Xecter wrote:But the similarity comes from my patterns of synth programming and the other sort of production habits I express.
For me that's cohesion as well.
YOUR signature sound
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- KVRian
- Topic Starter
- 1224 posts since 2 Dec, 2008 from Finland
For me that's cohesion as well.
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- KVRAF
- 21348 posts since 26 Jul, 2005 from Gone
Don't know really. The last thing I did was a solo piano piece, and before that was this month's Music Cafe comp entry which was sequenced bass and drums with live guitar, then before that is was a heavily processed ambient guitar piece then before that...etc.
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- addled muppet weed
- 111257 posts since 26 Jan, 2003 from through the looking glass
the quietest shade of loud.
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- KVRian
- 528 posts since 17 Apr, 2009 from portland oregon
Funny, my next project is aiming to be the loudest shade of quietvurt wrote:the quietest shade of loud.
xD
I run a netlabel http://oligopolistrecords.bandcamp.com
Free chill, hip-hop, lo-fi, ambient, experimental, for you! (Send me demos too!)
Free chill, hip-hop, lo-fi, ambient, experimental, for you! (Send me demos too!)
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- KVRAF
- 6208 posts since 25 Dec, 2004
I think i generally take the edge off everything for some reason.
sketches... http://soundcloud.com/onesnzeros
some artists i support... https://bandcamp.com/spectraselecta
some artists i support... https://bandcamp.com/spectraselecta
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- KVRist
- 87 posts since 10 Apr, 2007
I don't read all the topic but IMO if you want a sound signature, you need to work a lot.
With the work and the years, you now what you really want, what do you need to make that sound, your favorites effects, the best way to work faster, you have reflex, ... and all this make your signature
With the work and the years, you now what you really want, what do you need to make that sound, your favorites effects, the best way to work faster, you have reflex, ... and all this make your signature
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usamablackbelt usamablackbelt https://www.kvraudio.com/forum/memberlist.php?mode=viewprofile&u=192476
- KVRist
- 95 posts since 29 Oct, 2008
I think it was Robert Babicz who said that you don't know your own sound until you've produced your 100th track.
That being said, my own style is more of a sonic painting thing that's tied with emotion. Some back story may help: I used to like EVERY genre of dance music. Everything. If it was made on a computer, I loved it. However, as time moved on, I more or less "grew out" of the fabricated melodies, the predictable buildups that all sounded the same, the supersaws, the DJ worship, you name it. I was getting sick of the loss of intimacy, and how all the songs just meant the same. So, combined with the influences of my now favorite musician, I began looking into more house and techno, until I fell in love with progressive house (not that anthemic stuff, the truly progressive sound, like old Digweed). I started to hate the obnoxious catchy melodies that played for 32-bars before yet another breakdown. Moving on...
I started producing trance (bad trance) when I was in high school, and tried to produce everything I could. This went on for quite some time, until I drifted away from that sound and moved into progressive house. At this time, I believe I "found my sound" when I had my first release on Quanza Records. It was messy, but it was stylistically what I believed in. From that point on, I started playing with techno and minimal as well.
If I had to describe MY sound, I would say that it's dark, brooding, highly repetitive, and as slowly evolving as I can make it. Melodies you'd hear would be subtle, and not necessarily catchy, because I hated that giant "big room" sound that everyone else seems to like these days. I like chord stabs and a good acid-line. When I started looking into deep house, I played around with 7 and 9 chords and their inversions, and really made my pads more complicated in their voicings. A lot of work goes into the blending of the sounds into each other, making sure they all fit and blend well, playing with each other when appropriate. I do my best to make sure any breakdowns are short, to the point, but effectively build tension or introduce new elements as necessary. In all of this, I'm trying to blend techno, deep house, and progressive ideas all into the same bag.
As of now, I'm getting into modular synthesis and granular stuff to begin playing with more interesting sound design. I'm trying to find a way to include this into my music.
I think that's it.
"Simplicity is the highest goal, achievable when you have overcome all difficulties. After one has played a vast quantity of notes and more notes, it is simplicity that emerges as the crowning reward of art."
-Frederic Chopin
That being said, my own style is more of a sonic painting thing that's tied with emotion. Some back story may help: I used to like EVERY genre of dance music. Everything. If it was made on a computer, I loved it. However, as time moved on, I more or less "grew out" of the fabricated melodies, the predictable buildups that all sounded the same, the supersaws, the DJ worship, you name it. I was getting sick of the loss of intimacy, and how all the songs just meant the same. So, combined with the influences of my now favorite musician, I began looking into more house and techno, until I fell in love with progressive house (not that anthemic stuff, the truly progressive sound, like old Digweed). I started to hate the obnoxious catchy melodies that played for 32-bars before yet another breakdown. Moving on...
I started producing trance (bad trance) when I was in high school, and tried to produce everything I could. This went on for quite some time, until I drifted away from that sound and moved into progressive house. At this time, I believe I "found my sound" when I had my first release on Quanza Records. It was messy, but it was stylistically what I believed in. From that point on, I started playing with techno and minimal as well.
If I had to describe MY sound, I would say that it's dark, brooding, highly repetitive, and as slowly evolving as I can make it. Melodies you'd hear would be subtle, and not necessarily catchy, because I hated that giant "big room" sound that everyone else seems to like these days. I like chord stabs and a good acid-line. When I started looking into deep house, I played around with 7 and 9 chords and their inversions, and really made my pads more complicated in their voicings. A lot of work goes into the blending of the sounds into each other, making sure they all fit and blend well, playing with each other when appropriate. I do my best to make sure any breakdowns are short, to the point, but effectively build tension or introduce new elements as necessary. In all of this, I'm trying to blend techno, deep house, and progressive ideas all into the same bag.
As of now, I'm getting into modular synthesis and granular stuff to begin playing with more interesting sound design. I'm trying to find a way to include this into my music.
I think that's it.
"Simplicity is the highest goal, achievable when you have overcome all difficulties. After one has played a vast quantity of notes and more notes, it is simplicity that emerges as the crowning reward of art."
-Frederic Chopin
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- KVRAF
- 4329 posts since 26 Jun, 2004
Indeed.waltercruz wrote:To me, maclean nailed the point: it's not just some kind of specific patch, some kind of common use of effects and ambiente, but something greater.
I never thought about 'my sound' really. It has never been a destination really. Just always an experimenting/learning thing.
But for a long time I stuck with the same tools. And I guess Id say within each genre I had a 'sound', but never consciously. It just happened. And after people mentioned that to me, I kind of subconsciously 'blamed' it on my consistent use of similar tools and techniques...
But then I started changing up my tools, and re-visiting some genres, and I realized, (again via someone else noticing) that 'my sound' kind of stayed.
At one point my brother was questioning me about particular sounds/tracks, and how he recognizes them in some of my tracks. I immediately got secretly embarrassed, assuming that it must be a synth patch Id barely tweaked, or an effect I slathered all over the place for a year. Eventually I got curious and dug down to exactly what he was talking about, and realized that the sounds were different patches done on different synths, like a year apart.
I suppose it makes me feel good.
That I am an "earnest" creative person, or something?
I dont... care to identify it. Seems like that ruins it?
And anyway, itd be a lot nicer if I was conscious of it...
I think he means he records U2s guitarist into Record, but then scraps it for some stock Refill guitars.robojam wrote:U2's guitarist plays on your tracks, and then you remove it in the final mix?sqigls wrote:I think i generally take the edge off everything for some Reason.
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- Banned
- 10196 posts since 12 Mar, 2012 from the Bavarian Alps to my feet and the globe around my head
My signature is that I always put some lo-fi elements into the songs. There's always some funny sample that you can laugh about...
BTW, simple samples can make a song interesting. For example, I've listened to a Diskofox radio (FYI, Diskofox is some mixture of German Schlager and dance beat). Every song sounded the same - same kind of vocals, same delay FX, same reverb, same synths... And then there was one song with samples of a barking dog, rhythmically embedded. THIS is the only song that I'll remember forever!
BTW, simple samples can make a song interesting. For example, I've listened to a Diskofox radio (FYI, Diskofox is some mixture of German Schlager and dance beat). Every song sounded the same - same kind of vocals, same delay FX, same reverb, same synths... And then there was one song with samples of a barking dog, rhythmically embedded. THIS is the only song that I'll remember forever!
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Perimeter Sound Perimeter Sound https://www.kvraudio.com/forum/memberlist.php?mode=viewprofile&u=162713 - KVRAF
- 1745 posts since 11 Oct, 2007
I'd say X10, and also, yes.usamablackbelt wrote:I think it was Robert Babicz who said that you don't know your own sound until you've produced your 100th track.
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- KVRist
- 117 posts since 18 Dec, 2006
You know a big part of my "signature sound" comes from the sounds that I like to dial in on my synths.ras.s wrote:I think Loki Fuego over there is on to something as well.. How about you phlake, what makes up your signature sound?