Bass ROMplers such as Spectrasonics Trilogy and Bornemark's Broomstick Bass are your best bets for recreating this kind of thing.ġ5. Silky bass guitar tones are a common sound in ambient dub, but if you don't have a real bass guitar to hand, you'll have some trouble getting the same smooth sound. You might find that pulling samples forwards along the track a little makes them fit in better with the rest of the groove, and having the snap control turned off also makes programming human-sounding rhythms easier.ġ4. When deploying your newly-sliced rhythmic samples, it's not always best to have your sequencer's snap control active. When cutting sounds up in your sequencer, remember to zoom in to make sure you're cutting the file at a point where the amplitude is zero - otherwise known as a 'zero crossing'.ġ3. With modern audio sequencers, it's easier than ever to cut up vocals and other rhythmic sounds in order to fit them in with the groove of your track. Check out Smoky Joe, a lo-fi formant processor.ġ2. When pitching vocals around, it helps to use a plug-in with a formant control - this helps vocals retain their characteristics or, conversely, can be used to alter them radically.
When working with vocals, you can have a lot of fun with pitchshifting.
This will give the sound a great deal of movement and works superbly when combined with a delay effect.ġ1. To make a pad sound particularly evocative, try modulating the filter cutoff with a shallow LFO as well as a big, sweeping envelope. Crossfade looping is the best way to get seamless loops, but if this isn't possible, you can recreate the effect yourself by fading between two audio tracks in your mixer.ġ0. If you've got a sample that you want to play for longer than its duration, you have two basic options: you could timestretch it, which will most likely introduce unwanted audio artifacts, or loop it. "Recordings of natural sounds such as rainfall, waves, wind and fire are great for filling out a mix because they're basically noise"ĩ. By subtly altering tuning, pulse width or filter cutoff over time, you can create more organic sounds that will enhance the mix rather than make it sound lifeless. If you're using long, sustained sounds, such as pads, your mix can lack movement if these elements are too static. This sounds artificial, but in a lo-fi way, and works especially well when teamed with a high-quality reverb.Ĩ. Noise is a useful synthesis tool - if your synth features a noise oscillator, you can use it with a fast-attack amplitude envelope to create your own percussion sounds. They shouldn't be too loud or they'll overpower the mix, but use them with care and they can be extremely useful.ħ.
Recordings of natural sounds such as rainfall, waves, wind and fire are great for filling out a mix because they're basically noise, and as such, they have a wide range of frequencies. Even if they're from ROMplers, it should help take some of the unnatural edge off.Ħ.
#Circuli ambient music creator full#
If your tracks are jam-packed full of synthetic-sounding virtual instrument patches and everything's starting to sound too 'computery', consider bringing in some natural sounds or using a few real instrument parts. Using this method, it's possible to come up with some great abstract noises that sound nothing like the original source material.ĥ. If you're short on fresh ideas, try running short bursts of a sample through a delay effect. Samples are a constant source of inspiration, but it's easy to discount one because it doesn't fit the feel of your track when you first try it.
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