Electronic

    Electronic Music represents the intersection of technology and musical creativity, en...

    44 videos
    @ 0:29
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    Tyler Gilmore

    Comparing the sound of 7 tape loop machines, back to back

    BlankFor_ms demonstrates the sound of different tape machines from his collection using two different tape loops: a synth pad and a beat. This showcases the character of each machine This explores the creative potential of tape looping to add depth and movement to music.

    @ 0:35
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    Hainbach

    Tape loop tricks: Bypassing the erase head for layering

    Hainbach demonstrates the technique of sound on sound using a Nagra tape recorder, focusing on the roles of the erase, write, and read heads. By bypassing the erase head, he creates multiple overlapping signals, adding depth and movement to the sound. He explains how to cut and splice a tape loop using quarter-inch tape, emphasizing the importance of a smooth splice to minimize noise. This setup allows for the creation of a continuous loop that can be layered with new sounds. Hainbach sets up the tape loop in a standard configuration and shows how bypassing the erase head results in a repeated sound, forming a rich, layered soundscape. This technique is ideal for creating more interesting and dynamic synth textures.

    @ 1:07
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    Reverb.com

    4-track cassette mixing: Creating a track with tape loops

    Alessandro demonstrates how he transforms Logic sessions into four-track cassette recordings, utilizing EQ and effects like reverb and shimmer for a lo-fi warmth. He emphasizes the flexibility of using a pitch wheel for live performance, allowing for dynamic pitch control and creative experimentation. The arrangement is divided into four distinct tracks: main sequence, melody, bass, and stereo effects. This setup provides Alessandro with the ability to creatively manipulate pitch bends and audio placement, enhancing the overall movement and interest of the sound. He also shares his transition from the Opie one to the OPC, praising their sampling capabilities and integration into his workflow. The use of a UA Ibanezยฎ TS808 Tube Screamer plugin adds drive and character, further enriching the sonic texture.

    @ 2:39
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    HAND

    Tempo manipulation basics - DIY tape delay

    HAND delves into the basics of tempo manipulation using tape loops, focusing on adding character and movement to electronic drum rhythms. Utilizing the Uher Report 4000, HAND demonstrates how tape looping and delay can create more interesting and dynamic soundscapes. The segment includes an analysis of signal records and monitor output, particularly examining speed stacks and delays. The discussion highlights the practical aspects of delayed releases and tempo adjustments in music production, emphasizing the intersection of music quality and physics. For a deeper understanding, viewers are encouraged to watch the video for further insights.

    @ 0:20
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    Randall Taylor

    Creating analog tape loops with cassettes

    Learn how to create analog tape loops using cassette tapes with this hands-on guide. The process involves recording your desired material onto a cassette, disassembling it, cutting the tape, and reassembling it to play as a continuous loop. You'll need basic tools like scissors, a Phillips head screwdriver, and clear tape. Cut the tape to your desired loop lengthโ€”here 8 5/8 inches (21.9 cm) create a 5-second loop. Ensure you cut at a 90-degree angle to create a seamless crossfade between the start and end of the loop, and maintain the right tension for smooth playback. This technique allows you to explore the unique sound characteristics of tape looping, offering an easy and affordable way to experiment with analog recording techniques. Dive into the world of analog sound and discover new textures for your music without breaking the bank.

    @ 9:35
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    MusicRadar Tech

    Embracing imperfect edits for creative effect

    DjRUM highlights the creative potential of embracing imperfect edits, using a trill as an example. By intentionally leaving the editing crude, they create a unique blend of realism and digital magic, where listeners are left questioning the authenticity of the sound. Instead of meticulously aligning transients and perfecting crossfades, the producer opts for a more spontaneous approach, allowing the imperfections to be masked by other elements in the mix. This technique emphasizes the beauty of free recording and improvisation, demonstrating that not every sound needs to be flawlessly executed to contribute effectively to a track.

    @ 1:32
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    Resident Adviser

    Guitar pedals: Affordable analog sound shaping

    Leon Vynehall highlights the creative potential of using guitar pedals for sound manipulation, emphasizing their affordability and ability to add character to your music. By taking your sound out of the digital realm and into the physical world, you can achieve unique and intriguing results that might not be possible with software alone. Vynehall encourages experimentation with these often inexpensive tools, suggesting that they can lead to some of the most interesting sonic outcomes in your production process.

    @ 2:49
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    Mix with the Masters

    Sidechaining kick and 808: Clean low end, loud mixes

    Jaycen Joshua demonstrates the power of sidechain compression and multi-band compression to achieve a clean and loud low-end mix, particularly when working with bass, kick, and 808 elements. By using the Oeksound Soothe plugin, he effectively controls unwanted frequencies and ensures clarity and separation between these low-end components. Joshua emphasizes the importance of identifying the main kick drum and removing unnecessary layers to avoid clutter. He duplicates the kick track, placing it just below the bass, and uses it to trigger the sidechain compression, allowing the bass to dip subtly when the kick hits. This technique not only prevents frequency masking but also gains additional headroom, making the mix louder without sacrificing quality. He also highlights the versatility of sidechain compression across genres, from subtle applications to more pronounced effects in EDM.

    @ 13:38
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    DJ Mag

    Creating vocal pads from chopped harmonies

    Jordan Rakei demonstrates how to transform chopped vocal harmonies into lush vocal pads using a combination of sound design and signal processing techniques. He begins by singing and chopping different harmonies, then layers and loops them to create a textured pad. To enhance the pad's texture, Rakei applies delay and reverb, rolling off the low frequencies to prevent muddiness and ensure clarity alongside the main instruments like the Rhodes. He uses a digital delay for an old-school vibe and adds reverb to create a lush, expansive sound. Finally, Rakei employs sidechain compression, subtly ducking the pad with the kick drum to carve out space in the mix. This technique ensures the vocal pad integrates smoothly, adding depth and texture without overwhelming the track.

    @ 10:32
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    Tape Notes Podcast

    Create a focal point with strategic panning

    Four Tet demonstrates how simple it is to use strategic panning techniques to make an element stand out and give the mix a focal point. By keeping all other elements panned centrally in mono, the wide, stereo bass becomes the prominent and exciting feature of the track, effectively building tension and adding width. This distinct panning position draws the listener's attention when the bass comes in, making it a standout moment in the mix. This approach highlights the bass as a key element, creating a dynamic contrast that enhances the overall impact of the mix.

    @ 3:41
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    Tape Notes Podcast

    Layer bass sounds for bigger low end

    Four Tet demonstrates how to create a distinctive dubstep-influenced bassline using two layers in Spectrasonics Omnisphere. By combining a wobbly bass preset, "Swaggering Around," with a low sine wave for added sub-bass, he enhances the bass's depth and weight, showcasing the power of layering different sounds.

    @ 7:51
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    Tape Notes Podcast

    Small variations, big impact: Four Tet's drum sequencing

    Four Tet demonstrates how to create dynamic drum loops by introducing subtle dropouts and manual variations in sequencing. By deleting a few kick drums here and there, he ensures the loop feels fresh and less static, keeping the listener engaged without dramatic changes. He emphasizes the importance of non-repetitive sequencing and automation to make tracks more interesting. Subtle variations, such as these dropouts, refresh the loop, making it feel like it's constantly resetting and starting anew. Additionally, by manually adjusting parameters like the decay on a hi-hat during recording, Four Tet introduces further nuances that enhance the overall texture and interest of the drum loop. This approach highlights the power of small, intentional changes in arrangement and signal processing to maintain interest and prevent monotony in drum-driven tracks.

    @ 9:58
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    Tape Notes Podcast

    Focus on arrangement before plugins and gear

    Four Tet emphasizes the importance of focusing on arrangement and song structure to become a better producer. He suggests prioritizing the overall narrative and emotional moments of a piece before getting caught up in technical details like plugin chains and gear choices. He advises that producers should aim to do as little processing as possible, choosing sounds that work well from the start. He suggest to rather use plugins and compression to address specific problems that could not be fixed otherwise, not as a default approach. This mindset encourages a more organic and intentional production process, where the music's core elements take precedence over technical tweaks.

    @ 6:42
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    Tape Notes Podcast

    Humanize MIDI patterns with random velocity and octave jumps

    Four Tet shares his technique for humanizing MIDI patterns by introducing randomization in velocity and pitch. By varying the velocity of MIDI notes by 15%, he creates a more dynamic and less static synth sound, making each note feel more human and expressive. Additionally, he adds a 15% chance for notes to jump an octave up or down, introducing unexpected "sparkles and twinkles" that keep the pattern fresh and engaging. This approach causes every playback of the track to be unique, offering subtle variations that make live performances and recordings distinct each time.

    @ 6:06
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    Tape Notes Podcast

    Layering synths for clearer bass

    Four Tet enhances bass clarity by layering additional sounds on top of the primary synth line using Spectrasonics Omnisphere. He subtly layers a bell sound over the bass line, which, while not overtly audible, prevents the bass from being buried in the mix. This layering technique adds depth and ensures the bass remains prominent and defined, contributing to a clearer overall sound.

    @ 0:47
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    Tape Notes Podcast

    Turn time-stretch artifacts into groove with vocal loops

    Four Tet demonstrates a creative approach to handling artifacts from time-stretched vocals by employing looping techniques. By creating a small loop of the vocal, he introduces a rhythmic pulse that adds coherence and movement to the sound. This loop is tucked underneath the main vocal track, effectively masking the uncomfortable artifacts and integrating them into the overall groove. This technique not only covers up the technical imperfections but also enhances the vocal's presence and relevance in the mix.

    @ 2:52
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    Tape Notes Podcast

    Synth layering for memorable melodies

    Four Tet showcases the art of layering by using the same melody across three synth instruments, enhancing both the arrangement and the track's tension. Starting with a subtle sound, he introduces the melody, allowing it to become familiar to the listener. As additional layers are added with more prominent instruments, the arrangement builds tension and anticipation, creating a dynamic progression throughout the track. This layering technique not only enriches the overall texture but also adds complexity to the sound itself. By combining different timbres, the melody gains depth and intricacy, making it more engaging and memorable.

    @ 1:41
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    Tape Notes Podcast

    Layering kicks for adding weight and punch

    Four Tet enhances kick drums by layering a sine wave sub-bass and a click sound to add weight and punch. The sub-bass layer, subtly mixed in, provides a deep weight that becomes very apparent in a club playback situation, while the click layer ensures the kick cuts through the mix with clarity. This method of layering sounds addresses common issues with kick presence and weight, allowing for a more impactful and balanced mix without being required to make the kick too loud.

    @ 8:19
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    Tape Notes Podcast

    Layering kicks: From synthetic to organic drums

    Guy Lawrence from Disclosure shares his approach to creating dynamic kick drum sounds by layering synthetic and acoustic elements. He uses the Credland BigKick plugin to synthesize the low-end, achieving anything from deep 808 booms to punchy 909-style kicks. By layering these synthesized kicks with acoustic kick samples or loops, Lawrence adds a more natural and organic feel to the electronic drums. This technique involves combining different layers, such as a knock, a pedal hit, and room noise, to create a fuller, more human-sounding groove. Lawrence emphasizes the importance of restraint in layering, especially in busy tracks, to maintain clarity and drive. This method allows the kick to sit well in the mix, providing a solid foundation without overwhelming other elements.

    @ 0:26
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    Tape Notes Podcast

    Automating formant shifts for emotional vocal movement

    Guy Lawrence of Disclosure uses Soundtoys Little AlterBoy to automate vocal formant shifting, adding emotional depth and movement to the track. By adjusting the formants, he aligns the vocal tone with the song's lyrical content, raising the pitch during hopeful moments and lowering it during more somber sections. This technique enhances the emotional storytelling of the song in a unique, creative way.

    @ 3:24
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    Tape Notes Podcast

    Blend field recordings into organic textures

    Four Tet discusses using field recordings, such as the sound of ice skating, to add texture and an organic feel to electronic music. By incorporating these ambient sounds, he creates a more interesting and wider sonic landscape. He processes the recordings with tools like Soundtoys MicroShift, which enhances the stereo image and adds a three-dimensional quality. This technique helps blend the melody and groove with atmospheric elements, creating a subliminal effect that immerses listeners in a unique auditory world. Four Tet emphasizes the power of subtle textures and echoey sounds to engage listeners on a deeper level, making the music feel more connected and alive without them consciously realizing why. This approach is particularly effective in electronic music, where it helps to create a distinct and immersive environment.

    @ 23:33
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    Reverb.com

    Breathing life into MIDI drums with pedal effects

    St. Vincent breathes life and vibe into MIDI drum patterns by using a creative chain of effects pedals. The Chase Bliss Habit and Hologram Microcosm, which function as both delays and phrase loopers, introduce randomness and chaos, transforming otherwise lifeless drum sounds into vibrant, manipulated, and interesting textures. To enhance the character and aggression of the drums, St. Vincent employs the Walrus Audio Janus for distortion, adding a gritty edge that makes the drums stand out with more personality and intensity.

    @ 1:21
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    Tape Notes Podcast

    Layering drum samples with field recordings

    Bonobo shares his creative process of layering drum samples with field recordings to create unique and engaging percussion tracks. He draws from a personal archive of favorite kicks, snares, and unconventional sounds like car compartments and coffee cups, which he records and samples for use in his music. To infuse his tracks with swing, Bonobo uses modular sequences and accents against the kick drum, manually adjusting the timing to achieve a natural feel. He prefers this hands-on approach over using groove templates, allowing him to craft a groove that feels intuitive and dynamic. Bonobo emphasizes the importance of non-repetitive sequencing, where elements like hi-hats and snares follow different patterns, avoiding exact repetition. This technique results in a more organic and less predictable sound, enhancing the track's overall texture and interest.

    @ 0:36
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    Tape Notes Podcast

    Layer live violin over MIDI strings for organic depth

    Bonobo demonstrates how to create a fuller, more organic string ensemble sound by layering live violin over MIDI strings. By recording a single live violin in multiple takes, and layering these live takes over MIDI strings, Bonobo achieves a natural and deep ensemble effect. The MIDI strings provide the foundational weight, while the live violin lines add authenticity and depth. In Bonobo's "Black Sands," this technique is employed by using Mellotron pads as the MIDI foundation, with live violin layers on top. This approach enhances the sense of a live performance, enriching the texture and creating a more immersive sound.

    @ 1:53
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    James Hype

    Keep it simple: Letting the main elements shine

    James Hype emphasizes the power of simplicity in production, using his hit record "Ferrari" as an example. By employing basic elements like a 909 drum kit and minimal loops, he ensures that the main focusโ€”the guitar and vocalโ€”remains memorable and impactful. Hype highlights that while the house loop is pleasant, it serves primarily to support the track's core elements without overshadowing them. This approach contrasts with the tendency of some producers to overcomplicate their tracks, which can detract from the main idea. By keeping the supporting elements simple, Hype creates a clear focal point, allowing the primary sounds to shine and making the track more memorable.

    @ 0:08
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    James Hype

    Synth power: Rhythmic linking for seamless impact

    James Hype shares a technique to seamlessly integrate aggressive synths into a track by mimicking existing rhythms within the composition. By aligning the rhythm of the synth with other elements, such as the bass or percussion, the synth's entrance feels more natural and expected, reducing the shock factor for listeners. This approach ensures that even bold, extreme sounds blend cohesively with the rest of the track, making the overall production more coherent and engaging.

    @ 9:04
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    James Hype

    Choose your kick drum wisely: Context is king

    James Hype emphasizes the importance of selecting the right kick drum for each track, highlighting that context is crucial. He shares his experience of using the same kick for multiple tracks, which he later realized was a mistake. By demonstrating how different kicks can drastically alter the feel and energy of a track, Hype illustrates that even a great-sounding kick may not suit every musical context. He advises producers to experiment with different kicks to find the one that best complements the track's groove and style. Hype also suggests that if you're struggling with a track's feel, swapping out the kick drum can be a quick and effective way to transform the overall vibe.

    @ 4:29
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    James Hype

    Multi-band sidechaining for club-ready kick-bass impact

    James Hype shares his essential technique for achieving powerful kick and bass separation in dance music using sidechain compression with Cableguys ShaperBox. He emphasizes the importance of selecting the right kick for each track and demonstrates how to use sidechain compression to eliminate phase issues with the bass that can cause the kick to lose impact. By visually analyzing the waveform, he ensures the sidechain is perfectly timed to the kick's length, maintaining its full volume and presence. Hype further refines the process with multi-band sidechain techniques, allowing the upper bass frequencies to remain audible while ducking the lower signal parts to prevent phasing. This approach ensures both kick and bass retain their power, delivering a club-ready sound that slams every time.

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    Mix with the Masters

    Get 808s to cut through with parallel distortion

    Jaycen Joshua demonstrates how to make 808s cut through a mix using parallel distortion with the UA Ibanezยฎ TS808 Tube Screamer plugin. In the parallel path, he begins by rolling off unwanted high frequencies using the FabFilter Pro-Q 3, focusing on reducing everything above 129 Hz to clean up the sound. This approach allows him to add his own upper harmonics with the Tube Screamer, resulting in a more musical and pleasing presence without harshness. By emphasizing these upper harmonics, Joshua ensures that the 808s remain audible even on speakers that lack sub-bass response, achieving a balanced and impactful low-end that stands out in the mix.

    @ 3:08
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    James Hype

    Building tension with effects automation

    James Hype demonstrates how to build intensity in a track using the "Festival Gap Technique," which involves subtle structural changes and effects automation. By introducing a gap before the second drop, he creates anticipation and excitement, making the audience expect the drop, only to delay it momentarily. This technique heightens the impact when the drop finally hits, enhancing the overall energy of the track. Additionally, Hype incorporates more effects, such as white noise, in the second drop to make it feel like an improved version of the first, maintaining familiarity while increasing excitement. This approach keeps the track engaging and dynamic, perfect for festival and club settings.

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