:D
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Touch The Universe Touch The Universe https://www.kvraudio.com/forum/memberlist.php?mode=viewprofile&u=190615
- KVRAF
- 4771 posts since 2 Oct, 2008
post sound
High Quality Soundsets for Lush-101 | Hive | Electra 2 | Diversion | Halion | Largo | Rapid | Dune II | Thorn | and more.
TTU Youtube
TTU Youtube
- KVRian
- 1362 posts since 17 Jul, 2007 from Riversland Valhalla
Pad implementation, regardless what music genre it is, it just make path, opening a road in your tune, widen your melody. So try to do this:
1. Separate the chords, as much as possible.
2. Lower notes must be chord roots, never add 2nd note of the chord at the lower area, it will sound muddy
3. EQ the patch, so it won't conflict with song elements.
4. Sidechain it
5. The purpose of it is to be there, not to be LOUD. Reduce its volume in the mix.
6. Stereo image. Tend to widen up the stereo image.
1. Separate the chords, as much as possible.
2. Lower notes must be chord roots, never add 2nd note of the chord at the lower area, it will sound muddy
3. EQ the patch, so it won't conflict with song elements.
4. Sidechain it
5. The purpose of it is to be there, not to be LOUD. Reduce its volume in the mix.
6. Stereo image. Tend to widen up the stereo image.
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Touch The Universe Touch The Universe https://www.kvraudio.com/forum/memberlist.php?mode=viewprofile&u=190615
- KVRAF
- 4771 posts since 2 Oct, 2008
good ideas
High Quality Soundsets for Lush-101 | Hive | Electra 2 | Diversion | Halion | Largo | Rapid | Dune II | Thorn | and more.
TTU Youtube
TTU Youtube
- KVRAF
- 4590 posts since 7 Jun, 2012 from Warsaw
Pads tend to have wide spectrum, so you need to equalize them hard to make enough space for everything.
Second tip: choose different panning, stereo width or predelay time for each pad to make them find their own place in the mix.
Second tip: choose different panning, stereo width or predelay time for each pad to make them find their own place in the mix.
Blog ------------- YouTube channel
Tricky-Loops wrote: (...)someone like Armin van Buuren who claims to make a track in half an hour and all his songs sound somewhat boring(...)
Tricky-Loops wrote: (...)someone like Armin van Buuren who claims to make a track in half an hour and all his songs sound somewhat boring(...)
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- KVRAF
- 1595 posts since 17 Nov, 2007 from Seattle, WA
Sometimes a pad doesn't actually need to be playing to be 'heard'. Sometimes you can have the notes playing for brief, tactically chosen periods, such that the listener comes to listen to the rest of the song within the context that the pad had created. They know the part is there, they know the minor 7th or whatever was played, and anticipate that it'll happen again in 8 counts. Sometimes that's sufficient.
Side-benefit: it opens up rhythmic potential, when you don't hold a part.
You also don't need to play every note of the chord. Other instruments can do take over other voices in the chord, and it can be spread across the octaves. Personally, I frequently have difficulty managing a pad that's playing a full chord in closed voicing. It takes up a ton of 'space,' and kinda sucks the air out of the room that would otherwise let the song breathe. So I've found that the fewer notes/voices you can get away with, the better.
You could highpass filter the thing. Pads don't need all that spectrum real-estate.
And resist the urge to reverb, chorus, or detune, etc. Since the pad usually stays in the back, it's possible to get away with a very basic/clean/un-effected sound once everything else is playing along with it. Try out placing the pad on quarantine while you compose, and eventually revisit the pad late in the song. That way you only add the effects you need, and avoid occupying all that spectrum & stereo width during composition.
Side-benefit: it opens up rhythmic potential, when you don't hold a part.
You also don't need to play every note of the chord. Other instruments can do take over other voices in the chord, and it can be spread across the octaves. Personally, I frequently have difficulty managing a pad that's playing a full chord in closed voicing. It takes up a ton of 'space,' and kinda sucks the air out of the room that would otherwise let the song breathe. So I've found that the fewer notes/voices you can get away with, the better.
You could highpass filter the thing. Pads don't need all that spectrum real-estate.
And resist the urge to reverb, chorus, or detune, etc. Since the pad usually stays in the back, it's possible to get away with a very basic/clean/un-effected sound once everything else is playing along with it. Try out placing the pad on quarantine while you compose, and eventually revisit the pad late in the song. That way you only add the effects you need, and avoid occupying all that spectrum & stereo width during composition.
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- KVRAF
- 3080 posts since 17 Apr, 2005 from S.E. TN
Far a very long time was obsessed with arranging and recording music with "too many" musical lines and dense detail. And then suffering long torture attempting to mix the dense arrangement so that all the details were audible.
Then finally realized that sparse arrangements are more tasteful and drastically easier to mix.
Then finally realized that sparse arrangements are more tasteful and drastically easier to mix.
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Mister Natural Mister Natural https://www.kvraudio.com/forum/memberlist.php?mode=viewprofile&u=164174
- KVRAF
- 2834 posts since 28 Oct, 2007 from michigan
my fave tip on creating nice "pads" is TWO notes only
- one note sounds weak
- three notes or more sound too "confused"
peace
- one note sounds weak
- three notes or more sound too "confused"
peace
expert only on what it feels like to be me
https://soundcloud.com/mrnatural-1/tracks
https://soundcloud.com/mrnatural-1/tracks
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fluffy_little_something fluffy_little_something https://www.kvraudio.com/forum/memberlist.php?mode=viewprofile&u=281847
- Banned
- 12880 posts since 5 Jun, 2012
What is a one-finger pad? To me pads always consist of at least two notes, else it would simply be a weak lead like a single violin or whatever
Anyway, since pads tend to be continuous and somewhere in the middle of the frequency spectrum, they are bound to collide with other instruments, let alone other pads. Maybe that is why I like 80s music so much, they were more minimalist back then, used few pads, but made sure each sounded very pleasant.
Today's pads are often quite aggressive, I don't like that, and it makes frequency conflicts even more likely. I never use more than one pad at a time.
Anyway, since pads tend to be continuous and somewhere in the middle of the frequency spectrum, they are bound to collide with other instruments, let alone other pads. Maybe that is why I like 80s music so much, they were more minimalist back then, used few pads, but made sure each sounded very pleasant.
Today's pads are often quite aggressive, I don't like that, and it makes frequency conflicts even more likely. I never use more than one pad at a time.
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- KVRist
- 442 posts since 21 May, 2014
make it the middle of the eq spectrum. take out notches where you notice a good difference in the mix. use 3 notes but dont sustain. however if its only a pad playing and a lead like a violin then you can crank up that pad.
Sincerely,
Zethus, twin son of Zeus
Zethus, twin son of Zeus