If you’re into electronic music, you are probably into creating cool sounds with synthesizers and virtual instruments.
Last week, I was working on writing an EDM track with a friend. We come from different musical backgrounds, so it was cool collaboration.
But the biggest thing I learned in the process dealt with designing sounds. My entire process got a shot in the arm after that session – here’s why.
I usually take the “200 track pop production” approach. That means I’ll lay down a synth I like. Then I’ll double it. Then I’ll triple it. Maybe even quadruple it. Then I’ll carve out what I don’t want in each sound and have a cool new synth sound left over.
But there are some flaws with this method. For example, you’re not exactly going to end up with the sound you wanted. You’ll end up with a cool new sound (which is great for some genres), but not necessarily the perfect sound that sounds like a single synth.
As we started to get sounds, I wanted to throw a bunch of synths down and start layering sounds. But instead, we focused on getting the perfect sound with one synth.
It took a bit more work inside the virtual instrument we were using, but in the end, it was worth the wait.
That’s because we created the exact sound we were looking for, and it came in a neat package.
This changed the way I view sound design with synths, and for a lot of projects, this can be a better way to go.
How do you design your synths? What are the advantages and disadvantages to the way you do it? Reflecting on this can really give you perspective and allow you to greatly improve your workflow.
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