a sort of rack where you can just
10:58drag and drop your
11:00all the amazing plugin they have from
11:03filter to delay to
11:04eq to granular
11:07delay whatever you name it beautiful
11:10stuff
11:10buy it guys and support these guys
11:13because this is
11:14not behind this there is no uh
11:16multinational or rich
11:18buster that wants us to make profit
11:20these guys are really helping us to make
11:22killer music
11:23with their passion and they must be
11:26supported i guess
11:28uh at the end of this chain we have a
11:31asterisk spread which is a very this is
11:34a very cool one we can go and determine
11:35next time
11:36which allow you also to find the minimum
11:39frequency
11:40uh you can also relate it to for example
11:43to
11:43any any pitch you want to to start with
11:46this
11:47where this frequency will start
11:49spreading in stereo
11:50very useful and very actually uh
11:54is a very precise thing and again
11:58we go to admin circle effort rack
12:01again basic vintage punch
12:06basic eq with a little of knots there
12:10and basic here we are actually full band
12:14compressing the atmo to make it sounding
12:18uh open i guess
12:22still as you can see for all the
12:25what we went through here this is
12:27definitely
12:28not a complete mix track but as you
12:32could hear before before we played the
12:34uh the master
12:35version but the master version is just
12:37limited by us you know studio is not
12:38mastered by professional
12:40the track sounds good to me and i think
12:43it sounds great we've played it a bunch
12:44too
12:45and it seems to translate really well so
12:47i'm i'm pretty happy with it maybe
12:49some tiny little uh changes may occur
12:51but that's for sure
12:53when one day when you have a clean head
12:55and a clean hair and you want to go
12:57a little bit more and you know there is
12:59always something that you will recognize
13:01not the final
13:02listener probably because they finally
13:04sell as long as he will enjoy the energy
13:07of the truck or the
13:08story we didn't talk about the story of
13:11the truck
13:11i mean music has to have a soul it
13:14cannot be just
13:15numbers and bits and screens and
13:18whatever or even synthesize it cannot be
13:20just be that
13:21as to be we we must say something you
13:24know
13:24and this is why my opinion what's what's
13:27make uh
13:29attract great and art is great we can
13:31definitely
13:32tell something while producing from
13:36the first beat till the last one a
13:38journey
13:40otherwise is i mean there are there are
13:42many many basic
13:43copycat music and this thing i skip for
13:46it
13:47also uh there's many people that um
13:51maybe are very technically uh
13:54talented but don't have that soul and i
13:57think
13:57that is sort of an intangible thing here
14:01um that even if you don't have all of
14:04the best techniques or you think that
14:07you may need to learn more
14:09it doesn't mean that you can't create
14:10truly like moving music
14:12i think that as a as an artist uh in
14:15music
14:16and probably other fields too uh the
14:18most
14:19powerful thing that we can bring to uh
14:22to our piece of work is our past
14:24experience
14:25and our inspiration so if you have a lot
14:27of this experience
14:29life experience um or inspiration
14:31through other
14:32means of art then that is really the
14:35most
14:35that's the biggest thing you can bring
14:37to the table here not really all these
14:39technical things
14:40it's fun to learn stuff always and you
14:42should keep learning uh but don't let
14:44that be a hindrance for you
14:45um certainly wasn't for either of us i
14:47mean you listen to some of our old music
14:49and it's like mixed pretty shitty um so
14:52i but we still put it out anyways and
14:55i'm and people seem to like it so
14:57definitely try and be subjective about
14:59your stuff um
15:01i want to just mention quickly about
15:03composition here before we
15:05get into the q a um and the composition
15:08of the kind of music that we make
15:11and if you're trying to sort of make
15:13something similar then this might be
15:15interesting for you to sort of have some
15:17food for thought
15:18um as dark progressive producers
15:21we kind of are asking the listener
15:25through through composition to just be a
15:28little more patient with their listening
15:29experience
15:30as you listen to this track it doesn't
15:33sound so
15:35so quickly satisfying drops and
15:39big risers and all this kind of [ __ ] um
15:41this music is a little bit more
15:43um introspective and i think that's
15:45something that can really
15:46uh define dark progressive as a genre or
15:49at least i feel like is an important
15:51uh key word for dark progressive having
15:54that patience
15:55uh with your composition and with your
15:58letting your
15:59letting your story sort of slowly evolve
16:01um
16:02because what basically happens is that
16:06it it allows for the music to become
16:08more of a journey
16:09uh and more of like a discovery for the
16:11listener um
16:14almost like more of an odyssey really as
16:16opposed to you know let's
16:17quickly get into the media of the track
16:19let's quickly get out let's put a break
16:21you know let's get back into a drop you
16:23know this sort of
16:24uh aadd um composition is quite popular
16:28in today's modern music
16:30and i think that's where we want to have
16:32we want to differ
16:33um we want to have more um more
16:37experience
16:37with our listener than just giving them
16:41uh that quick satisfaction try and think
16:43about that sort of thing
16:45when you're creating your track um
16:47because i think in the end
16:48the listener gets much more out of the
16:52out of the experience when you when you
16:54when you ask them to be patient like
16:55that
16:56um i think it becomes a little bit more
16:57emotional and i think it becomes
17:00thus a little bit more spiritual for the
17:02listener um in the long run so i i just
17:05i just wanted to point that out here um
17:07if you're ever wondering about you know
17:09should i should i quickly get into my my
17:12lead section like immediately oh it's so
17:14boring you know there's no point in sort
17:16of
17:16uh in spoon feeding and slowly emerging
17:19into your story
17:21um on that note i think do you want to
17:23add anything quickly on
17:25i i agree with everything you said i
17:27mean it's definitely
17:30important
17:36you