No Time To Relax (Album Notes)

No Time To Relax

Track 9 from my album Sampler. Visit http://www.cdbaby.com/Artist/JamesGilbert to purchase this or any of my 11 albums. I’m also on iTunes, Amazon, Spotify and more.

A melancholy piece featuring pads, light drums and vocalise melody to start with. Then the track adds in some synth leads and synth bass part. The end echos the feel of the start.

The Gravity sound library is used for the bulk of the vocalise. For the drums I used Drum Lab from Native Instruments. Also used for some rhythm elements was Grid II.

The bulk of the sound in this track comes from the instruments. There is no EQ used on any of the instrument tracks. I did use the REAPER ping-pong delay and Native Instruments RC48 reverb unit with some EQ on the reverb. Only the two vocal tracks have any reverb added to it. Although I have the delay unit on a bus, I just realized nothing is being bussed there. So, just reverb is added to this track.

For mastering purposes, I did not do anything beyond a peak limiter (just to make sure nothing peaked).

To my ears at least, this piece just “worked” with the combination instruments I chose and without having to do anything besides balance levels. That’s something to think about as you compose and record music. Get it as good as you can prior to recording to audio and the mixing and mastering process will be easy.

Please, please, if you like the album or these track notes, drop a note in the comments. Even if you don’t like it, drop me a comment. Now that I think about it, I’ve not had any comments since I moved the blog here. Maybe the comments only work for me? Anyone care to test it out?

Is Something Bad Coming (album notes)

Continuing with my series of liner notes for my album Sampler, we get to track number 8. This is a darker sounding track. It consists of 6 instruments and various effects.

You can find all of my albums, including this one at https://store.cdbaby.com/artist/jamesgilbert

First up is the Bass, the Padaboom patch from the Substance library by Output.

Next is the Arp Harp Loop patch from Output’s Signal Pulse library. I believe the patch may be part of an add-on library.

Next is the After Waves patch from Output’s Exhale program. The patch is probably part of an add-on library.

It looks like most of this piece uses Output’s various libraries. The next track is Tears in Rain patch from Analog strings by Output.

The next patch is a PolyBrass 2 from Kontakt’s RetroMachines Mk2. I believe this is an emulation of a Korg PolySix patch. The PolySix was the first synthesizer I ever owned.

Finally we have Battery 4 using the Sad Flamingo Kit.

For all the instruments, I only used automation on the Battery kit and that was for some volume changes.

I must have been happy with the sounds of the instruments because I used practically no effects on anything. Only the drums (Battery 4) were processed. I sent them (-13db) to a rever bus. The reverb was the Native Instruments/Softube emulation of the RC48 using a Medium Hall preset.

I sent the reverb (0db) to a Gate buss.

On the master bus I cut out frequencies below 30hz and used the Lurseen Mastering Console from IK-Multimedia. I used the Classical (More Glue) preset. If I made any changes, it would have been to the De-esser or compressor in the chain view options (icon at top). This plugin makes a huge difference in the final sound. It isn’t just louder, but better sounding.

Any questions or comments, please let me know.

Exciting times (track notes)

Continuing my liner notes for my July 2018 album “Sampler”

Track 7, Exciting Times, was my first experiment on doing something entirely from loops. Not audio loops, but MIDI loops. The entire track was produced from MIDI loops.

I use to subscribe to a magazine that included a download link or a DVD that had various samples and loops on it. My notes don’t show which issue or magazine name, but it was from a magazine. I took loops that came from what I think was a Trance selection. The majority of the magazine content was audio loops or samples, but from time to time they include midi loops.

Here are the instruments/patches I used for this track. My notes don’t show what changes I made to presets and it would take too long to figure out. Whatever they were, they were not dramatic changes.

Battery 4 (Argon Kit) with ReaEQ highpass at 40HZ and Supercharger GT compressor with a modified drum buss preset. Automation on ReaEQ highpass frequency.

Massive with Thelonius preset (modified). ReaComp sidechained from drum track; ReaEQ with a slight boos around 300hz and a low pass cut at 1.1K. Another ReaComp with sidechain. Supercharger GT with modified Synth Bass preset. NI VC 2A compressor, modified Electric Guitar preset. ReaDelay (modified Dehuminator slower preset). Automation on the Wavetable position and cutoff in Massive as well as the Bypass on the ReaDelay.

Reaktor Razor, Centauri preset (modified); ReaComp sidechained from Drum Buss, 0ms attack; 47ms release, 4:1 ratio, 0 to 481Hz input filter; ReaEQ highpass around 60Hz. Another ReaComp sidechained with 30-225Hz input filter. 3ms attack, 100ms release, 4.1 compression. (The two compressor settings basically end up being sidechained by only the bass drum from the drum sidechain input). Automation on two Macros in Razor. Automation on high pass filter in ReaEQ.

Absynth 5, Arcadia patch (probably modified). ReaComp sidechained similar to above examples.
ReaEQ. Automation on Pan and EQ Low pass frequency

Reaktor Monark, Sakwenzer patch (probably modified). ReaComp with sidechain from Drum track 0-745HZ input filter. 0ms attach, 100 release, 4:1 ratio. ReaEQ, low pass at 8.5Khz and high pass at 100Hz. Automation on lowpass eq filter.

Reaktor Kontour, Twin top patch (modified). ReaComp sidechained similar to above examples. ReaEQ, high pass, automated. Another ReaComp sidechained similar to above. Automation on pan.

Kontakt, string ensemble symphony series, string ensemble patch. ReaComp, sidechained similar to above. ReaEQ High pass around 60Hz, automated.

Kontakt, Rise & Hit, Heavy Fuzz patch. Automation on Volume and Rev-Heavyfuzz.

Kontakt, Exhale by Output, Backwards patch.

Four tracks were sent to a ReaDelay buss that had a 4-tap ping pong delay

Four tracks were sent to a Reverb buss with NI Passive EQ in mid/side mode. Some low mid boost in middle and some low boost on the side.

I printed all the midi to audio and produced the final mix from there.  I used an IK Multimedia Quad Compressor and Quad Image to widen out the sound a bit. I used a few sidechained compressors on some of the audio channels.

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