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Friday, May 3, 2019

#Musicproduction: Create Pads With Guitar

What do you grab when you require a unique pad sound in the song? What occurs when you've tried the many sounds you have but nothing is very nailing the vibe you have in your thoughts? Reach for a guitar! There are plenty of great artists who create pads with guitars- Sigur Ros is the most famous, but there are various others. If you are anything like me, you care about hearing unique sounds that aren't found in the preset in just a soft synth or plugin. This is where creating organic pads that has a guitar can be hugely effective.
I most often readily beginners guitar to make the information sound that I am describing. While you need to use any instrument to manufacture a pad (especially if you have delay / reverb pedals, or plugins pictures disposal), I particularly including the sound I recieve at a DI acoustic guitar. That's right, DI. Many people be aware that to record a GREAT beginners guitar sound, we must mic the guitar. In such a case, having the guitar opting DI removes the excess room sound, additional string noise, and other things that this microphone may pick up.

The various tools you will need

All that you should manage this step cool, unique pad sound is surely an beginners guitar that has a pickup, a DI (or one method or another of plugging the guitar in), a recording interface, recording software (DAW) and quick and easy plugins that every DAW should come with. After getting a guitar connected and created record over a track, grab a medium to heavy gauge pick and prepare to perform some super fast picking (also called tremolo picking).

The musical approach

The musical approach that operates most often personally is to discover a common tone that will work throughout the entire song or little bit of music. Not long done anything about a song that's in E major, so I picked a 5th (E & B) which worked throughout the chord progression. You may choose any combination of 2-3 notes you want the sound of throughout the chord progression. By doing this, you need to use the information as being an ambient layer throughout, or take it in and out as you see fit. Furthermore, i encourage you to realize several layers of such pads to make new harmonic textures and sounds that you otherwise not have found or created.


Having the part discovered, lets mention technique. I find that playing as dynamically consistent as is possible will make the most dependable pad sound. You may, naturally, follow the dynamics with the song, however a lot of what is going to get this to appear to be a pad is it stays fairly static dynamically. I position my pick near the place that the neck of the guitar meets your body, and tremolo pick back and forth fairly aggressively. Experiment with it and use whatever method enables you to stay most consistent. Furthermore, i find that it's possibly not crucial to play in time together with the song. A random timing, while staying consistent, will assist this part feel similar to a pad than just a guitar part. You don't need to play with the whole song unless you are changing the notes that you will be playing to install a particular section. I typically play for just a bit, after which it copy / paste the part, using a good crossfade between the two sections that I've put together. This can be important so you do not hear the place that the edit is happening. It looks like one long drone.

Shaping the sound with plugins

Last, but not really least in this equation, is creating the sonic signature on the pad. I really do this with plugins or effects. I favor to work with plugins after I have recorded the part. In this way, I have full control of you will on the sound and might tailor the sound to the song and earn changes easily. First I insert an EQ plugin. It is necessary which the EQ you decide on has multiple bands, and both high, and low-pass filters. I start by rolling the lows off at between 120-200, or maybe 300 hz. Because of this, and intensely everything after that step, really make use of your ears and tweak it before you just like the sound. Be sure to have no less than 18dB / octave curve for your high pass, mainly because it will more aggressively shape your sound (which in this instance, you want). Next, I engage my low-pass filter, again at a range of 18-24dB/octave and It's my job to start around 2.5-3khz. While using the low-pass filter helps disguise the natural brightness connected with an beginners guitar, and smooths out several of the sound of the tremolo picking. Once both of these bands of my EQ are engaged, I'll often experiment with sweeping with the mids with a few dB's of gain reduction and a reasonably wide Q of say 1-2. But if your pad is feeling too mid-heavy (especially since we rolled off a lot of the highs and lows), don't be afraid to carve out some mids for your liking.
Let's move onto the second plugin within the chain that helps us achieve this pad-esque sound - compression. You can use a number of compression here, but in this instance It's my job to reach for something who has attack and release controls. I'll experience how fast setting the attack - faster if there are uneven transients from my tremolo picking, or slower if I want to really smooth out of the whole track and squash it down. Ditto with release time, although I do believe that getting the compressor engaged the entire time with a few decibels of reduction will sound pretty cool here. As while using EQ settings, there isn't any wrong way setting this, just experiment and pay attention to whatever you like.
Third within the chain of plugins is delay. I would not always use delay, but once I really do, I prefer it here. But if your tremolo picking is consistent and repetitive, will possibly not want or need delay here, but experiment along with it and pay attention to whatever you occur with. You'll probably decide a stereo delay that ping pongs between the two, or something that is that's more subtle like a slap to then add chorusing. Totally your decision!
Fourth and last within the chain is reverb. This is the central one mainly because it adds both depth and atmosphere to whatever you played, it also rolls off even more of the attack on the pick to the strings. To acquire a really washy, pad-like sound, a long, it mat be modulating reverb really is helpful. You can use any reverb that you want, but start with a long setting - 3 or even more seconds, while using mix set fairly high. That is certainly, more wet signal to dry signal. If you wish to dig a bit deeper, look into the Ubermod plugin in from Valhalla, this is fantastic. It provides modulation, delay, and reverb all in one plugin. There's a unique setting that you may download that emulates the legendary Ursa Major Space Station digital reverb. This preset doesn't include the plugin, but when you search it, you'll find the code that then you're able to copy and paste on the plugin's preset menu.

Let your creativity be your guide

There you have it! You've got the recipe to generate and dial in a really cool, unique pad sound that was made by an beginners guitar! Make sure you use different instruments in this same way to create other textures and pads. Really the only limit is your creativity!

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