The Road Map To Learn Music Production

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One thing I noticed with people who want to learn how to make electronic music, is that they face a lack of information on where to start. I stumbled upon an interview with Mr.Beast recently where he was suggesting that if you want to learn about how to make viral videos, you need to start by practicing making videos. His suggestions sorts of overlap how I teach music where the importance of practicing is more important than, let’s say, finish songs perfectly. He was suggesting that one could aim at making 100 videos where they practice one element in each, trying to improve by 1% instead of overtaking something huge to start with. But mostly, to remain a bit private about the whole thing until you become more solid at what you do.

Songs are stories based on a personal finding. If you think about you sharing a personal story to a friend, you’ll focus your story on one element and you might, in your storytelling, bring it to a final punch. Music is a bit similar but for many people who start making music, they really don’t want to disappoint or want to look like a beginner. So they try too hard, in most cases.

As you advance in learning music production, you don’t know that there are many different techniques out there unless you find them by searching or by someone who tells you. You might not know that your music has different issues unless reviewed by an experienced mentor. So it can be quite confusing.

This is why I decided to take on Mr. Beast idea of 100 projects and made a list for you here.

 

There is no right or wrong way to use it. It’s basically 100 ideas that you can take. Most of them also come with a Youtube video you can look at to learn about the technique to practice. As for projects or song, I would say that try to make songs that are between 1 to 5 minutes long. It’s not something to impress, but for your own development. I added enough videos and links per project for you to practice one technique. Try your best to use it but you can of course start at one point and end up in a totally different result. There are no rules here.

This project is directly linked to my Patreon Program. There’s the “Road Map” tiers that allows you to join for constant support.

Building the Basics – Projects 1 to 10

Loops, MIDI, and Arrangements

Making electronic music usually starts by using samples, loops and MIDI. Let’s start with the basis.

 

Round 1: Loops and Basic Arrangements (Projects 1-3)

This is the introduction, I would encourage you to watch my own personal beginner video.

I would encourage you to get a subscription to Splice to get some loops and sounds. You can also visit Freesounds.org to get free ideas but the quality can be questionable sometimes.

If the song key and scale confuses you, this article will help. Also this video.

 

Project 1 – Loop Exploration

  • Title: “Loop Groove”
  • BPM: 100
  • Duration: 1-2 Min.
  • Key: C Major
  • Scale: Minor Pentatonic
  • Element to Practice: Importing, duplicating, and arranging pre-made loops effectively. The focus here is to import a few different loops and play in the arranger section. See how you can place them to create a timeline. This is the most basic introduction.

 

Project 2 – Loop Transformation

  • Title: “Loop Evolution”
  • BPM: 110
  • Duration: 1-2 min.
  • Key: D Major
  • Scale: Major Scale
  • Element to Practice: Modifying loops, adding fades, and creating variations. Try slicing loops and re-arrange them into different versions of themselves.

 

Project 3 – Basic Arrangement

  • Title: “Simple Structure”
  • BPM: 120
  • Key: G Minor
  • Scale: Natural Minor
  • Element to Practice: Building song structure with loops, including patterns, sections, and hooks. Try to aim at having distinct sections such as verse, pre-verse, chorus, bridge, outro.

 

Round 2: MIDI Basics (Projects 4-6)

 

Have a look at this tutorial and practice them fundamentals of midi for the next projects.

 

Project 4 – Introduction to MIDI

  • Title: “MIDI Essentials”
  • BPM: 95
  • Duration: 2 min.
  • Key: A Minor
  • Scale: Aeolian Mode
  • Element to Practice: Understanding MIDI, note input, and basic MIDI editing. Use a soft synth like Operator to receive notes and start doing melodies using a key and scale.

 

Project 5 – Melodies with MIDI

  • Title: “Melodic MIDI”
  • BPM: 130
  • Duration: 2 min.
  • Key: E Major
  • Scale: Mixolydian Mode
  • Element to Practice: Creating melodies using MIDI, exploring notes and scales. Open a loop that is a melody and you can try either reproducing it (a bit more advanced) or complement it. Make sure to know the root key of that loop. Extract a melody from a loop.

 

Project 6 – Rhythm with MIDI

  • Title: “Rhythmic MIDI”
  • BPM: 85
  • Duration: 2 min.
  • Key: F# Minor
  • Scale: Harmonic Minor
  • Element to Practice: Working on rhythm using MIDI, gates, triggers, and velocity control. Create your percussion instead of loops. Extract percussion from a loop. Explore rhythm signatures.

 

Round 3: Diving in Arrangements (Projects 7-10)

If you followed my initial tutorial, I explain some basis. There are countless tutorials about arrangements on Youtube. Here’s one to check.

 

Project 7 – Advanced Arrangement

  • Title: “Arrangement Intro”
  • BPM: 115
  • Duration: 2-3 min.
  • Key: Bb Major
  • Scale: Dorian Mode
  • Element to Practice: Adding variation arrangements, silences, and dynamic patterns (introducing call and answer). Learn how to play with automations.

 

Project 8 – MIDI Patterns and Hooks

  • Title: “MIDI Patterns”
  • BPM: 105
  • Duration: 2-3 min.
  • Key: C Minor
  • Scale: Phrygian Mode
  • Element to Practice: Crafting MIDI patterns and hooks for your tracks. Listen to a song you know and try to understand what the hook is.

 

Project 9 – MIDI Automation

  • Title: “MIDI Automation”
  • BPM: 125
  • Duration: 2-3 min.
  • Key: F Major
  • Scale: Lydian Mode
  • Element to Practice: Exploring MIDI automation for expressive control.

 

Project 10 – Milestone: Song Creation

  • Title: “Your First Track”
  • BPM: 140
  • Duration: 3 min.
  • Key: E Minor
  • Scale: Locrian Mode
  • Element to Practice: Apply everything learned to create your first complete song.

These first 10 projects will provide a solid foundation in loops, MIDI, and basic arrangements. After completing these, the student will have the skills needed to create a complete track.

 

 

Building the Basics – Projects 11 to 20

Loops, MIDI, Arrangements, and References

 

Round 4: Loops and Advanced Arrangements with References (Projects 11-13)

There are multiple videos on how to use references and this is a good one.

For this exercise of working with a reference track, I would encourage you to get samples from Splice and try to match your selected song.

 

Project 11 – Loop Experimentation with References

  • Title: “Reference Grooves”
  • BPM: Analyze and match reference intro
  • Duration: your decision.
  • Key: Analyze and match reference track
  • Element to Practice: Importing loops, analyzing reference tracks, and applying similar arrangements. Use swing and grooves.

 

Project 12 – Loop Chopping and Slicing with References

  • Title: “Chopped References”
  • BPM: Analyze and match reference track’s percussion
  • Key: Analyze and match reference track
  • Element to Practice: Slicing and rearranging loops while referencing a track to recreate a similar hook.

 

Project 13 – Advanced Arrangements with References

  • Title: “Reference Arrangements”
  • BPM: Analyze and match reference track’s sections, transitions.
  • Key: Analyze and match reference track
  • Element to Practice: Creating arrangements inspired by reference tracks in order to reproduce the breakdown. Focus on A/B the reference to compare levels of sounds.

 

Round 5: MIDI Advancements with References (Projects 14-16)

Project 14 – Harmony and Chords with References

  • Title: “Harmonic References”
  • BPM: Analyze and match reference track
  • Key: Analyze and match reference track
  • Element to Practice: Analyzing and recreating chord progressions from reference tracks. Use the Chord tool in Ableton.

 

Project 15 – Advanced Melodies with MIDI and References

  • Title: “Melodic References”
  • BPM: Analyze and match reference track
  • Key: Analyze and match reference track
  • Element to Practice: Crafting intricate melodies inspired by reference tracks.

 

Project 16 – MIDI Expressiveness with References

 

Round 6: Applying MIDI and Arrangements with References (Projects 17-20)

The idea here is to take your reference and while it’s in the arrangement section, try tapping down some midi notes along the reference to reproduce notes, percussion or anything else, to hit at the same time.

 

Project 17 – Combining MIDI and Loops with References

  • Title: “Hybrid References”
  • BPM: Analyze and match reference track
  • Duration: 2-3 min.
  • Key: Analyze and match reference track
  • Element to Practice: Combine MIDI elements with loops inspired by referencing the track’s bass.

 

Project 18 – Layering and Texture with References

  • Title: “Textural References”
  • BPM: Analyze and match reference track
  • Duration: 3 min.
  • Key: Analyze and match reference track
  • Element to Practice: Creating textures and layers using references. Learn how to use field recordings for backgrounds.

 

Project 19 – Advanced Arrangement Techniques with References

  • Title: “Reference more”
  • BPM: Analyze and match reference track
  • Duration: 2-3 min
  • Key: Analyze and match reference track
  • Element to Practice: Focus on the hits and spontaneous sounds that happens every now and then.

 

Project 20 – Milestone: Advanced Track with References

  • Title: “Elevated Creations”
  • BPM: Analyze and match reference track
  • Duration: 2-3 min
  • Key: Analyze and match reference track
  • Element to Practice: Apply all concepts learned to create an advanced track with reference track influence.

 

Building the Basics – Projects 21 to 30

Loops, MIDI, Arrangements, References, and Effects

Round 6: Loops and MIDI with Effects (Projects 21-23)

 

Project 21 – Loop Manipulation with Delay

  • Title: “Delay Loops”
  • BPM: 100
  • Duration: 3 min.
  • Key: C Major
  • Scale: Minor Pentatonic
  • Element to Practice: Importing loops, applying delay effects, and creative arrangement. Focus on the different types of delay plugins and have fun tweaking parameters.

 

Project 22 – MIDI Effects: Arpeggios and Phaser

  • Title: “Arpeggiated Phases”
  • BPM: 110
  • Duration: 4 min.
  • Key: D Major
  • Scale: Major Scale
  • Element to Practice: Using MIDI for arpeggios and applying phaser effects.

 

Project 23 – Effects-Driven Arrangements

  • Title: “Effects Arrangements”
  • BPM: 120
  • Duration: 4 min.
  • Key: G Minor
  • Scale: Natural Minor
  • Element to Practice: Creating arrangements with effects-driven transitions, where you use automation to change the delay’s parameters as the song evolve.

 

Round 8: MIDI Mastery with Effects (Projects 24-26)

Project 24 – MIDI and Reverb for Atmosphere

  • Title: “Reverberant Atmosphere”
  • BPM: 95
  • Duration: 4 min.
  • Key: A Minor
  • Scale: Aeolian Mode
  • Element to Practice: Using MIDI to create atmospheric sounds with reverb.

 

Project 25 – MIDI and Delay for Texture

  • Title: “Delayed Textures”
  • BPM: 130
  • Duration: 4 min.
  • Key: E Major
  • Scale: Mixolydian Mode
  • Element to Practice: Crafting textured soundscapes with MIDI melodies and delay/reverb effects.

 

Project 26 – MIDI and Flanger for Movement

  • Title: “Flanged Movement”
  • BPM: 85
  • Duration: 3-4 min.
  • Key: F# Minor
  • Scale: Harmonic Minor
  • Element to Practice: Adding movement to MIDI percussive elements using flanger effect.

 

Round 9: Advanced Arrangements with Effects (Projects 27-29)

Project 27 – Arrangement and Filter Sweeps

  • Title: “Filter Swept Arrangements”
  • BPM: 115
  • Duration: 4 min.
  • Key: Bb Major
  • Scale: Dorian Mode
  • Element to Practice: Creating arrangements with filter sweeps. Play with the filter on different elements to practice opening and closing frequecies.

 

Project 28 – Arrangement and Stereo Panning

  • Title: “Panned Arrangements”
  • BPM: 105
  • Duration: 3-4 min.
  • Key: C Minor
  • Scale: Phrygian Mode
  • Element to Practice: Adding depth and movement to arrangements with stereo panning (auto-pan). Turn the auto-pan into a tremolo.

 

Project 29 – Milestone: Advanced Track with Effects

  • Title: “Effects-Driven Mastery”
  • BPM: 125
  • Duration: 4 min
  • Key: F Major
  • Scale: Lydian Mode
  • Element to Practice: Apply all concepts learned to create an advanced track with a focus on effects. Explore the use of Chorus.

 

Project 30 – Remixing and Effects

  • Title: “Remix and Effects Showcase”
  • BPM: Analyze and match reference track
  • Duration: 4 min
  • Key: Analyze and match reference track
  • Element to Practice: Remixing a track while integrating Beat-repeat effects techniques.

These projects will allow students to explore the creative possibilities of effects while further enhancing their skills in loops, MIDI, arrangements, and references. If you have any specific effects or tools you’d like to emphasize in any of these projects, please let me know, and we can tailor them accordingly.

 

 

Building the Basics – Projects 31 to 35

Loops, MIDI, Arrangements, References, Effects, and Modulation

 

Round 10: Modulation Essentials (Projects 31-35)

Project 31 – LFO Modulation on Synth

  • Title: “Synth LFO Groove”
  • BPM: 100
  • Duration: 3 min.
  • Key: C Major
  • Scale: Minor Pentatonic
  • Element to Practice: Using LFO modulation to add movement to a synth sound

 

Project 32 – Envelopes for Dynamic MIDI

  • Title: “Dynamic MIDI Envelopes”
  • BPM: 110
  • Duration: 4 min
  • Key: D Major
  • Scale: Major Scale
  • Element to Practice: Applying envelopes to shape the dynamics of MIDI elements

 

Project 33 – Effects and Envelopes for Vocal Processing

  • Title: “Vocal Envelope Processing”
  • BPM: 120
  • Duration: 4 min
  • Key: G Minor
  • Scale: Natural Minor
  • Element to Practice: Using envelopes in combination with effects for vocal manipulation. Learn how to use Shifter. You could use filters or reverb as something to be modified.

 

Project 34 – Advanced LFO Techniques on Effects

  • Title: “LFO x LFO”
  • BPM: 95
  • Duration: 4 min
  • Key: A Minor
  • Scale: Aeolian Mode
  • Element to Practice: Applying LFO modulation to another LFO parameter for creative sound design. Use the Shaper tool.

 

Project 35 – Modulation Showcase and Milestone

  • Title: “Modulation Mastery”
  • BPM: Analyze and match reference track
  • Duration: Your pick.
  • Key: Analyze and match reference track
  • Element to Practice: Learn to hear modulation into songs you know. Try to reproduce one sound effect. Explore effects on Splice.

 

Building the Basics – Projects 36 to 40

Loops, MIDI, Arrangements, References, Effects, Modulation, EQ, Filters, and Compression

 

Round 11: EQ, Filters, and Compression Techniques (Projects 36-40)

 

Project 36 – Basic EQ for Mix Clarity

  • Title: “Mix Clarity with EQ”
  • BPM: 100
  • Duration: 4 min
  • Key: C Major
  • Scale: Minor Pentatonic
  • Element to Practice: Get familiar with the Equilizer, by playing with the shelving EQ and low pass, high pass.

 

Project 37 – Filter Sweeps and Dynamic Filtering

  • Title: “Dynamic Filtering”
  • BPM: 110
  • Duration: 4 min.
  • Key: D Major
  • Scale: Major Scale
  • Element to Practice: Use the envelope on the filter as well as the drive and it’s integrated LFO.

 

Project 38 – Sidechaining

  • Title: “Sidechain Exploration”
  • BPM: 120
  • Duration: 3-4 min.
  • Key: G Minor
  • Scale: Natural Minor
  • Element to Practice: Get familiar with the different options of side-chaining: autofilter, compression, gate.

 

Project 39 – Parallel Compression for Drums

  • Title: “Punchy Drum Compression”
  • BPM: 95
  • Duration: 3 min.
  • Key: A Minor
  • Scale: Aeolian Mode
  • Element to Practice: Using parallel compression to beef sounds.

 

Project 40 – Mastering with EQ and Compression

  • Title: “Mastering Techniques”
  • BPM: Analyze and match reference track
  • Duration: free
  • Key: Analyze and match reference track
  • Element to Practice: Applying EQ and compression in the mastering stage to achieve a polished sound

 

Building the Basics – Projects 41 to 45

Loops, MIDI, Arrangements, References, Effects, Modulation, EQ, Filters, Compression, Side-chain Compression, Mixing the Low End, Gates, and Mono

 

Round 12: Side-Chain Compression, Low-End Mixing, Gates, and Mono (Projects 41-45)

 

Project 41 – Basic Side-Chain Compression

  • Title: “Creating Space with Side-Chain”
  • BPM: 100
  • Duration: 4 min
  • Key: C Major
  • Scale: Minor Pentatonic
  • Element to Practice: Using side-chain compression to create rhythmic space in a mix.

 

Project 42 – Mixing the Low End

  • Title: “Low-End Clarity”
  • BPM: 110
  • Duration: 4 min
  • Key: D Major
  • Scale: Major Scale
  • Element to Practice: Techniques for mixing and enhancing the low-frequency elements in a track by side-chaining the bass with the kick.

 

Project 43 – Alternative Side-Chain Techniques

  • Title: “Alternative Side-Chain”
  • BPM: 120
  • Duration: 4 min.
  • Key: G Minor
  • Scale: Natural Minor
  • Element to Practice: Exploring advanced side-chain compression techniques by using the Shaper tool, Envelope Follower or the LFO.

 

Project 44 – Gate and Expansion for Drum Control

  • Title: “Drum Control with Gate”
  • BPM: 95
  • Duration: 3 min
  • Key: A Minor
  • Scale: Aeolian Mode
  • Element to Practice: Using gates and expansion to shape drum sounds and control dynamics.

 

Project 45 – Mono Compatibility and Stereo Imaging

  • Title: “Mono and Stereo Balance”
  • BPM: Analyze and match reference track
  • Key: Analyze and match reference track
  • Element to Practice: Achieving mono compatibility and optimizing stereo imaging in a mix. Learn how to use the Utility.

 

Getting At Ease – Projects 46 to 55

Loops, MIDI, Arrangements, References, Effects, Modulation, EQ, Filters, Compression, Side-chain Compression, Mixing the Low End, Gates, Mono, Mixing Techniques, Routing, Groups, Buses, and Return Channels

 

Round 13: Advanced Mixing and Routing (Projects 46-55)

 

Project 46 – Grouping and Bussing Drums

  • Title: “Drum Group Processing”
  • BPM: 100
  • Duration: 3 min.
  • Key: C Major
  • Scale: Minor Pentatonic
  • Element to Practice: Grouping and bussing individual drum elements for cohesive processing. Learn how to route sound.

 

Project 47 – Parallel Processing Techniques/ Return Channels

  • Title: “Parallel Magic”
  • BPM: 110
  • Duration: 4 min
  • Key: D Major
  • Scale: Major Scale
  • Element to Practice: Utilizing parallel processing to add depth and character to tracks with the sends.

 

Project 48 – Routing and Effects Sends

  • Title: “More Effects Sends and Returns”
  • BPM: 120
  • Duration: 3 min
  • Key: G Minor
  • Scale: Natural Minor
  • Element to Practice: Explore more routing, return channels and feedback.

 

Project 49 – Mixing Lead Synths and Vocals

  • Title: “Lead Mixing”
  • BPM: 95
  • Duration: 4 min.
  • Key: A Minor
  • Scale: Aeolian Mode
  • Element to Practice: Using groups, learn how to apply side-chain to open up space for a lead.

 

Project 50 – Advanced Bus Processing

  • Title: “Bus Driver”
  • BPM: 85
  • Duration: 4 min.
  • Key: F# Minor
  • Scale: Harmonic Minor
  • Element to Practice: Utilizing buses and groups for mixing.

 

Project 51 – Return Channels and Reverb

  • Title: “Return Channel Reverb”
  • BPM: 115
  • Duration: 3 min.
  • Key: Bb Major
  • Scale: Dorian Mode
  • Element to Practice: Incorporating return channels and reverb for spatial effects. Use 2 return channels with one set to Hall and the other, short reverb. Send various channels towards them.

 

Project 52 – Mixing with Reference Tracks

  • Title: “Mixing References”
  • BPM: 105
  • Duration: 4 min.
  • Key: C Minor
  • Scale: Phrygian Mode
  • Element to Practice: Learn about Gain staging and adjust your channel’s level to these.

 

Project 53 – Effects and Mixing

  • Title: “Dynamic EQ”
  • BPM: 125
  • Duration: 3 min.
  • Key: F Major
  • Scale: Lydian Mode
  • Element to Practice: Learn how to use dynamic EQ in ableton.

 

Project 54 – Vocal Production and Harmonies

  • Title: “Vocal Production Excellence”
  • BPM: Analyze and match reference track
  • Duration: 4 min
  • Key: Analyze and match reference track
  • Element to Practice: Learn the main effects used for vocal treatement: Shifter, Delay, Reverb, Chorus/ensemble.

 

Project 55 – Milestone: Mix and Routing in action

  • Title: “Mix and Routing Exercice”
  • BPM: Analyze and match reference track
  • Key: Analyze and match reference track
  • Element to Practice: Apply all concepts learned to create an advanced mix with intricate routing and processing

 

Sound Design – Projects 56 to 65

Loops, MIDI, Arrangements, References, Effects, Modulation, EQ, Filters, Compression, Side-chain Compression, Mixing the Low End, Gates, Mono, Mixing Techniques, Routing, Groups, Buses, Return Channels, and Sound Design

Going Modular has been in trend in the last years and the concept got momentum with the arrival of VCV Rack. One of the best way to learn about modular techniques, is to install VCV which is free as a stand alone DAW. I learned more about sound design with it than years studying it.

Round 14: Advanced Sound Design and Modular Concepts (Projects 56-65)

 

Project 56 – Envelope Follower and Generator

 

Project 57 – Reset, Trigger, and Gating

  • Title: “Reset and Trigger Techniques”
  • BPM: 110
  • Duration: 5 min.
  • Key: D Major
  • Scale: Major Scale
  • Element to Practice: Exploring reset, trigger, and gating concepts in sound design.

 

Project 58 – Types of Oscillators

  • Title: “Oscillator Exploration”
  • BPM: 120
  • Duration: 4 min.
  • Key: G Minor
  • Scale: Natural Minor
  • Element to Practice: Learning about different types of oscillators and their sonic characteristics while exploring Analog.

 

Project 59 – Noise Generation and Manipulation

  • Title: “Noise Crafting”
  • BPM: 95
  • Duration: 4 min
  • Key: A Minor
  • Scale: Aeolian Mode
  • Element to Practice: Creating and manipulating noise for texture and character. Use Drift for playing with it.

 

Project 60 – Modulation Techniques

  • Title: “Modulation Magic”
  • BPM: 85
  • Duration: 4 min
  • Key: F# Minor
  • Scale: Harmonic Minor
  • Element to Practice: Exploring modulation sources and techniques in sound design.

 

Project 61 – Sound Design with Modular Synths

  • Title: “Modular Soundscapes”
  • BPM: 115
  • Duration: 5 min.
  • Key: Bb Major
  • Scale: Dorian Mode
  • Element to Practice: Creating soundscapes and textures using modular synthesizers.

 

Project 62 – Advanced Envelope Control

  • Title: “Enveloping Envelope”
  • BPM: 105
  • Duration: 3 min
  • Key: C Minor
  • Scale: Phrygian Mode
  • Element to Practice: envelope control for expressive sound design.

 

Project 63 – Complex Oscillator Modulation

  • Title: “Complex Oscillator Artistry”
  • BPM: 125
  • Duration: 6 min.
  • Key: F Major
  • Scale: Lydian Mode
  • Element to Practice: Using complex oscillators and modulation sources for intricate soundscapes using Drift and Wavetable.

 

Project 64 – Creative Noise Techniques

  • Title: “Noise Sculpting”
  • BPM: Analyze and match reference track
  • Duration: 4 min.
  • Key: Analyze and match reference track
  • Element to Practice: Employing creative noise techniques to shape unique sounds.

 

Project 65 – Milestone: Advanced Sound Design

  • Title: “Sound Design Mastery”
  • BPM: Analyze and match reference track
  • Key: Analyze and match reference track
  • Element to Practice: Apply all concepts learned to create an advanced sound design piece

These projects will allow students to explore the fascinating world of sound design, modular concepts, and synthesis techniques, enabling them to craft unique and expressive sonic textures.

 

Next Level – Projects 66 to 70

Loops, MIDI, Arrangements, References, Effects, Modulation, EQ, Filters, Compression, Side-chain Compression, Mixing the Low End, Gates, Mono, Mixing Techniques, Routing, Groups, Buses, Return Channels, Sound Design, Resampling, Recording, and Voice Manipulation

 

Round 15: Resampling, Recording, and Voice Manipulation (Projects 66-70)

For these projects, the duration doesn’t matter as long as you can build ideas over a few minutes. From here, try to always have an introduction, middle part and outro.

You’ll want to try to have a hook per song as well as supporting ideas. You know enough from here to be able to create songs and should now put a bit more energy to get them as done as possible.

 

Project 66 – Creative Resampling Techniques

  • Title: “Resampling Magic”
  • BPM: 100
  • Key: C Major
  • Scale: Minor Pentatonic
  • Element to Practice: Exploring creative resampling methods to transform audio.

 

Project 67 – Field Recording and Sampling

  • Title: “Field to Sound”
  • BPM: 110
  • Key: D Major
  • Scale: Major Scale
  • Element to Practice: Capturing and incorporating field recordings into music production. Learn how to simply use your smart phone to record sounds and import them.

 

Project 68 – Vocal Recording and Processing

  • Title: “Vocal Doctor”
  • BPM: 120
  • Key: G Minor
  • Scale: Natural Minor
  • Element to Practice: Recording and processing vocals with resampling.

 

Project 69 – Voice Manipulation and Sampling

  • Title: “Voice Transformation”
  • BPM: 95
  • Key: A Minor
  • Scale: Aeolian Mode
  • Element to Practice: Manipulating and resampling voice recordings for unique textures from the clip’s warp mode.

 

Project 70 – Resampled Soundscapes

  • Title: “Resampled Soundscapes”
  • BPM: 85
  • Key: F# Minor
  • Scale: Harmonic Minor
  • Element to Practice: Creating intricate soundscapes through resampling and manipulation.

 

More Sound Design – Projects 71 to 75

Loops, MIDI, Arrangements, References, Effects, Modulation, EQ, Filters, Compression, Side-chain Compression, Mixing the Low End, Gates, Mono, Mixing Techniques, Routing, Groups, Buses, Return Channels, Sound Design, Resampling, Recording, Voice Manipulation, Reverb, Delays, Resonances, and Granular Synthesis

 

Round 16: Spatial Effects and Granular Synthesis (Projects 71-75)

 

Project 71 – Reverb and Space Design

  • Title: “Spatial Reverb Design”
  • BPM: 100
  • Key: C Major
  • Scale: Minor Pentatonic
  • Element to Practice: Creating immersive spatial effects with Convolution reverb.

 

Project 72 – Delay Techniques and Echoes

  • Title: “Echo Exploration”
  • BPM: 110
  • Key: D Major
  • Scale: Major Scale
  • Element to Practice: Exploring various delay techniques to create echoes and rhythmic patterns.

 

Project 73 – Resonance Manipulation

  • Title: “Resonance Magic”
  • BPM: 120
  • Key: G Minor
  • Scale: Natural Minor
  • Element to Practice: Manipulating resonances for unique sonic character

 

Project 74 – Granular Synthesis and Texture

  • Title: “Granular Textures”
  • BPM: 95
  • Key: A Minor
  • Scale: Aeolian Mode
  • Element to Practice: Creating textures using granular synthesis techniques

 

Project 75 – Granular Soundscapes and Milestone

  • Title: “Granular Soundscapes Mastery”
  • BPM: 85
  • Key: F# Minor
  • Scale: Harmonic Minor
  • Element to Practice: Apply all concepts learned to create Spaced out madness!

 

Space, the final frontier – Projects 76 to 80

Loops, MIDI, Arrangements, References, Effects, Modulation, EQ, Filters, Compression, Side-chain Compression, Mixing the Low End, Gates, Mono, Mixing Techniques, Routing, Groups, Buses, Return Channels, Sound Design, Resampling, Recording, Voice Manipulation, Reverb, Delays, Resonances, Granular Synthesis, Panning, Depth, and Spatial Movement

 

Round 17: Panning, Depth, and Spatial Movement (Projects 76-80)

 

Project 76 – Panning and Stereo Imaging Basics

  • Title: “Stereo Magic”
  • BPM: 100
  • Key: C Major
  • Scale: Minor Pentatonic
  • Element to Practice: Exploring basic panning techniques, width and stereo imaging without phasing.

 

Project 77 – Depth and Spatial Effects

  • Title: “Creating Depth”
  • BPM: 110
  • Key: D Major
  • Scale: Major Scale
  • Element to Practice: Adding depth to mixes using spatial effects and techniques.

 

Project 78 – Automating Panning and Movement

  • Title: “Automated Movement”
  • BPM: 120
  • Key: G Minor
  • Scale: Natural Minor
  • Element to Practice: Automating panning and creating dynamic spatial movement, with doppler.

 

Project 79 – 3D Audio and Surround Sound

  • Title: “3D Audio Adventure”
  • BPM: 95
  • Key: A Minor
  • Scale: Aeolian Mode
  • Element to Practice: Exploring 3D audio concepts and surround sound techniques.

 

Project 80 – Milestone: Advanced Spatial Design

  • Title: “Spatial Mastery”
  • BPM: 85
  • Key: F# Minor
  • Scale: Harmonic Minor
  • Element to Practice: Apply all concepts learned to create a spatially designed piece.

 

Mixing fun – Projects 81 to 85

Loops, MIDI, Arrangements, References, Effects, Modulation, EQ, Filters, Compression, Side-chain Compression, Mixing the Low End, Gates, Mono, Mixing Techniques, Routing, Groups, Buses, Return Channels, Sound Design, Resampling, Recording, Voice Manipulation, Reverb, Delays, Resonances, Granular Synthesis, Panning, Depth, Spatial Movement, Transients, and Sustain

 

Round 18: Transients and Sustain Exercises (Projects 81-85)

 

Project 81 – Transient Shaping Basics

  • Title: “Transients 101”
  • BPM: 100
  • Key: C Major
  • Scale: Minor Pentatonic
  • Element to Practice: Introduction to transient shaping techniques.

 

Project 82 – Sustain Enhancement

  • Title: “Sustain Elevation”
  • BPM: 110
  • Key: D Major
  • Scale: Major Scale
  • Element to Practice: Techniques to enhance and control the sustain of sounds using compression.

 

Project 83 – Dynamic Transient Effects

  • Title: “Dynamic Transients”
  • BPM: 120
  • Key: G Minor
  • Scale: Natural Minor
  • Element to Practice: Creating dynamic effects using transient manipulation.

 

Project 84 – Sustain Tailoring

  • Title: “Tailored Sustain”
  • BPM: 95
  • Key: A Minor
  • Scale: Aeolian Mode
  • Element to Practice: Fine-tuning sustain characteristics for specific sounds with doubling.

 

Project 85 – Transients and Sustain Integration

  • Title: “Transients and Sustain Job”
  • BPM: 85
  • Key: F# Minor
  • Scale: Harmonic Minor
  • Element to Practice: Apply transient and sustain concepts to create an advanced, dynamic mix.

 

Wrapping up – Projects 86 to 95

Loops, MIDI, Arrangements, References, Effects, Modulation, EQ, Filters, Compression, Side-chain Compression, Mixing the Low End, Gates, Mono, Mixing Techniques, Routing, Groups, Buses, Return Channels, Sound Design, Resampling, Recording, Voice Manipulation, Reverb, Delays, Resonances, Granular Synthesis, Panning, Depth, Spatial Movement, Transients, Sustain, and Pattern Programming

 

Round 19: Pattern Programming and Articulation (Projects 86-95)

 

Project 86 – Rhythmic Pattern Articulation

  • Title: “Rhythmic Expressions”
  • BPM: 100
  • Key: C Major
  • Scale: Minor Pentatonic
  • Element to Practice: Exploring articulation in rhythmic patterns

Project 87 – Melodic Phrase Dynamics

  • Title: “Melodic Phrasing Mastery”
  • BPM: 110
  • Key: D Major
  • Scale: Major Scale
  • Element to Practice: Adding dynamics and expression to melodic phrases

Project 88 – Groove and Swing Patterns

  • Title: “Groove and Swing Artistry”
  • BPM: 120
  • Key: G Minor
  • Scale: Natural Minor
  • Element to Practice: Programming groovy and swinging patterns with articulation

Project 89 – Percussive Pattern Precision

  • Title: “Percussive Precision”
  • BPM: 95
  • Key: A Minor
  • Scale: Aeolian Mode
  • Element to Practice: Creating precise and dynamic percussive patterns

Project 90 – Advanced Pattern Programming

  • Title: “Pattern Programming Excellence”
  • BPM: 85
  • Key: F# Minor
  • Scale: Harmonic Minor
  • Element to Practice: Apply all concepts learned to create intricate and expressive musical patterns

Project 91 – Polyrhythmic Explorations

  • Title: “Polyrhythmic Adventures”
  • BPM: 105
  • Key: C Minor
  • Scale: Phrygian Mode
  • Element to Practice: Exploring polyrhythmic patterns with articulation

Project 92 – Expressive Arpeggios and Runs

  • Title: “Arpeggio Artistry”
  • BPM: 115
  • Key: Bb Major
  • Scale: Dorian Mode
  • Element to Practice: Adding expressiveness to arpeggios and runs in patterns

Project 93 – Vocal Phrasing and Expression

  • Title: “Vocal Phrasing Mastery”
  • BPM: 125
  • Key: F Major
  • Scale: Lydian Mode
  • Element to Practice: Applying articulation and expression to vocal phrasing

Project 94 – Dynamic Pattern Building

  • Title: “Dynamic Pattern Construction”
  • BPM: Analyze and match reference track
  • Key: Analyze and match reference track
  • Element to Practice: Building dynamic and evolving patterns with articulation

Project 95 – Milestone: Pattern Programming and Articulation

  • Title: “Pattern Articulation Masterpiece”
  • BPM: Analyze and match reference track
  • Key: Analyze and match reference track
  • Element to Practice: Showcase mastery of pattern programming with expressive articulation

 

Using Ableton to make music with/for you – Projects 96 to 100

Loops, MIDI, Arrangements, References, Effects, Modulation, EQ, Filters, Compression, Side-chain Compression, Mixing the Low End, Gates, Mono, Mixing Techniques, Routing, Groups, Buses, Return Channels, Sound Design, Resampling, Recording, Voice Manipulation, Reverb, Delays, Resonances, Granular Synthesis, Panning, Depth, Spatial Movement, Transients, Sustain, Pattern Programming, and Generative Music

This is my favorite topic of all. I can talk about this forever and also play around with this for hours.

Round 20: Generative Music, Melodies, Probabilities, and Randomness (Projects 96-100)

 

Project 96 – Introduction to Generative Melodies

  • Title: “Generative Melodies Introduction”
  • BPM: 100
  • Key: C Major
  • Scale: Minor Pentatonic
  • Element to Practice: Exploring the basics of generative melody creation.

 

Project 97 – Probability-Based Melodic Patterns

  • Title: “Probabilistic Melodies”
  • BPM: 110
  • Key: D Major
  • Scale: Major Scale
  • Element to Practice: Creating melodic patterns using probability-driven techniques

 

Project 98 – Randomness and Melodic Exploration

  • Title: “Random Melodic Journeys”
  • BPM: 120
  • Key: G Minor
  • Scale: Natural Minor
  • Element to Practice: Using randomness to explore unique melodic possibilities

 

Project 99 – Generative Harmonies and Chords

  • Title: “Generative Harmony Adventures”
  • BPM: 95
  • Key: A Minor
  • Scale: Aeolian Mode
  • Element to Practice: Exploring generative harmonies and chords

 

Project 100 – Milestone: Generative Music and Final project

– Title: “Final Project”

    • – BPM: Analyze and match reference track
    • – Key: Analyze and match reference track
    • – Element to Practice: Generate ideas randomly and with the techniques learnt then make a whole song with it.

 

Congratulation if you went through all the exercises. You should now have a strong basis to know your way into making a song. There are so many topics that could have been covered. If you have any suggestions to add, let me know in the comments.

 

 

 

 

Upgrading Melodies with Articulation

/in /by

In the diverse and ever-evolving world of electronic music, countless aspiring artists and producers are diving headfirst into the sea of music creation. With technology at their fingertips, creating music has never been more accessible. However, this ease of access can sometimes lead to a contentment with simplicity, especially for those who may not have a traditional background in music theory or composition. Yet, the realm of music, with its deep roots and intricate branches, offers a vast landscape of possibilities waiting to be explored.

It’s no wonder that trained musicians are often overlooking electronic music and will say it’s not “real music.”

I find that what makes an artist sound pro in their melodies compared to someone who start is often related to articulation, which we will cover in this post.

For many, the journey into music production begins with loops – those repeating sections of sound that form the backbone of many electronic tracks. Loops are the building blocks, the starting points from which entire tracks can emerge. But what happens when the novelty of looping fades, and the desire to craft something more complex and personal arises? This is where the concept of articulation comes into play, offering a gateway to elevate a simple loop into a rich tapestry of sound.

(Inside note: At the moment of writing this, Ableton just announced version 12 of Live. Some of the elements mentioned below will be covered in solid ways for that version but since I haven’t tested it yet, I can’t really expand on it yet.)

Articulation in Music to Elevate your ideas

 

Articulation in music refers to how notes are played or sung, influencing their transition, duration, and overall character. In electronic music, articulation can transform a basic loop into a nuanced and dynamic piece. If we were to compare two extremes, we could put on one side, loopy techno as not very articulate and on the other extreme, an experienced, jazz vocalist.

It is much more than just accent and velocity as many think. Those are just a fraction of what’s possible.

Let’s delve into the different types of articulation and how they can add depth and complexity to your music.

 

  • Staccato: This indicates that notes are played sharply and detached from each other. Staccato notes are typically short, light, and separate.
    • I find that in the low end range, kicks and bass notes have a much better clarity when short. You might not want short basses or kicks all the time, so you could alternate the gate length to have variation.
    • Melodies that are staccato work well with arpeggios  and bring a fast mood to a song, excitement and movement.
    • In melodies, staccato also gives the impression of bringing a delicate touch.
  • Legato: Opposite to staccato, legato articulation means that notes are played smoothly and connected, with no noticeable break in between. This often creates a flowing, lyrical quality in the music.
  • Accent: An accent mark indicates that a note should be played with more emphasis or force compared to the surrounding notes. It stands out due to a stronger attack. We often use it in percussion as we mark where the groove has emphasis.
    • Accents in a pattern accentuate the groove. If you are using some grooves, they also enhance accents at given points so consider that.
    • It can also be described as adding an assertive tone to a note.
  • Tenuto: This suggests that a note should be sustained for its full value, or slightly longer, often with a slight emphasis. It can add a sense of weight and importance to a note.
    • When programming a pattern, I like to keep my high point velocity around 100 (of 127) which gives headroom for notes with emphasis.
  • Marcato: This is a stronger form of an accent, where the note is played much louder and with a sharper attack. Marcato often creates a more pronounced and emphatic sound.
    • That one would be at 127 in velocity.
    • In music, there can be a part in marcato, meaning that a section is played with stronger impact.
  • Fermata: This indicates that a note or a rest should be held longer than its usual duration. The exact length is typically left to the discretion of the performer or conductor.
    • What makes a groove, an articulation are pauses. It’s good for dynamic range but just like when someone talks, pauses are crucial to understand the sense of a phrase.
  • Portato: Also known as mezzo staccato, it’s a combination of legato and staccato. Notes are played somewhat detached, but not as sharply as staccato, and with a connection similar to legato.
  • Glissando: This is when a performer glides from one note to another, playing all the intermediate pitches. This is common in string instruments and the voice.
    • Often used for acid basslines.
  • Slur: Notes are being played, blended all together. I think it’s similar to a legato but it’s of a way of creating “syllables” sound where they’re a bit mashed up.
  • Trill: A rapid alternation between a note and the one above it, creating a fluttering sound.
    • I like to do this with a 2 notes arp.

 

Now, let’s explore how to apply these articulations in digital audio workstations like Ableton and modular environments like VCV Rack.

 

Examples

Staccato: In Ableton, you can achieve staccato by shortening the length of MIDI notes. You might also use a fast attack and release in an envelope on a synthesizer. There’s a MIDI tool named Note Length that can you can use to modify the duration. Any synths has an ADSR envelope and by playing with the decay/release, you can control the length, making any sound shorter, into staccato.

In VCV Rack, consider using a gate modifier or an envelope generator with a short decay to create sharp, short sounds.

When and why to use: Useful when you want to to introduce movement and a sense a density, in a rhythmical way. Short notes fill a space as well as leaving room for other elements. A good example would be tribal music.

 

Legato: For legato, ensure that MIDI notes overlap slightly in Ableton, and use a synth with a glide or portamento setting to smoothly transition between notes. When you use a midi clip, there’s an option for Legato that will stretch all notes to their longest option until it meets another note.

In VCV Rack, you can use a longer envelope decay and sustain, with a portamento module for smooth pitch transitions.

When and why to use: This can be good for thick melodies, pads, longer synth notes which create a nice background or the front part of a song.

 

Accent: In Ableton, you can increase the velocity of specific MIDI notes to create accents. You might also automate volume or use a transient shaper plugin. In VCV Rack, use a velocity sequencer module to modulate the amplitude or filter cutoff for accented notes. I like to pictur

When and why to use: As said, it’s useful in a groove but it can also be a sporadic moment in a song as well to create a sense of dramatic impact with a feel of heavy impact.

 

Tenuto: Emulate tenuto in Ableton by extending the length of MIDI notes slightly and using a slight increase in velocity. In VCV Rack, a combination of longer gate times and subtle amplitude modulation can help achieve this sustained emphasis.

When and why to use: Little arps do well to bring secondary melodies, enhancing, supporting the main one or simply to add decoration.

 

Marcato: For marcato, increase the velocity significantly in Ableton, and consider using a sharper attack on your envelope. In VCV Rack, use a combination of high-velocity settings and an envelope generator with a quick attack and a moderate decay.

When and why to use: Snappier attack on a sound makes it a bit more aggressive but is again, another way to induce drama and intensity in a melody.

 

Fermata: This is more about performance expression. In Ableton, you can extend the length of a note where a fermata occurs and perhaps automate a slight increase in volume or reverb. In VCV Rack, you might manually control the length of a note using a gate or hold module.

When and why to use: That’s an alternative way to bring

 

Portato: Combine the techniques of staccato and legato. In Ableton, this might mean programming MIDI notes with moderate length and slight overlap, and using a synth with a bit of glide. In VCV Rack, set up an envelope with a moderately fast decay and a bit of sustain, with a slight glide between notes.

Glissando: In Ableton, you can use pitch bend automation or a glide/portamento setting on a synthesizer. In VCV Rack, use a portamento or glide module, and create a sequence where the pitch CV smoothly transitions from one note to another.

Trill: In Ableton, program rapid alternation between two MIDI notes. You might also use an arpeggiator set to a high rate. In VCV Rack, use a fast LFO or a sequencer to alternate between two pitches rapidly.

 

Exercises and Applications

  1. Experiment with Velocity: In both Ableton and VCV Rack, play around with the velocity of each note. Notice how changing the force behind a note alters the emotion and energy of your loop.
  2. Change Note Lengths: Experiment with shortening and lengthening notes within your loop. Observe how these changes affect the rhythm and flow.
  3. Use Automation for Dynamics: Automate volume, filters, or effects to add movement and life to your loops.
  4. Layer Different Articulations: Layer loops with different articulations. For instance, combine a staccato bassline with a legato lead melody.
  5. Play with Effects: Use reverb, delay, and modulation effects to enhance your articulations. A staccato note with a tail of reverb can create an entirely different feel.
  6. Morph Your Loops: Take a simple loop and create several variations, each with a different articulation style. This practice not only enhances your skills but also provides a plethora of material to work with. I do this as comping for effects but you can do this with midi notes as well.

By incorporating these articulations into your music production, even the simplest loops can blossom into complex, emotive

Reverse Engeneering Sounds

/in /by

Every now and then, you might be like me and stubble on a song that either wow or confuse you for the different sounds it has or for a particular effect. You might be spending a few hours or days listening back to the song wondering how it was done, perhaps search online. But then you face your first limitation: your vocabulary. Yes, that part of yourself that hear a specific sound, might not know exactly how to name it. Then, this creates a gap in how you can explain it to someone or search for its nature, through search engines. In my case, I’m lucking enough to know enough about sound processing to be able to name it and so many times, someone booked me for an hour to ask me about a specific sound but then felt disappointed that I explained it in less than 2 minutes. I swear this happens a lot. But then I see them feeling a relief that what they thought impossible becomes something they can now add to their song in the making.

 

The first rule of audio reverse engineering is to be curious and open. But also, persistent and patient.

The second is to not be afraid to ask for help.

The third is to understand that it often takes 9 fails (in average) to succeed (the 10:1 ratio).

 

That said, It took me a while but I compiled how I work when I try to reverse engineer sounds so that you can consider this as a way of understanding more how you work. The more you understand sounds, the more control you’ll have over your own sound design.

 

Understanding the Sound

 

As simple as this sound, understand the sound starts with paying attention, isolating a moment within a song and be able to name which family it belongs to. In terms of families, there are a few that I use, which are related in how I label sounds (or how most online sample stores as Splice or Loopcloud use).

Drums: kicks, snare, hats, claps, toms, cymbals, breaks, fills, acoustic. These can be electronic based or acoustic. You’d see them on drum machines quite often.

Percussion: Shakers, conga, tambourine, bongos, djembe, bells. This is mostly the large amount of world traditional percussion related sounds.

Synths: Pads, stabs, chords, leads, arp, analog, fx, plucks. Basically, the sounds are the results of synthesis from a synth through sound design.

Vocal: All the types you can imagine and think of, that aren’t synthesis related.

Effects: Noise, risers, sweeps, impact, textures, atmosphere, field recordings. In general, they don’t really have a tone/recognizable root key but they might have one.

Brass/Woodwind: Sax, trumpet, trombone, flute, harmonica. Wind based instruments, mostly not synthesis related.

Guitar: Electric, clean, acoustic, distorted, riff.

Keys: piano, electric piano, wurtlizer, organ, classic, organ. Anything sounding close to a piano.

Bass: Sub, acoustic, analog, synth, wobble, saw, distorted, acid. Anything mid-low or low in frequencies.
Strings: Violin, cello, orchestral, staccato.

Some family overlaps, especially in electronic music, as many of the sounds can be created with a synth in one way or another but to name the base, perceived family is usually where it all starts.

 

Listening Carefully: The audio engineer will first listen to the sound repeatedly to understand its characteristics. This includes identifying the pitch, timbre, duration, and envelope (attack, decay, sustain, and release phases) of the sound.

Once you have the family, you need to define it’s nature through these characteristics. These will be helpful to either recreate or modify a specific sound. Whenever you start by designing a sound, these elements are the basis of where you start.

Example: Simply zoom on the isolated sound to start with can reveal some of those details: duration and envelope are very clear.

 

In this example, we see this sound has a fast attack, pretty high decay and sustain but super short release (as there are no tail).

 

 

 

 

 

 

 

 

This sound also has a fast attach and a high decay, the sustain is fairly short and it seems the release is mid point. We see there is some sort of texture on the sound as there’s some noisy looking texture that stretches. This could mean that this sound was made by adding a layer to the original sound design.

 

 

 

 

 

 

Spectral Analysis: Using spectral analysis tools, the engineer can visually inspect the frequencies present in the sound. This helps in understanding the balance of fundamental frequencies and overtones.

 

In this example, the sound has a root key of C1 that is this huge bump in the low end area. After that bump, we see the complexity of the harmonics and overtones.

Understanding the overtones and harmonics is a strong indication of the content of the sound. It’s also telling us that this sound isn’t filtered. If it is, it might be in parallel otherwise we wouldn’t see the harmonics going up all the way there. If you don’t have a good one, I’d recommend getting the free SPAN.

Replicating the Sound

 

Identifying the Source: The engineer tries to determine the source of the sound. Is it a natural sound, a synthetic sound from a synthesizer, or perhaps a processed sound with effects?

This is where it gets complicated, especially if you’re new to sound design. Whenever I teach sound design, I encourage people to spend some time testing different oscillators and synthesis method. Each companies who build synths also work on having a particular sound and sometimes it’s just not possible to find out what it is. So the best attitude possible at first is to remain open and to try multiple iterations. But it won’t be possible to understand the sound if you haven’t exposed yourself to many of them. Spending a lot of time playing with various synths, emulations and checking online demos of synths can be a very essential activity to train your ears.

Using an oscilloscope is also super useful to “see” the sound if the wave form wasn’t clear enough from the file itself.

Consider foleys! This type of sound is what you see with sound artists that create the effects for movies by manipulating items in order to create a new sound. Perhaps you could be creative and use items in your kitchen to recreate the sound or even with your mouth, try to “say” or imitate the sound in order to see how it sounds like. Maybe you’ll feel silly but it can be pretty interesting in the end.

Synthesis: If the sound is synthetic, the engineer may use synthesizers to recreate it. This involves selecting the appropriate waveform (sine, square, triangle, sawtooth), setting the envelopes, and modulating the sound using LFOs (Low-Frequency Oscillators) and filters.

We saw on this blog that LFOs and envelopes are related to movement in sound so once your have worked on finding the possible sound source, the next is to hear the movement in it. This will let you know how to organize your movement settings.

One of the most useful and powerful tool you can use for modulation is Shaperbox. It has all the different tools for modulation. It has provided me a lot of insight on modulation and sound just by playing with it so it is not just useful for sound design, it is also educational.

 

Sampling: If the sound is natural or too complex to synthesize from scratch, the engineer might resort to sampling. This involves recording the sound, if possible, or finding a similar sound and then manipulating it to match the original.

Sometimes sampling the sound you want to replicate and play with it within a sampler can reveal details that you initially missed.

 

Processing the Sound

 

It’s rare that a sound as is gets our attention. It often is the case that it will have a color. We can process the sound by adding some effects that can twist the phase or open up the spectrum.

 

Effects Chain: The engineer will then use an array of effects to process the sound. Common tools include equalization (EQ) to adjust frequency balances, compression to manage dynamics, reverb and delay for space and depth, and possibly distortion or saturation for character.

Handy tools are multi-effect tools. Lifeline is one fun effect that can drastically or subtly alter the dull sound into a new one.

 

Layering Sounds: Often, the desired sound is a combination of several layers. The engineer might blend multiple sounds together to create a complex sound.

When it comes to layering, I like to use the arrangement side of Ableton to do it. You can also use an envelope follower to use the envelope of your desired target and apply it to the sound layers you’re working on. When layering, EQs and filters are your best assets.

 

Iterative Tweaking

A/B Testing: Throughout the process, the engineer will frequently compare their recreated sound to the original (A/B testing), making small adjustments to get closer to the desired outcome.

Some useful tool to understand the composition of the sound can also be an oscilloscope. Melda has one here for you for free otherwise, again in Shaperbox, you can find one which is very useful to have hands on the design.

 

Resampling over and over: The engineer might create “feedback loops”, where the processed sound is re-recorded into the system and processed again for more complex effects. What we mean here is not a literal feedback loop which is pretty hard on the ear but more of a resampling of a resampling into something new. This approach is a good way to hunt down variations of what you work on and go further down the rabbit hole of variations.

 

 

Final Comparison and Tweaking

 

After doing A/B testing for a while, you should at some point closer to the target in mind. One thing in mind as for searching for your ideal replication is to come up with something close and also be open to variations to it. Save as many presets as possible by turning multiple effects into a macro. You want to be able to recall your processing into future sounds and if you applied some processing, that is “make-up” that you can apply to other sounds of yours, which will open a new array of possibilities.

 

Fine-Tuning: Even once the sound seems close to the original, additional fine-tuning is often necessary to capture the nuances that make the sound unique. Sometimes that means to swap some effects (swap reverb X with another) to get subtle new outcomes. Even a musical EQ can change the identity in a little way. A lot of the best outcome is the sum of multiple tiny tweaks.

Environment Matching: The engineer also considers the environment in which the sound will be used. A sound in isolation might seem perfect but could require adjustments to fit into a mix or to match the acoustics of a particular space. Using a convolution reverb can be giving an idea what the sound could be like elsewhere.

Reverse-engineering a sound is as much an art as it is a science. Audio engineers need to have a keen ear, a deep understanding of audio synthesis and signal processing, and patience to iterate until the sound matches their goal. It’s a challenging but highly rewarding process that often leads to the creation of innovative sounds and effects.