Where do you derive your bass sounds from? Outboard or in the box synth? Would you use the sync function to make a waveform fit in the upper range? I've been trying to reach the consistency of your bass sounds by combining a couple of different waveforms and messing with the sync function, cutoff, resonance, eq , comp etc but I usually end up with an inconsistent rough sound in the end.
So what's the most important part in the process? The waveform it self, or the manipulation of it?
Would you ever use more than 2 waveforms for a single steady bass sound?
The most important factor is compression. Bass contains a lot of energy, and if it isn't tamed it can end up sounding like a mess. I will compress a bass sound four or five times before it sits right, but only a little each time.
Also it's important to consider a bass sound as consisting of an attack portion and a sustaining portion, and to treat each as distinct from each other, almost as if they were two separate sounds.
A compressor setting which works for the attack may not work for the sustain and vice-versa. Often I'll end up with two compressors in series, one fast to catch the front end and one slow to take care of the average [RMS] level.
EQ can help but it can also introduce more dynamic instability, so where there's EQ there is invariably more compression.
The source sound is important but I've got some of my best bass sounds from a cheap £30 VST plugin. Squirrel & Biscuits is a seven oscillator Doepfer patch layered with various other things.
Experimentation is key.
What is your opinion on the use of realistic drum sounds (in dub music especially) without being a drummer or record drums? And what about the transformation/appropriation process of sounds. I specify that I suppose you're not a drummer and you don't record drums.
I am very curious about your answer.
Thanks for your music.
I am a drummer and I do record sounds. I also sample them, make them with analogue synths, I use drum machines, whatever works.
There are so many great drum sound libraries available these days that it's perfectly possible to program something which could pass for a real drummer playing a real kit, but it helps a great deal to be able to think like a drummer.
When I program 'real' sounding drums I'm usually trying to create what I would play if I was technically able, and I generally imagine myself behind the kit. I'm not obsessive about the realism though, and most of my drum parts would need five arms and three legs to play them.
As always it's about what sounds good.
A state of nervous anxiety.
There's no difference. The distinction is arbitrary. By definition, all sounds which reach your ears are analogue. Even though they were once stored as a series of numbers, by the time you hear them they have been converted back into an analogue voltage.
It's all just sound.
I saw your video on Instagram. Wonderful news. And your studio is great too..
I'm wonder how you are dealing with "normal life things" like houseworks, cooking, birthdays, cut the grass, social life..etc .. You are in the studio all day, or you work in the night?
My best wishes of happiness and inspiration
P.S. No matter how long it takes ... I will be waiting to buy your album.
I pretty much exclusively work at night. I tend to start at about 10pm and work until 6:45am when my wife Zoe’s alarm clock goes off. I take her a cup of tea and get into the warm bed.
When I’m working I’m obsessed and good for not much else. Zoe keeps it all together and she does it with astonishing grace and efficiency. She looks after me, our daughter Daisy, three dogs, a cat, four fish, the house AND she does all our mail order sales, all of the accounts, the garden, three yoga sessions a week, etc, etc.
I have to constantly remind myself to wash the dishes or vacuum the hall or clean the bathroom whenever I notice it needs doing but she definitely carries me. She’s amazing and I really don’t deserve her.
A rehearsal room near me has a life-sized furry Toothless in its lobby. I want it so bad but they won’t sell it to me. No idea where I’d put it either.
This morning: Really good coffee, avocado and hummus on toast, hot shower. It was intense.
If you mean, like, acid and shit, that would have been more than twenty years ago. It was amazing and it left me in no doubt that the doors were now fully open and I could stop trying to pick the lock.
Yeah I know, I was just in the process of trying to contact him when I found out. I was going to ask him to play some piano on my next record. Bummer.
I included him in the sleeve notes on the vinyl edition of Blumenkraft and I’ve included some samples of him in the tune I’m working on, by way of a tribute.