“These three work really well together and we use them all the time. Then we got more articulation and voices from the NI Session Strings and the String Ensemble instrument from the old Kontakt stock library.” It’s a Nexus patch called Soft Orchester which adds some of the thickness and sounds awesome on songs that need those big stacks. Strings: Seeb: “The strings we used are pretty basic. Then we added a bit of UA Dimension D and even a UA Brigade Chorus here and there to give it a bit more life.” “We use it all the time! Normally we just record it straight into Ableton Live maybe with some phaser on it but this time it was totally dry through the UAD Apollo preamp. Universal Audio Brigade Chorus (CE-1) and Studio D (Dimension-D) chorus are added for movement The pair is particularly fond of their “old beat-up“ Rhodes that they restored themselves. Rhodes : The session features a Fender Rhodes, subtly layered with the piano/synth riff. Seeb’s much-loved Rhodes in their studio sits under a Nord Electro “The main arpeggio was layered with U-he Zebra and Xfer LFO Tool to add more filter movement and a bit more definition to the original modular arpeggio track,” explain the duo. Then, to give the modular synth-generated arpeggios extra filter movement and definition, Seeb began doubling the part with softsynths. You kind of start from scratch every time and therefore come up with something special.” Softsynths double the modular arpeggios Seeb explain: “Of course the knobs are not in the same place as they were but that’s the charm with these modular racks. Rising in volume during the second half of the first verse, at around 0.26, the main arpeggio was built by Svidden on his “insane modular setup”. Note the v1 bounce audio near the bottom of the session for reference, and the tempo in the title of that track (113 BPM).Īrpeggios: 16. The piano/synth riffs are all exploded in blue for you to see in the context of the session. All riff tracksĪll the riff tracks together. On the final two chords, you can also hear the Air Phaser coming in to add more stereo movement. Compare the piano sound at 0.16 to 0.39, where the filter really starts opening up. The bouncy chordal piano part enters at 0.10 with a heavy low-pass filter, to give the vocal space to cut through, but the cutoff is automated to keep the energy building throughout the verse. It is basically a type of Korg M1 piano run through two Echoboys, an Air Vintage Filter that rises in the verses and a phaser that comes in on the transitions.” Seeb explains, “This is the main piano part from the Pro Tools session that came from Svidden. And at the end, they are even going to the music group that has an Ableton Filter on it.Īdding interest to the Korg M1 piano patch with plug-ins form Soundtoys and AIR (tap to enlarge) Then they and are mixed down through a group with some more Kickstart and Soundtoys PhaseMistress. Each instance is a different sound, triggered by slightly different MIDI but they all go through the same chain with a Nicky Romero Kickstart and some Ableton Echo. It consists of the main piano part that is rendered down from Pro Tools to audio with effects and stacked as you see here with a myriad of Omnispheres. Seeb: “This is the folder track with the main piano/synth riff we have going throughout the song. Here we see the folder track with the main piano part in it, and the first virtual instruments used to build it. Piano/Synth Riff: The piano part is what drives the track forward but it’s far from just being a straight sample. The instruments The piano/synth riff is a series of Omnisphere patches stacked We’ll be referring back to specific points in the track so you may want to open it up in another window.
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