Tag Archive for: noise floor

Noise In Music

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In the realm of digital music production, there exists a fundamental concept known as the “noise floor.” It represents the level of background noise present in any audio system or recording environment. Interestingly, our world is never entirely silent; there is always a gentle hum of ambient noise surrounding us. Human hearing has evolved to appreciate and find comfort in these subtle noises, making them an integral part of our daily lives. 

 

If you record with your phone or a handheld device some sounds on the street, you’ll hear this smooth white noise in the background. Listening to the recording afterwards will have this reality with a blanket of noise that we get familiar with. Through the history of music recording, depending on the era and medium, the noise differed. If you grew up with a certain sound, there might have been a typical noise you associate with it.

 

Noise in music can be nostalgic.

 

Not to forget that some people actually love sleeping with noise in the background as it blocks outside sounds. With ADHD, some noise (like Brown) can help with focus.

 

The concept of noise finds a captivating application in the world of modular synthesizers. Modular synths offer a playground of endless possibilities, where musicians and sound designers can manipulate and harness different types of noise to create lush and music landscapes. In this blog post, we will go through the world of noise in modular synths, exploring the different types of noise available and the creative opportunities they offer.

 

White Noise – A Hissing Foundation:

 

White noise, resembling a gentle hiss, is one of the most common types of noise found in modular synthesizers. It features a consistent amplitude across all frequencies within the audible range. Embracing white noise in your patches can introduce exciting possibilities. For an exercise, patch a white noise generator to trigger an envelope, and use it to create rhythmic bursts of noise at irregular intervals. This technique can produce percussive and glitchy elements in your music, adding a touch of randomness to your compositions.

 

I also like to introduce a noise floor of white noise, slightly filtered, to create a feeling of proximity. It’s hard to explain, but sometimes clients feel their music is empty and will drown everything in reverb. Adding some white noise is a good alternative to that as reverb can also introduce various mixing issues.

 

Pink Noise – A Softer Alternative:

 

Pink noise, also known as 1/f noise, is characterized by equal energy in each octave. Unlike white noise, pink noise contains more low-frequency energy, resulting in a warmer and softer sound. To explore pink noise, connect it to a filter module and use an envelope or an LFO to sweep through the filter’s frequency cutoff. This exercise will help you understand how pink noise can add depth and character to your sounds, particularly in filter sweeps and ambient textures.

 

There’s also some theories about mixing with noise. Some people put a pink noise as a background and then will mix it over. The idea is that you want to mix each channel through the noise and when you hear it, then you know it’s levelled equally (since pink noise is full range). I’m not too keen of that approach but it can be useful to try it.

 

Gaussian Noise – Emulating Natural Sounds:

 

Gaussian noise, also known as normal distribution noise, features a bell-shaped amplitude distribution, mimicking natural sounds found in our environment. It is particularly useful for simulating wind or water sounds. Experiment with this type of noise by using it in a sample and hold module to generate random voltages. Then, patch the random voltages to various parameters in your modular system, such as oscillator pitch or filter cutoff. This exercise will demonstrate how Gaussian noise can add an organic touch to your patches.

 

Any noises passed through a quantizer will offer random melodies. A technique to generate random melodies is to to send noise through a sample and hold, then trigger a moment where the note should be played. The sample and hold will pick a note from the noise, which then you can pass through a quantizer to make sure it is set to a scale. The result will be musical.

 

 

 

Digital Noise – Infinite Possibilities

In the context of modular synths, digital noise refers to the generation of noise using digital algorithms and processes, as opposed to analog noise generated by analog circuits. The term “infinite possibilities” refers to the vast range of creative and unconventional sounds that digital noise sources can produce. Unlike traditional analog noise sources like white or pink noise, digital noise allows for extensive manipulation and sculpting, leading to unique and experimental textures.

Digital noise generators in modular synthesizers often provide various types of noise algorithms that can emulate natural or chaotic phenomena, simulate environmental sounds, or create entirely new sonic landscapes. Here are some examples of what digital noise can offer:

  • Granular Noise: Granular synthesis is a technique where sound is broken down into tiny grains, and these grains can be randomly rearranged and manipulated. Digital noise sources can implement granular synthesis algorithms, producing a vast array of grain-based noises that can range from glitchy textures to ethereal pads.
  • Custom Noise Algorithms: Some digital noise modules allow users to upload or create custom algorithms. This feature empowers sound designers to craft noise with specific characteristics, opening up possibilities for entirely novel soundscapes that push the boundaries of conventional synthesis.
  • Sampled Noise: Digital noise sources can incorporate sampled noise recordings, allowing for the recreation of real-world environmental sounds, machinery, or other interesting textures. These sampled noise sources can be creatively combined with other elements in the modular setup to create evocative and immersive sonic experiences.
  • Noise Modifiers: Digital noise modules often come with various modifiers and processing options. These may include waveshaping, filtering, amplitude modulation, and more, giving you the tools to sculpt the digital noise in unique ways and tailor it to fit your artistic vision.
  • Randomized Algorithms: Some digital noise sources have algorithms that introduce a degree of randomness into the sound generation. This stochastic nature can lead to unpredictable and evolving textures, which can add an element of surprise and excitement to your patches.

As you experiment with digital noise in modular synthesizers, you’ll discover a wide range of creative possibilities. Whether you seek to create atmospheric soundscapes, experimental textures, or unique percussion elements, digital noise sources offer a playground of sonic exploration. The ability to customize and manipulate noise algorithms within the digital domain gives you unparalleled control over the sounds you generate, making digital noise a powerful and indispensable tool for innovative sound design.

 

Noise as a Modulation Source – Adding Life to Your Patches

 

Noise can be a versatile modulation source in modular synthesizers. Use a noise source to modulate parameters like oscillator pitch, filter cutoff, or LFO rate. Adjust the amount of modulation to understand how noise affects the timbre and movement of your sound. This exercise will demonstrate how noise as a modulation source can introduce dynamics and unpredictability into your patches, bringing them to life.

This is not something you can do with Ableton Live, sadly and this is why sound design in modular contexts open up new options that are complementary to Live.

 

Noise-Based Percussion – Unconventional Drum Sounds

 

Create unique and unconventional percussion sounds by utilizing noise sources to trigger envelopes that control VCAs or other sound generators. This exercise will help you craft snare drum-like sounds, hi-hats, and other percussive elements with a distinctive character, setting your compositions apart from traditional drum kits. From a Pink Noise, you can easily build percussions with all octaves being covered so if you pair it with a filter or two, there can be very powerful results coming from that.

 

Noise in Feedback Loops – Chaos and Creativity

Create feedback loops involving noise sources and various modules. By adjusting the gain and routing of the feedback, you can explore chaotic and unpredictable sounds. Be cautious with the volume levels to prevent potential damage to your speakers or hearing. This exercise will challenge your creativity and inspire you to push the boundaries of sonic exploration. 

  1. Feedback Loops in Modular Synthesis: In a modular synthesizer, feedback loops occur when the output of a module is routed back into its own input. This setup creates a self-sustaining loop where the output continually feeds back into the input, generating a chain reaction of sound. Feedback loops are known for their potential to generate unique and evolving sounds, often characterized by self-modulation, harmonics, and sonic complexity.
  2. Noise in Feedback Loops – Unpredictable Oscillation: Introducing noise sources into feedback loops can lead to chaotic and unpredictable behavior. When noise is fed into the loop, it injects random variations into the signal chain. As the noise interacts with other elements in the loop, it produces intricate patterns of oscillation and modulation. This generates a sonic landscape that is ever-changing, with an array of dynamic textures and tonalities.
  3. Harnessing Chaos – Musicality from Disorder: While noise in feedback loops may seem disorderly, skilled sound designers and musicians can find musicality within the chaos. By carefully adjusting parameters, such as gain, frequency, or filtering, you can sculpt the noise-induced feedback to create musical tones, harmonics, and rhythms. This process requires experimentation and an intuitive understanding of your modular setup.
  4. Non-Repeating Patterns – Endless Exploration: One of the most intriguing aspects of noise in feedback loops is the creation of non-repeating patterns. Due to the chaotic nature of the feedback system, the resulting sounds may never repeat in the same way twice. This opens the door to endless exploration, where every patch becomes a unique sonic journey, allowing you to discover new sounds and compositions with each iteration.
  5. Sonically Evolving Patches: Noise in feedback loops can lead to sonically evolving patches that morph and transform over time. These patches are akin to living organisms, constantly changing and adapting. By letting your patches run and evolve, you can uncover unexpected and inspiring sonic discoveries that may serve as foundations for your musical compositions.
  6. Creating Textures and Soundscapes: Beyond musical tones, noise in feedback loops is an excellent tool for generating rich sound textures and atmospheric soundscapes. By tweaking the feedback parameters and manipulating the noise source, you can create immersive sonic environments that add depth and complexity to your music.
  7. Cautions and Limitations: While noise in feedback loops can lead to exciting results, it’s essential to be mindful of potential pitfalls. Excessive feedback or high gain settings can lead to uncontrollable and overwhelming sounds that might damage speakers or cause discomfort to listeners. It’s advisable to approach feedback patching with care and gradually increase parameters to explore the sonic boundaries safely.

 

In the world of modular synths, noise is a captivating element that adds depth, complexity, and a touch of unpredictability to your compositions. From white noise’s rhythmic bursts to pink noise’s warm textures, and the experimental possibilities of digital noise, each type of noise serves as a powerful tool for sound design and artistic expression. Embrace noise in your modular synth patches, and let it take you on a sonic adventure where creativity knows no bounds. Remember, in a world that is never truly silent, noise holds the key to unlocking your unique musical voice.

 

Sound Design and Arrangements Series Pt. 2: Balance

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This post is a part of a series: Part 1 | Part 2

Balance in mixing—and in music in general—is one of the main aspects of healthy sounding music, mostly because it is a reflection of space, and perhaps, our life as well. While this post is mostly about my philosophy of work, I’ll still discuss some technical tips that can be applied to your mixing strategy and arrangement work.

Let’s define what balance means in design and see how this translate to music:

Balance is the distribution of the visual weight of objects, colors, texture, and space. If the design was a scale, these elements should be balanced to make a design feel stable. In symmetrical balance, the elements used on one side of the design are similar to those on the other side; in asymmetrical balance, the sides are different but still look balanced.

Source: Getty Edu

While this comes from visual design, you should already able to see how this is applicable to the world of sounds. When I first read this definition, I could understand how I was already applying it to mixing music, as I get very conscious of space and the distribution of the frequencies. One of my favorite tools at the moment is Neutron, which I use on all my groups and sometimes, all channels, so I can monitor all of them visually. I can also apply EQ flipping, where if you boost on one channel, you’ll do the exact opposite cut on another channel that is battling the first one to be heard. Using the Visual Mixer tool, you can then place each sound in space. For people who struggle with panning, this is a precious tool that will also help you see if you have distributed your sounds properly.

One of the most misunderstood aspects of mixing I see is the volume difference between elements. Thinking that everything should be loud is a not only a misconception, but it creates imbalance. The volume difference represents the space use and you need some that are further away otherwise the louder one won’t be important, they’ll be lost.

Same goes for textures. Not all your sounds can be textured simultaenously, otherwise you won’t be able to notice their differences. However they can all be textured at different times. I like to split the arrangements timeline in 3 parts and will let sounds have their moment in each; it keeps the story evolving.

Regarding the stereo spectrum, we often relate this to left and right panning, but one important part a lot of new people to mixing don’t see is the importance of the mono section. If you want your song to have a backbone, you need that part to be dead solid. One trick I like is to have a compressor in a return channel and add a mono utility there. I’ll send a lot of my groups to that mono’er channel that will beef up the mono signal of the track.

As for the frequency spreading, I find that your whole spectrum can be divided in 5 sections: low, mid-low, mids, highs-mid, highs. You can technically have them all loud, but that’s not really good balance, and your mix will probably sound harsh if you don’t control resonances and transients properly. I think having 2 out of those 5 frequency ranges slightly lower than the others will give some room for your mix to breathe. When people book me for mastering, they can select a coloured or transparent master, and if they ask for coloured, this is basically what I’ll do. Re-adjusting 2 of the bands will give a new tone to the track and most of the time, mixes I get are already unbalanced as there’s often a band that is way too loud (most of the time, the lows). If the lows are too loud, then I will lower them.

Now, when it comes to arrangements, this is where it gets fun.

I find that there’s a lot to say about the significance of arrangements. Arrangements come in many forms: short stories, edited experiences, live jams, etc.—but I find those three types are a good starting point. A pop song can be a short story, and a piece of minimalist techno music can also be one, but with a different purpose. The reason we apply a certain methodology to arrangements is to maximize the potential of the sounds, as well as the patterns. In the previous post in this series, we talked about contrast and how it can be used in a specific sound—balance, on the other hand, can be exists on multiple levels.

How Do I Know if an Arrangement is Well-Balanced?

The idea of using balance to leverage creativity is not a rule, but an idea and approach. There are countless pieces out there that have no balance and it work perfectly. I find that balance in arrangements is a method of regulation, but it’s not something I’d focus on alone as the main approach.

See balance as tomato sauce. It can be a really great base for a lot of dishes and yes, it can be used as-is, but it does a better job when it’s combined with other ingredients. This is why it works well on a pizza and pastas, etc.

So It depends what you listen to and of course, some great songs are totally unbalanced and that’s what makes them special. I like to say that rules are made to be broken, but you need to know the rules first. A balanced song has a better chance of creating a quality that we all strive for in music: timelessness. In visual arts, minimalism aged well. The logo of Mercedes has basically remained the same, compared to Google’s original disaster brand. Same for music, in general. What I see is that music which is balanced, has a number of sounds playing at a time and has an organization and internal self rules that are set to keep a clarity and easy understanding.

I find that balanced arrangements usually feel easier to understand and are not too destabilizing. But if you go in the opposite direction voluntary, it can be a good way too create contrast.

A song with a balanced mix has a full presence and usually doesn’t have one element stand out. So for percussion, I like to have a balance of numerous sounds but you can then have one that pop out, in contrast (refer to part 1).

As for having balanced arrangements, I’d recommend the following:

Set the rules of your song in the 1st minute (or first part). This can be the tempo, time signature, density, motif preview, etc. The rest of the song is a balance of contrast operating in the rules you’ve set. By balance, we can agree that it’s about not placing all your tricks into the same thing.

Distribute your ideas evenly across your song. I’m talking about the motif for instance, that could reveal one variant more per section. Balance predictability as well unpredictability by having your sounds come in and out at times the listen gets used to.

Use repetition to create patterns that support one another. The famous call and response technique is a good example.

The best way to leave annotations in your arrangements is by adding a empty MIDI channel and creating blocks that you can stretch over sections of your song and leave notes accordingly. This can be very helpful if you have a hard time seeing how sounds are distributed once a channel is flattened.

I like to have colours for each genre of sounds. This usually tells me if there’s too many percussion blocks compared to another group, for example.

Background sounds are often a good way of helping everything work together. Songs that feel full have a background, a noise floor. It can be a reverb, noise, or it can be field recordings. People often ask me where you can find sounds like that. Archive.org, Freesounds.org, Loopcloud, and Soundly are all super useful for finding these as well as odd and out of ordinary ideas.

This post is a part of a series: Part 1 | Part 2