Beginning The Adventure
(This is the first of a series of articles about the tracks in my new album Sampler)
The album is available on Spotify, iTunes, Google Music, Amazon MP3 and at CD-Baby: http://store.cdbaby.com/cd/jamesgilbert11
The first track is called Beginning The Adventure. As a side note, I have to say that coming up with titles for my music is probably one of the most difficult aspects of composing I have. I always start with the music first and since there are no lyrics in my music, it makes sense. The last thing I do is come up with titles. Since I needed something a bit upbeat to set the mood, this track seemed appropriate, although I did give consideration to the “trance” like track “Exciting times,” but I thought “Beginning The Adventure” was a better choice.
I probably should have included Heavyocity in the name of this song. As best as I can tell, I only used Heavyocity products on this recording.
As I do most of my recordings “in the box,” that is, in my computer the sounds come from various software sound libraries, software based instruments and in rare situations, something from a loop. Some of the sounds I used were from synthesizers or modeling software that creates the sound as you go. Some were from samples of real recordings of acoustic instruments
This piece started out as my experimenting with the Heavyocity Gravity expansion pack “Vocalise.” There are 3 tracks that utilize some of the phrase menus. They are “A Phrase MV sus” (twice) and the C minor phrase menu. As I experimented I realized it would make a good piece, even for listening (as so much music I run across these days sounds like background music to a video or game and only useful for that, not listening). I also utilized Heavyocity’s NOVO strings at the very beginning for the low filtered sound that gradually comes in and helps set the mood. I don’t keep very good notes so I don’t know which patch it is. The low bass lick that comes in just before the voices start is from Heavyocity’s Aeon Rhythmic using the Synthocity preset. Underneath the vocals is the Heavyocity Aeon Rhythmic patch Falling Filters. The rhythmic pulse throughout comes from Heavyocity’s Aeon Rhythmic
I’m not big on using hundreds or even dozens of tracks to make a piece of music. The Heavyocity material frequently has 3 channels of sounds in one preset and offers a wide choice of effects all within the software avoiding the need to do a great deal of processing in my DAW. So, I only ended up with 7 tracks. I use “Reaper” as my DAW of choice. All of the original 7 tracks were MIDI tracks. I “freezed” the tracks once I had the sound I wanted. “Freezed” (or should it be “froze”?) is the term Reaper uses, in this case, to turn a MIDI track into an audio track. It renders the midi instrument into an audio file. It’s like in the old days of recording, committing to tape the take you best liked of live performers. The nice things is that in Reaper it is very easy to “un-freeze” (no they don’t call it “thaw”) the track if you don’t like it. (You do loose the edits you’ve made to the audio file, if any, but that’s kinda the point in “un-freezing” it).
Since there were so many processing and sound sculpting options in the software instruments – and I did process the default patches – I did very little processing in Reaper. In fact I only used two effects prior to the stereo bus. One was the Native Instrument/Soft Tube emulation of the Lexicon RC48 reverb. I modified the Grainy Echoes preset using a Random Hall and setting it on effect rather than reverb. Since this was on its own bus it was 100% wet. I used the send amounts to balance how much reverb each of the 7 tracks got. You may hear other reverb sounds but those come from the individual instruments themselves. I then routed the reverb to both the stereo bus (0 db) and to a delay bus (at -23db). I used the built-in ReaDelay that comes with reaper. I modified the basic ‘5-tap ping pong’ delay. Each tap was 1/4 of an eighth note after the other, panning left/right and getting softer. That went straight to the stereo bus.
In Reaper there is always a “master mix” channel. (See photo above). Other than a hard limiter (to prevent accidental or hidden clipping) I don’t put anything on it. Instead I setup a folder, the parent folder being the final stereo mix. The 7 music channels and 2 effect bus channels feed into it. Since I was having to master my own material, I put an EQ on this channel with a high-pass filter removing unneeded low end. I then added the IK-Multimedia mastering plugin “Lurssen Mastering Console.” I started with the EDM preset and modified to get the sound I was after. For this album I opted to mix everything using the TR5 Metering plugin from IK Multimedia for an average mix of -16 LUFS (which is the level at which many online streaming services prefer tracks to be and is a broadcast industry standard).
And that’s the details on that piece.