Use glitchy sounds as ear candy for texture
Problem: lack of texture or movement in the track
Glitchy sounds can add interesting texture and movement to a track, especially in the context of electronic music. These sounds often work well in the background, adding subtle interest without overpowering the main…
Add multiple ear candy tracks for more variation and interest
Problem: lack of variation in ear candy
Introducing multiple ear candy tracks increases the variety and interest in the mix. This technique is especially useful in ambient and melodic genres where subtle layers can enhance the atmosphere. The speaker suggests…
Use the FX section for adding modulation and texture
Problem: static, lifeless bass
The FX section in Rumble allows you to add various effects such as modulation, reverb, and delay. This is useful for adding movement and texture to your bass sounds, making them more dynamic and interesting in a mix.
Use the analog drift effect for adding imperfection
Problem: overly perfect, sterile sound
The analog drift effect in Rumble adds subtle, random variations to your sound, making it feel more organic and less perfect. This is especially useful for creating more natural-sounding bass that doesn't feel too…
Use the 16 modulation slots for complex modulation
Problem: limited modulation options
Rumble includes 16 modulation slots that can be used to route various parameters to different destinations. This allows for complex modulation setups and gives you more control over how your sound evolves over time.
Use the Mix Head plugin on the mix bus for digital tape saturation
Problem: mix lacks warmth and cohesion
The Mix Head plugin acts as a digital tape saturation processor, smoothing out the edges of the mix and adding warmth. It's used on the mix bus after analog gear like the DW Fern and SSL Bus Plus. The plugin is set to 30…
Use the Mix Head plugin as a digital tape saturation processor on the mix bus
Problem: mix lacks cohesion and warmth
The Mix Head plugin is used as a digital tape saturation processor on the mix bus, providing a smooth and warm sound. It's used after analog gear like the DW Fern and SSL Bus Plus, and it's set to 30 IPS for a hi-fi…
Use the Mix Head plugin with a little input gain and drive for subtle saturation
Problem: mix lacks subtle saturation
The Mix Head plugin is used with a little input gain and drive to add subtle saturation to the mix. This helps enhance the overall sound without introducing harshness. The plugin is set to 30 IPS for a hi-fi sound, and…
Use a 30 IPS tape speed setting on the Mix Head for a hi-fi sound
Problem: mix lacks clarity and warmth
Setting the Mix Head plugin to 30 IPS tape speed provides a hi-fi, smooth sound that enhances the overall mix. This setting is preferred over 15 IPS, which adds more bottom end but lacks the clarity of 30 IPS. The 30 IPS…
Use the Pole Tech EQ on the mix bus for subtle frequency shaping
Problem: mix lacks subtle frequency balance
The Pole Tech EQ is used on the mix bus for subtle frequency shaping, even when no major adjustments are made. It adds a subtle 60Hz bump to enhance the low end without overdoing it. The plugin is preferred over the…
Insert the Pole Tech EQ on the mix bus even without making major adjustments
Problem: mix lacks subtle enhancement
The Pole Tech EQ is inserted on the mix bus even when no major adjustments are made, as it subtly enhances the mix. It's preferred over the vintage hardware version due to its consistency in stereo. This technique is…
Use the Pole Tech EQ for its 2B effect on the mix bus
Problem: mix lacks subtle 2B effect
The Pole Tech EQ is used on the mix bus for its 2B effect, which enhances the overall sound of the mix. It's preferred over the vintage hardware version because it's more consistent in stereo. This technique is used in…
Add a perfect fifth interval to the bass for harmonic richness
Problem: bass lacks harmonic depth
Adding a second square wave that plays a perfect fifth interval (seven semitones plus an octave) above the main bass note can add harmonic richness and depth to the bass sound. This technique helps the bass sit better in…
Use fast attack and slow release to thicken a track
Problem: thin or lifeless sounds
A fast attack paired with a slow release can add thickness and body to a sound. This is because the compressor quickly reduces the initial transient but holds the gain reduction for a longer time, allowing the sustain of…
Use multiple microphone capsules to capture a more complete sound
Problem: incomplete sound capture, lack of detail
Using multiple microphone capsules, such as the four MU-1 capsules used on the piano, can help capture a more complete and detailed sound. Each capsule can capture different aspects of the sound, such as the high-end…
Layer brass and horn sounds with the main melody
Problem: thin or flat melody
Layering brass and horn sounds with the main melody adds depth and richness to the track. In this tutorial, the producer layers a brass sound with the main melody to create a more complex and engaging sound. This…
Add multiple layers with the same notes from the same sound pack
Problem: thin or lifeless pad section
Using multiple layers of the same notes from the same sound pack can add depth and richness to a pad or ambient section. This technique helps create a fuller, more textured sound without overcomplicating the arrangement.…
Layer different sounds from the same pack to add variety and depth
Problem: section lacks variety or depth
Layering different sounds from the same pack can add variety and depth to a section. This technique is useful for creating a more dynamic and interesting sound without overcomplicating the arrangement. It's especially…
Use phasers before delay for added texture
Problem: delay sounds flat or static
The producer adds a phaser before the delay to create a more textured and dynamic sound. This technique adds movement and depth to the track, making the delay more interesting and less static. Phasers are a common tool…
Use vocal stacks for harmonic richness in the second part of the track
Problem: vocal section lacks harmonic depth
The producer introduces vocal stacks in the second part of the track to add harmonic depth and richness. Using a preset like 'Female Hyperpop stack' from Odemi allows for quick and effective layering of vocals, enhancing…
Use reverb with modulation and pre-delay to add character to hits
Problem: hits lack presence and depth in the mix
Adding reverb with modulation and pre-delay can give hits more depth and movement. The modulation adds a subtle, evolving texture, while the pre-delay (set to eighth notes) ensures the reverb aligns with the track's…
Use modulation and envelope followers to control reverb swell
Problem: reverb lacks dynamic control and responsiveness
Using modulation and envelope followers can help control the swell of reverb, making it more dynamic and responsive to the track. This technique allows the reverb to swell in time with the notes or samples, creating a…
Connect mod wheel to filter for real-time modulation
Problem: static, lifeless synth sounds
Linking the mod wheel to the filter allows for expressive, real-time control over the filter cutoff, which can be used to add movement and dynamics to a synth. This is a common technique in trance and tech trance to make…
Add tape saturation after the echo for a vintage feel
Problem: lack of warmth or vintage character
Adding tape saturation after the echo can give the sound a warm, vintage character that mimics the sound of recording to tape. This technique is especially useful for synths or leads that need more warmth and depth. The…
Use vintage microphones for a unique and characterful sound
Problem: lack of character or warmth in recordings
The speaker highlights the use of vintage microphones, such as the white vintage MD 421s, for their unique tonal characteristics. Vintage mics often have a distinct sound that can add warmth, character, and a sense of…
Experiment with different modulation tools like Shape or Box
Problem: lack of unique textures, indistinct elements
Using modulation tools such as Shape or Box can drastically alter the harmonic content and character of a sound. These tools allow for creative manipulation of the audio signal, making it easier to distinguish elements…
Use OTT to add harmonic content and character
Problem: flat or lifeless sections
OTT (Overdrive Tool) can be used to add harmonic content and character to a sound. It introduces subtle distortion and saturation, which can enhance the presence and warmth of a melody or lead. This is particularly…
Changing harmonic content can significantly alter a sound's character
Problem: indistinct or flat sounds
Modifying the harmonic content of a sound can drastically change its character and mood. This is a powerful technique for shaping the identity of a melody or lead. It allows for creative expression and can help a sound…
Layer a silk piano with a pad to create a rich bridge section
Problem: thin or uninspiring bridge section
Layering a piano with a pad adds texture and emotional depth to the bridge. This technique is especially effective in house and melodic techno, where the piano can serve as a lead or emotional anchor. Using a silk piano…
Use EQ and delay modulation to evolve chopped vocal bridges over time
Problem: chopped vocals lack evolution and movement
Modulating the delay and EQ of the back part of the chopped vocal elements over time can add a sense of movement and evolution to the bridge section. This technique helps in making the bridge feel more like a drop by…
Modulate noise with a filter to balance loudness
Problem: noise becomes too loud when filter opens
When using noise in a bass sound, it can become too loud as the filter opens. By modulating the noise level inversely with the filter cutoff using a macro, the noise is reduced as the filter opens, preventing it from…
Use PD (Pitch Detection) for creative modulation
Problem: bass lacks movement and interest
PD (Pitch Detection) can be used creatively to modulate other parameters based on the pitch of the oscillator. This technique allows for dynamic and expressive modulation that can add movement and interest to the bass…
Use a high-pitched oscillator to change the bass sound
Problem: bass sounds generic or flat
Adding a high-pitched oscillator can change the character of a bass sound, adding brightness and complexity. This is useful for creating more interesting and unique bass textures. The high-pitched oscillator can be used…
Use two similar foundation bass layers for a fuller, more cohesive sound
Problem: thin or weak bass
Layering two similar bass sounds can create a more full and rich low end without making the sound too cluttered. This technique helps maintain clarity while adding depth. It's a common approach in EDM production to…
Add a gritty or unique layer on top of foundation bass layers for texture
Problem: bass lacks texture or interest
After creating a solid foundation with two similar bass layers, adding a gritty or unique layer on top can give the bass more character and texture. This layer should be more distinct from the foundation layers to avoid…
Use unison and detuning to thicken the bass sound
Problem: thin or weak bass
Applying unison and slight detuning to a bass layer can help thicken the sound and add a sense of width. This technique is especially useful in genres like trance and house, where a full and rich bass is essential for…
Layer different versions of the bass with varying octaves and notes
Problem: monotonous or thin bassline
Creating a hierarchy in the bass layers by using different octaves and notes adds depth and complexity to the bassline. This technique ensures that the bass doesn't become monotonous and provides a more dynamic and full…
Use multiple bass layers with different processing for depth
Problem: flat or thin bass section
Creating multiple bass layers with similar but slightly different processing adds depth and complexity to the bass section. This technique ensures that the bass doesn't become flat and provides a more dynamic and full…
Add lower mids for warmth and calmness
Problem: track feels too cold or aggressive
Boosting lower mid frequencies (around 200-500Hz) can add a sense of warmth and safety to a track, making it feel more grounded and calm. This is useful for genres like ambient or chill-out, where a relaxed and mellow…
Use odd harmonics for a pleasant sound
Problem: track feels too dark or jarring
Odd harmonics tend to sound more pleasant and bright compared to even harmonics, which can sound jarring or darker. This is useful for creating a more positive and uplifting emotional tone in a track. Odd harmonics are…
Use contrast in reverb to create emotional shifts between sections
Problem: lack of emotional contrast between sections
By adjusting the amount of reverb in different sections of a song, you can create a sense of emotional contrast. For example, using drier, more intimate reverb in verses and wetter, more expansive reverb in choruses can…
Use reverb to create a sense of uplift in choruses
Problem: choruses lack emotional uplift
Adding more reverb in choruses can create a sense of space and uplift, even though long reverb tails are typically associated with lower arousal. The key is the contrast between sections — going from dry to wet or narrow…
Experiment with automation and layering to shape the arrangement
Problem: stagnant arrangement, lack of movement
Automation and layering are essential tools for shaping the arrangement and giving the track a sense of movement and evolution. By experimenting with these techniques, producers can discover new ways to transition…
Use a stutter vocal to add interest and movement
Problem: track lacks movement and interest
Adding a stutter vocal can introduce movement and interest to the track, especially in the drop or build sections. This technique helps keep the listener engaged and adds a layer of complexity to the arrangement. Stutter…
Use an Ampex tape machine plugin for warmth and color
Problem: lack of warmth or character in the mix
An Ampex tape machine plugin can add warmth and character to your track before any other processing. It simulates the sound of analog tape, which can give your mix a more organic feel. This is especially useful for…
Assign an envelope to detuning for dynamic modulation
Problem: static or lifeless synth sound
Assigning an envelope to the detuning parameter in Serum allows for dynamic modulation of the unison detuning over time. This can create a more organic and evolving sound, similar to the way a trumpet or guitar vibrates…
Use detuning with multiple unison voices to create a brass-like attack
Problem: synth lacks organic attack or realism
To replicate the initial attack of a brass instrument like a trumpet, use detuning with multiple unison voices in Serum. This creates a rich, layered sound that mimics the natural tuning variations of real instruments.…
Use chorus for subtle movement and width
Problem: synth lacks movement or width
Adding a chorus effect can introduce subtle movement and width to the synth, making it feel more dynamic and spatial. This is a common technique in melodic techno and house to add a sense of motion and depth to the…