How To Create That Classic Analogue Sound - With Software!

As we all know, these days in dance music there's a real emphasis on getting those classic, vintage hardware sounds. Perhaps it's a reaction to the fact that clean, clinical mixdowns are suddenly within reach of anyone with a laptop and a DAW, but the sounds that are really picking up hype, from James Blake's minimalist soul to Boddika's rugged analogue electro stomps, are the lo-fi, the vintage and the retro. It's all very well for people who can afford such tasty bits of gear, but what about those of us who really are stuck with a laptop and a DAW? Read on, as we look into how to get those classic sounds out of simple softsynths and some basic effects...

First things first: the best way to get your soft synths to sound like classic analogue hardware is to start using them like hardware. It sounds obvious, but these days softsynths are so weighed down with oscillators, waveforms, filters and modulation that we can forget that vintage synths couldn't do any of this. Take the old favourite, the Roland TB-303. That was a single oscillator synth, which could only do square waves or sawtooths. It was monophonic. It has a low-pass filter at 24dB/octave (often debated online, min), a note-velocity sensitive filter function (The 'accent') and a legato function, or 'glide'.

So, if you want to get something sounding vintage, start by limiting what it can do. Put it into 'Mono' mode, start programming note glides, tweak the filter envelopes and velocities (and remember also that synths like the 202 and 303 were frequently played via one-bar loops) and you'll find it quickly starts to take on the simplicity and character of the old classics.

Then you can move on to the effects. Again, one of the classic signifiers of the synth sounds of old was not how they were processed, but rather the physical limitations of what needed to be done. They would go out through their often cheap output sockets, be driven slightly through a desk perhaps, and then recorded to tape, all the while incurring noise and hiss as they passed through the various circuits. So you can start by putting some subtle overdrive on the sound. This could be a distortion plugin, or even something as simple as a bitcrusher (these are often great on synths) - to reduce the dynamic range a touch, give it a bit more crunch and add some harmonics. Try also layering in a sample of some hiss, very quietly - it sounds obvious but can help give that retro vibe!

We don't want to end up too fizzy though; because going to tape generally affects the sound too. So if you have a tape emulation plugin, try running your synth through that. If not, get a simple EQ plugin and try rolling off some of the top end with a high shelf setting, and try adding in a gentle boost (say of 2 - 3 dB) around the 200 - 300 Hz range. This low midrange bump should add a touch of warmth to the sound.

If your sound still isn't warm and chunky enough, then try doubling it up with another patch playing the same part. Perhaps lowpass the extra sound to make sure it doesn't distract from the original, and layer it quietly into the mix. Then run them both to a buss where you have your 'fake vintage' channel strip to make sure everything's nice and consistent.

Bear in mind that most true analogue synths were around before MIDI - which is to say that when you hear them on record, they were often played in by hand instead of being sequenced. The tiny inconsistencies in timing often help contribute to the more organic sound of old school synths. If you can do this well, then that's always a good idea to try, and if not, then try hitting 'humanise' function on your MIDI sequencer to generate a few little nudges here and there. Analogue synths were also notorious for losing pitch, so try pushing your softsynth a few cents out of tune to emulate that random factor.

If you have something like a 'Vintage Warmer' plugin, then give this a whirl too, but remember that it's not a magic bullet for making any old synth sound rich and classic - you still need to pay attention to all the individual aspects outlined too.

All these tips are 'in the box' only - of course you can get great sounds if you have any way of getting the synth lines out of your computer and back in. If you have an old hi-fi setup for instance, record your synth line onto cassette tape, play it back in again and layer this version behind the clean track for a bit of 'real world' noise and grit. Or try running it hot through a small desk, or even play it out of a speaker or amplifier and record it back in with a microphone. There's a lot of fun to be had here.

But this article is all about getting that classic hardware sound with software, and if you're careful and pay attention to all the details, you can really get quite a convincing approximation going. So get reading up about all your classic synths, think about how they get recorded, and you too can have the sound of vintage synthesiser hardware without ever leaving your laptop!

Check out our selection of packs which include pristine 24 bit recorded Analogue samples here!

For more info on the analogue style PSP Vintage Warmer check it out at the Sound Sonic web store here!

Embrace Contrast in Your Mix!

Contrast is a pretty well accepted idea in art - everyone loves to drone on about light and shade, the sweet versus the savoury - but how does that affect music? In particular, dance and electronic music? We all know about how classical uses legato and allegro to speed up and slow down, but in general DJ's don't want to be playing too many tracks that jump around in tempo. So how can an aspiring producer get in on the act? If you want a few ideas that can help your compositions and arrangements in dance music from techno to dubstep, read on...

In architecture there is a concept that if you want a large space to look even more huge, have people walk into it through a small entrance hall - then the size of it will have even more impact. This basically sums up the idea of 'contrast' as used to emphasise and accentuate part of a track, and it's one that dubstep producers have perfected over the last couple of years. Listen to tracks by many of the big names of late and you'll hear the same formula - a beautiful melodic intro which gives way into a furiously heavy drop. It certainly works in terms of giving the drop plenty of impact, although it's not exactly an original idea by now. But you can use a similar idea elsewhere in a track; for instance giving things a twist by leaving a major element out until the track is well-developed, or by changing the atmosphere - for instance bringing in a load of reverbed effects to give a feeling of space.

Conversely, a heavy bass track which then utilises melodic pads will sound so much the sweeter. So if your tune is lacking the interest to sustain it fully, consider switching it up entirely - going from a heavier section to a more melodic section will lift the vibe, and then when you go back into main drop it will be with renewed vigour, as the listener won't be so tired of the same sound.

This also gives a handy idea for arranging a track - that of alternating between two different sections. This could be a mellower section and a heavy section, vocals and no vocals, or tuneful and then percussive. It's essentially a variation on a verse and chorus structure, so it's well proven, and it takes you away from the frequently tricky issue of how to keep a simple idea interesting over a 5-minute track. Try it with sections of roughly 16 bars - if you do it well, each time you cross over to the other groove it will feel like the track gets a lift.

Arrangements are only one area where you can apply the idea of contrast, however. You can also use it to inform the way you write melodies and tracks, by using what is known as 'call and response'. This is normally a melodic technique in which a simple melody will be played for a bar or so, before being 'answered' by another melody, for perhaps another bar. There will be something to distinguish the two - for instance, the first melody maybe low down the octaves and the second may be higher, or the first could be in a major scale and the second in a minor. But in electronic music we can go a lot further than that - have a gentle piano melody answered by a crunching drum fill, a warm analogue patch complementing a hard digital riff, a bassline in which a relatively high-pitched, simple sub is then demolished by a deep rumble. There are plenty of examples to check - Redlight often answers his big and bashy basslines with a tinkling percussive sound, and Busta Rhymes 'Touch It' is a classic example of how alternating two contrasting ideas for 4 bars at a time can carry a whole track. J-Majik's legendary jungle track 'Your Sound' threw caution to the wind as it featured a drum beat which was two bars of kicks, followed by two bars of snares. It sounds like it shouldn't work - but by switching the feel of the groove every two bars, the track had an energy and originality that cemented its place as one of the greats.

We could go on - when you think about it, there's no end to the things you can vary in this way. Busy arrangements switching into sparse, pleasant synth harmonies contrasting with nastily dissonant ones, distorted or reverbed sounds giving way to the dry original signal; with modern DAWs you can change pretty much everything. Light and shade, call and response and so on are really the building blocks of writing music, and if you can get a handle on it you can really add a lot to your arsenal of compositional techniques. So next time you're stuck with a tune, give some thought to how you can introduce some contrast. It can really be the makings of a track!

The Art of Pad Sounds!

Pad sounds are some of the most common synth patches you'll find, and it's no surprise why - with their evolving textures and lush warmth they can really show off a synth's capabilities. But how should you use them in your tunes, how can you build effective pad sounds, and how do they translate into a mixdown at the end of it all? Read on, as we take a closer look...

In general, there are two ways that a dance or electronic music producer will use pads. The first is as a mix tool - to beef up existing sounds, add bite to a high-frequency part or width to a dull mix. The second, and we'll start with this, is as a more fully featured part that takes centre stage in the arrangement. Needless to say, this is the more fun option.

Building an interesting pad takes some work, but it's essential to get a really original sound. You can start with any synth, although multi-oscillator (or FM) options give you more scope to create something that shifts and evolves to keep the listener interested. Logic's ES2 or NI's Massive are excellent choices; both have multiple oscillators and a wide range of 'custom' waveforms that go beyond the standard analogue options. You should be aiming for something that shifts as time goes on, so you'll need to make good use of envelopes and LFOs - the ES2 in particular has an incredibly detailed matrix that you can use to control just about every parameter. Start with the obvious ones such as filter cutoff, chorus and panning, but everything is open - many synths (including the ES2, although this is a well-hidden feature) will allow a combination of analogue (subtractive) synthesis and FM synthesis, so that you can modulate the shape of certain waveforms. These will give you a jump-off point to create some very complex sounds.

You can also experiment by bouncing single notes of a pad sound (or several - try intervals of a fifth for instance) and then layering them in a sampler instrument so that they all blend together. Try adding in a sample of hiss or record crackle with pitching set to 'off' (so that it plays the same pitch whatever key you hit) to add an extra level of interest to the sound.

When using pads, it's important to remember that if you just dollop them onto an existing arrangement, you can easily end up with a pleasant but dull ambient wash that sucks all the energy out of your tune. So be careful; but there are many tricks out there to help avoid this. Sidechaining is currently very popular - you can compress a pad (low threshold, sharp knee, long release) off anything, from a kick, to a snare, vocal or even random FX hit. This has been done to magnificent effect by the likes of Flying Lotus and Mount Kimbie. You can also do the reverse - set up a noise gate with a sidechain input, and trigger it off a simple percussive part to create more interesting rhythmic effects.

If you want a big, enveloping pad sound, you'll also need to consider more mix factors - panning for instance. Stereo wideners and mid/side plugins will help you create a more dynamic feel, while making sure there is plenty of low-midrange will give warmth and body to the sound.

If you're using pads as a mix tool, however, you'll want to be much more careful about the space you grant to a pad sound. They can be highly effective, however. If you have a brass sample that sounds a little thin, then try programming a bright, fizzing pad sound to play the same notes as the sample, and layer it in behind the main sample (keep away from delays and reverb in this instance to avoid cluttering the beat). It will fill out the mix nicely and give the impression that the brass sound is brighter and fuller than it really is. In this case, you can cut a lot of the low and midrange frequencies out to maintain just those that are essential for the purpose. Similarly, if you want to add body to (say) a guitar sample, you can low-pass filter a pad and match it up to the sample to mould it into the mix a bit. Although you should try to match the pad and sample up reasonably closely, it's amazing how much of the pad can be left audible in the mix. The ear tends to focus in on the interesting part of a mix - so by using a fairly bland pad sound for your mixing solutions, you can actually have it pretty loud and people will simply hone in on the interest in your featured sample instead.

Pads are one of those synth options that seem straightforward to begin with, but actually offer a lot in terms of composition and mixdowns, whilst still being very easy to get wrong! But it all comes with practise, so load up your favourite synth plugin or pad loops! Fire up a track and see where a good pad sound can take you today...

Branding Outside The Box

Branding, eh? What a horrible term. You may be already thinking of focus groups, ad campaigns, politicians and media types in their gently amusing eyewear. You'd have a point. But in the new, web 2.0 world of self-releasing music, DIY labels and blogs, it's also actually pretty essential stuff. Why? Well, brace yourself, and read on...

As we've mentioned plenty of times on this blog, although it's easier than ever to make your music accessible to the world, when everyone and his dog uploads their tunes and starts up a Facebook page, it suddenly becomes harder to get your voice heard above the noise. There are all sorts of tactics to combat this, but when you start to look at some of the best and most popular labels and crews, a pattern starts to emerge.

Take Swamp81, the ultra-cool label currently run by Loefah. At first glance, it's just another label, albeit one that happens to be very popular right about now. But on closer inspection, it has actually been very smartly managed. The music is, of course, very tightly curated. The A&R process is very strict, quality control is high, releases are relatively infrequent. The overall effect is of a label that's very careful about the music it releases. But it goes further - the music is all aesthetically linked; it's stark, it's stripped back, it has a futuristic machine vibe, while still referencing 80's electro and UK urban culture. That's the first hint of branding. The label name ties in with this too - Swamp81 is a reference to 1980s UK inner-city issues (see Wikipedia for confirmation...).

On top of that there's the graphic design. The design of the artwork and website also ties into the overall aesthetic; it's minimal, it's moody and it's very consistent (it's almost all done by the same person, French artist Ashes57). That might seem like an obvious thing to be doing, but it's a fairly recent development for a lot of dance music. Consider all those 90's house and jungle records with stupid cartoon characters on the front and poorly handwritten sleeves! A lot of labels still don't feel the need to tie their visual and sonic identities together like this, but it's certainly important to consider.

Looking deeper, there's T-shirts and merchandising - the design ties up with both the music (by having the design 808/909/727, the label are explicitly drawing the connection to the 80's, drum-machine, electro influenced sound of the music) and with the overall minimal visual identity. The t-shirts and jerseys are limited runs, just like the vinyl-only releases. There are also the parties, which bring everything together - the design on the flyers and the sound of the music.

The overall effect of all this is extremely strong - it makes the label into a memorable, instantly recogniseable brand. When you hear one of the records, see the artwork or see a t-shirt, you could guess it's Swamp81 even without a logo or name. This is very important - it makes the label stick in people's minds over and above the million other labels out there vying for your attention.

There are plenty of other labels that could have been case-studied here - such as Night Slugs or Sound Pellegrino - but in all of them, the ethos is the same: a strong and consistent musical vision, a very clear visual identity, and just an overall 'vibe' that stretches across everything they do.

This doesn't just apply to labels, either - take the live streaming site Boiler Room, or an artist like Seiji, who self-releases his tunes and puts mixes on his own website. It all adds up to create something that is more memorable to the average music listener - and that will translate into more return visits, more hits, and more listeners!

As you can see, it's not just advertising, or substituting something else for the music - it's all about making sure everything you do is for a reason, is linked together and works as part of a whole. And now, when artists need to be doing a lot of their own promotion, online press and even artworks, it's even more important. So next time, before heading out for your photoshoot in another dark hoody to stand in front of another generic example of urban decay, think a bit more about what you want to say with your image. And then work that brand!

Mixing Ideas - How To Collaborate!

Do you ever get stuck in a creative rut? Feel like you're going over the same ideas with no new input? It happens to most people at some point - and although the idea of the solo genius knocking out amazing beats in his underground vault is a popular meme, the truth is that most of the biggest production outfits in the world - from Nero to the Swedish House Mafia - are groups. And even many artists that are presented as solo acts are not what they seem; there's often a "silent partner" back at the studio. So why not try getting into the collaborating scene?

There are plenty of positive reasons to start up a collaboration. First and most obviously, you can create some great music. With the influence and musical knowledge of a fellow producer, your shared experience can add up to something really exciting. But on top of that, there are fringe benefits - learning someone else's way of working can show you new tricks with software you've had for years. You can swap samples and synth patches. And when you've finished a track, you can combine your contacts to get the thing signed!

Maybe that's getting ahead of ourselves though. How should we begin, and how can you get the best out of a collaboration? The best way to start up is to come with an idea or two beforehand. Find a few samples that you've been meaning to use, write a simple beat or bassline to use as a jumping off point. You don't have to keep them, but it will give you somewhere to start. Then you need to have a quick chat about where you see the track going - again, this doesn't need to be set in stone, as you should allow a track to take its own shape once you get moving - but at least it will stop you both pulling in different directions at the beginning.

Then, and this is always a tricky one, especially for the control freaks out there, you need to take a step back. Computers only have one mouse and one keyboard, so you can't both be writing that beat - and there's really nothing that cramps your production style more than someone looking over your shoulder and telling you how to program that hi-hat line. So give them some space and let them set down an idea - you can always change it later if it really doesn't work. And if you do have control-freak tendencies, this is a great way to learn how to get over that particular urge! Even if it does mean leaving the room and playing X-Box for half an hour...

On the flipside, you also need to not be too precious about any of your own ideas. If you're the one who just spent half an hour writing a part, only to have the other guy come in and change it all around, the gut reaction is, of course, annoyance. But this won't help, as you'll find that when you look objectively, they might have actually improved the part with just a couple of changes! So you have to be flexible with your ideas and allow anything you've written to be altered - there will always need to be some kind of compromise going on.

If you have more than one keyboard then when you've got a simple groove going, it's often useful to have a 'jam session' where you both just play around with some ideas, presets, chords and so on. Whilst being great fun, it's also often a good way to come up with a couple of ideas that really gel.

All this talk of keyboards and mice fails to acknowledge that plenty of collaborations no longer take place in person, but over the internet. Fortunately, transfer speeds these days are sufficient that you can send hundreds of megabytes back and forth without too much hassle. It's important to make sure that you use only plugins that you both have, and include all related sampler instruments. In these cases, its even more important not to be over-protective of your ideas – since things move so slowly over days or weeks, its better to write more than you need, and then the other person can use, edit or delete as necessary.

Collaborating can be hard work, of course - trying to fit two musical visions into a single five-minute track can be tricky. But when done right, it can result in something better than either of you would have written on your own; and it's certainly worth persevering! So instead of staring at that blank screen for another day, pick up the phone, and get started...