Use multiband compression and tube distortion on plucks
Problem: lifeless or undefined pluck sounds
Apply multiband compression and tube distortion (70% drive, 30% mix) to pluck layers for dynamic control and harmonic saturation. This enhances the punch and presence of plucks while maintaining clarity in dense…
Layer pluck with a gated pad for movement in sparse sections
Problem: sparse pluck sections sound dry and lifeless
Using a gated pad with the same MIDI as the pluck adds texture between sparse notes. The gate sits in the background with low volume and an LFO-modulated filter, creating dynamic movement that prevents the section from…
Cut high frequencies on pluck to make it drier and use gate as atmosphere
Problem: muddiness from excessive high-end and reverb
Removing high-end frequencies from the pluck allows the gate layer to act as an atmospheric element rather than relying on heavy reverb. This approach prevents the track from sounding muddy while maintaining spatial…
Use single-note MIDI with gate for effective layering
Problem: overcomplicated MIDI patterns
The speaker suggests using simple single-note MIDI patterns with gates instead of complex chords. This approach allows the gate's rhythmic movement to shine without competing with the pluck's melody. It's particularly…
Use chord inversions to create variation in plucks
Problem: static plucks, lack of harmonic variation
Inversions involve rearranging the order of notes in a chord, which can create subtle tonal and harmonic differences. This technique is especially useful for plucks and sustained chords, as it adds movement and interest…
Use LFO to shape pluck filters for a dynamic, stabby sound
Problem: lifeless plucks, lack of movement
Applying an LFO to a filter can create rhythmic, pulsing effects on plucks, giving them a more dynamic and 'stabby' character. This technique is particularly effective for creating the signature 'deadmau5' pluck sound,…
Add unison and drive to enhance the deadmau5 pluck sound
Problem: thin plucks, lack of presence
Unison is a technique where multiple instances of the same oscillator are detuned slightly to create a richer, more complex sound. Adding a small amount of drive or saturation can further enhance the character of the…
Use reverb to add space and depth to plucks
Problem: plucks lack space, sound flat
Adding reverb to plucks can help them sit better in the mix by giving them a sense of space and depth. This is especially useful in genres like melodic techno and trance, where the mix often has a wide stereo image and a…
Create a dedicated delay for plucks to add rhythmic interest
Problem: plucks lack rhythmic interest, sound static
Using a separate delay for plucks allows for more control over the timing and character of the effect. This can be used to create rhythmic interest and add a sense of movement to the pluck. The delay should be slightly…
Remove low end under 100Hz from plucks to avoid clashing with sub bass
Problem: plucks clashing with sub bass, muddiness in low end
Plucks with low-end energy below 100Hz can compete with the sub bass, causing muddiness. By cutting this range, the plucks become more transparent and allow the sub bass to sit clearly in the mix. This is especially…
Use MIDI packs to create dynamic lead and pluck sounds
Problem: static lead and pluck sounds lacking movement
MIDI packs like the AIM Studios acid MIDI pack or Trans Essentials can provide a foundation for creating lead and pluck sounds. Even if the MIDI is labeled for a specific sound, you can assign different presets to it for…
Use the same MIDI for pluck and lead for cohesion
Problem: disconnected melodic elements
Using the same MIDI pattern for both pluck and lead sounds can create a sense of cohesion and unity in the track. This technique is common in trance and melodic-techno to ensure that the melodic elements are aligned and…
Use plucks to fill in silence between phrases
Problem: arrangement feels empty or stagnant
Adding short pluck sounds between silences helps maintain interest and fills in gaps in the arrangement. These plucks are often panned to opposite sides to enhance stereo width. This is a subtle but effective technique…
Apply downsample distortion for lo-fi pluck character
Problem: lifeless or sterile pluck sounds
Using a downsample distortion plugin on the initial pluck attack adds a gritty, lo-fi texture that enhances the percussive quality of the sound. The distortion is typically modulated via an envelope to ensure it only…
Use chord-based plucks for harmonic lead sections
Problem: monotonous lead sections
Selecting plucks with MIDI options for chords adds harmonic richness to lead sections. This technique is ideal for trance tracks where melodic complexity is key. By using chord-based plucks, producers can create more…
Use down sampling and PD (pitch detection) for textural variation in plucks
Problem: Generic pluck sounds lacking character
Layer plucks with similar timbre for thickness
Problem: thin pluck
Layering multiple pluck sounds with similar waveforms but slightly detuned oscillators creates a thicker, more present sound. This technique is used in trance to make plucks cut through the mix while maintaining a…
Use sharp decay for snapping plucks
Problem: pluck lacks punch
Setting the decay time to a very short value (e.g., 10ms) creates a punchy, percussive pluck that snaps in the mix. This is ideal for trance breakdowns where plucks need to articulate clearly against other elements. The…
Use a one-bar rhythm with quarter notes, first notes, and middle-endings for pluck melodies
Problem: predictable or flat pluck melodies
The tutorial starts with a one-bar structure using quarter notes on the first and third beats, with the melody ending on the middle of the bar. This creates a rhythmic foundation that's both punchy and loopable. The…
Suspend middle notes on the second or fourth beat for smoother transitions
Problem: jarring melodic transitions
By suspending the middle note (e.g., C) on the second or fourth beat, the melody avoids abrupt changes in pitch. This creates a sense of tension and release, making the transition between notes feel more natural. The…
Move top notes an octave lower for harmonic depth
Problem: thin or flat pluck melodies
Lowering the top note (e.g., A) by an octave adds harmonic richness and depth to the melody. This technique creates a contrast between the high and low registers, making the pluck sound more dynamic. The lower octave…
Use syncopated rhythms with three-note sequences for groove
Problem: monotonous pluck rhythms
A syncopated rhythm using three notes (e.g., D, A, C) moving up and down creates a sense of groove and movement. This pattern avoids the monotony of straight eighth notes and adds complexity to the melody. The…
Add dotted eighth notes for rhythmic variation
Problem: static or repetitive pluck rhythms
Incorporating dotted eighth notes into the pluck melody introduces rhythmic variation and a sense of forward motion. This technique prevents the melody from feeling static and keeps the listener engaged. The dotted…
Define a pluck as a short, sharp sound with a strong transient
Problem: unclear definition of pluck in sound design
A pluck is characterized by its brief duration and pronounced attack, similar to plucking a guitar string. This transient-driven sound is crucial for creating punchy, attention-grabbing elements in trance music. The…
Use the 'saw' waveform for pluck shaping
Problem: lack of waveform selection guidance
The 'saw' waveform's jagged shape is ideal for creating the sharp, edgy character of a pluck. This waveform is selected as the default in Serum for this purpose, providing a foundation for further shaping with filters…
Apply a fast filter envelope to create sharp cutoffs
Problem: unclear how to shape filter response
Assigning an envelope to the filter and setting sustain to 0% with a short decay creates a rapid filter sweep. This technique produces the 'sharp and fast' sound characteristic of plucks, with the filter closing quickly…
Use EQ to roll off low-end and boost high-mids
Problem: unclear frequency shaping for plucks
Apply a high-shelf EQ boost around 300Hz and use a bell curve to enhance high-mids. This shaping adds clarity and presence to the pluck while avoiding muddiness. The EQ is triggered only at the start of the sample via…
Use reverb with low-cut and adjusted decay for spatial depth
Problem: unclear reverb settings for plucks
Apply a reverb with a 40Hz low-cut to avoid muddiness. Increase decay time for a larger space and adjust mix/decay to balance the pluck's presence. This adds dimension without overwhelming the transient.
Use compressor as sidechain to duck reverb on transients
Problem: reverb masks pluck transients, lack of dynamic space
The compressor is triggered by the pluck's transients to momentarily reduce reverb volume, creating dynamic space. This prevents the reverb from masking the pluck's attack. The technique mimics OTT (One Trick Trigger)…
Set delay timing to half-bar and quarter-bar lengths
Problem: delay feels disconnected from rhythm, lacks purpose
Using delay with rhythmic subdivisions (half-bar and quarter-bar) creates a sense of groove and spatial depth. This timing choice aligns with trance's emphasis on rhythmic precision and enhances the pluck's stereo image.…
Adjust delay feedback and EQ after initial setup
Problem: delay clashes with pluck or lacks definition
Fine-tuning delay feedback controls repeat density, while EQ shapes the frequency balance of repeats. This step ensures the delay doesn't clash with the pluck's frequency content or overwhelm the mix. It's a critical…
Use side chain on a plucky noise for rhythmic interest
Problem: plucky noise lacks rhythmic interest
Applying a side chain to a plucky noise can add rhythmic interest and movement to the track. This technique is often used in progressive house to create a sense of groove and energy. The side chain can be triggered by…
Use Ableton Wavetable to design trance plucks in the style of Chicane
Problem: creating authentic trance plucks
The video demonstrates creating authentic trance plucks using Ableton's Wavetable synthesizer, emulating the signature sound of artist Chicane. This approach leverages Wavetable's waveform manipulation capabilities to…
Use one oscillator with MG low filter for a classic Pol van Dyk block sound
Problem: creating a classic pluck sound
Using a single oscillator with the MG low filter setting creates a warm, punchy bass tone that is characteristic of Paul van Dyk's style. The MG low filter shape is ideal for this type of pluck because it allows for a…
Use an envelope on the cutoff to shape the filter response
Problem: lack of dynamic filter control
Applying an envelope to the cutoff of the filter allows for dynamic control over the filter's opening and closing. By decreasing the amount, sustain, and increasing the release, the filter opens quickly and closes…
Use a salt-tooth wave in Serum for a deep pluck sound
Problem: creating a deep, punchy pluck sound
The salt-tooth wave is a unique waveform in Serum that can be shaped into a deep, punchy pluck sound. By applying a filter and adjusting the envelope settings (tightening the filter, reducing sustain and decay), the…