Tag Archives: Sampler (Album)

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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Very Confused (album track notes)

To continue with my notes on the songs on my 11th album, Sampler, we get to the 6th track. That title is called Very Confused. The description of how I did it may be as equally confusing.

As inspiration for and as a way to try different ways of composing, I took an existing piece, the first movement of the Opus 2, No. 1 Beethoven Piano Sonata. I loaded a midi rendition of the piece into my DAW. I used a function that takes all the notes of the file and extracts them to separate MIDI tracks. I forget how many unique pitches there were, but it was a large number. Based on the visual look of each track in a piano roll editor I moved tracks around and combined many with specific percussion instruments in mind.

I ended up with 16 different midi tracks. Using what I thought would sound good in combination with all the other tracks I assigned various percussion instruments to each of the 16 tracks. All the percussion sounds were from the Native Instruments sound library Percussion Symphony Series. Even the mysterious piano sound was from that library.

Processing, as with much of my music was minimal, once the desired sounds were recorded. The Claves had Replika XT (from Native Instruments) on it with a special effect patch highly modified. The Rain Stick track utilized the Movement plugin (from Output.com), 11.8 pitcher from one of the expansion packs. The vibraslap track sounds like a metalic flying object with lots reverb. That was accomplished by sending it through the Dual Crystals effects chain in Absynth. I used a little bit of EQ and compression here and there.

The original Beethoven Sonata movement, with repeats is nearly 20 minutes long, far too long for a track on the album. So I cut and chopped different sections, mainly silence and shortened it to less than 6 minutes. I was surprised by how much silence there was in the original piece when broken into its individual notes.

It is definitely Very Confused. I hope you like it. If you do or have any other comments or questions, please leave them below.

Escape Is This Way (Album Track Notes)

Escape Is This Way

This is both the 5th and 11th tracks.

Please leave a comment if you like these liner notes. That way I’ll know that you want me to continue posts for all the tracks on the album.

Track 5 is an “acoustic” version and the 11th is an “electronic” version. The piece is based on a piece from my sheet music catalog “12-tone piece for 4 instruments.”

I used instruments from the Symphony Series String Ensemble from Native Instruments. Basically the 4 parts are comparable to a string quartet. I used minimal EQ. I added some risers, orchestral percussion and Cuban style percussion. The risers from the Rise & Hit library from native instruments. The percussion from the Kontakt factory library all percussion preset. The Cuban style percussion from the Discovery Series: Cuba by native instruments.

The two percussion channels I sent to the stock delay in Reaper with a modified ping-pong, 5-tap delay preset. The riser channel I sent to the RC-48 reverb using the snare roll preset (with modifications).

For the instrument and effect channels I cut out some of the low frequencies (below 50Hz) that can creep into software based instruments. On the master channel I cut low frequencies below 100Hz. I also used the T-RackS Bus compressor from IK Multimedia with a slightly modified Glue preset. The final link in the effects was the Lurssen mastering console with a modified Classical (Warmer) preset.

On the electronic track I kept the same percussion parts but with the Supercharger compressor with a modified Drumbus on the Cuba percussion. I didn’t use any EQ or other compression in the mix. I did use the same compressor on the master track, but did not use the Lurssen console.

I did some panning automation on the Percussion channels. All the sounds were kontakt instruments. In order: 1) Gravity Natural forces pack, Hope eternal patch and Analogue strings from the Retro series Kontakt library; 2) Gravity Natural forces, Mystic Fifths – Amb01 and ChoirInt from Kontakt Retro series; 3) Retro Strings 1 and Gravity Natural forces Stacked Ahh, Eee, Ooo and 4) Matrix Pad 2 from Retro series and Gravity natural forces, Scorched Earth – Amb01

Let me know what you thought of these two tracks.

It Is Different (Album track notes)

It Is Different

The fourth track on our album Sampler

The album and audio samples available at: http://store.cdbaby.com/cd/jamesgilbert11

Please leave a comment if you like these liner notes. If nobody comments, then I will probably not include all the liner notes for all the tracks.

This track is one of the most experimental tracks on the album. I used an old DOS, early Windows piece of software to generate notes based on fractal math. You can probably hear in the somewhat abrupt changes where the different formulas changed.

I used various electronic sounds for the 4 tracks. For the pluck sound I sent to the RC48 lexicon reverb utilizing a modified medium random hall & echoes. On three of the other tracks I sent them to the Reaper default delay, modified 5-tap ping pong. The percussion track also got sent to delay and reverb.

All tracks were fed into a parent folder. On that I had a 3-band splitter. This allowed me to send the lower end to one processing chain, the middle to one and the high to another.
I used Supercharger on the two lower bands and solid bus comp on the higher band.

On the master buss I used the Lurssen mastering console modified a bit from the EDM preset.

I did say that It Is Different.

Looking Ahead track notes

Looking Ahead

The third track in our album Sampler

The album and audio samples available at: http://store.cdbaby.com/cd/jamesgilbert11

This track is one of 3 tracks where I was experimenting with brass instruments. Please leave a comment if you like this liner notes or I may not include liner notes for all of the tracks.

For this track I used Native Instrument’s Session Horns utilizing various of the brass articulations available. I used key switching in the midi files to switch between articulations.

The rhythmic comes from the Heavyocity Kontakt instrument Damage. My notes don’t tell which instrument(s)/patch(es) were used. On that track, in addition to cutting off some low end with an EQ I also used the Native Instruments Supercharger compressor with a modified drumbuss preset. I also used some sort of riser in a few spots.

I used some EQ on all the tracks, except the master buss. It was mainly to remove unneeded low end and in a few cases a high-shelf. I used reverb on the risers. I used a Computer Music magazine version of the Acon Digital Reverb. I used the Large gothic cathedral preset, with of course, modified to fit the sound.

On the master bus, for mastering purposes, I used the Lurssen mastering console. I started with the default classical preset and made changes to fit the sound I wanted.

 

Engergizing Daydreams track notes

Energizing Daydreams

The 2nd track from our album Sampler

The album and audio samples available at: http://store.cdbaby.com/cd/jamesgilbert11

This is part of my continuing series providing what are essentially liner notes for the tracks on my album. Please leave a comment if these liner notes are of interest or I may be inclined not to do notes for all the tracks on the album.

There is a piece of software out there that professionals I’ve run across don’t like to admit they use. Or maybe they don’t want others to find out how helpful it can be. From an educational point of view, it is an excellent way to learn about many aspects of popular music styles. That program is Band in a Box. It would not surprise me if many pieces of music out there aren’t straight from the program with little more than simple mixing added.

For those that don’t know, Band in a Box, from PG Music, lets you enter the chords symbols and structure of a piece of music, choose a style and press play. Depending on the style selected (and other factors) one will then hear either recordings of live musicians playing based on the chords or midi instruments playing whatever instruments & software you’ve assigned Band in A Box to play. All in whatever style you’ve selected. What is heard, again depending on the style, are drums, piano/pads, guitar(s), bass and strings/brass/other. You can export, depending on the style, either audio files of each instrument (stems) or midi files of each instrument (and sometimes a combination of them) as well as an audio of the stereo mix. This program is light years ahead of similar iOs apps I’ve run across.

For this track I chose a midi only style – a style that only creates midi notes. I exported the midi tracks. I took the midi files created by the program, loaded them into my DAW (Reaper) and adapted, changed or added to those files. I then bounce the midi instruments to audio files and mix and master as usual.

The bass part is a cello like patch from the Novo expansion pack 1 by Heavyocity. For the drums I used the Afro Shop Kit in Battery 4 from Native Instruments. The piano part I used the Emotional Piano from Soundiron with Solid Bus Compressor from Native Instruments. For the pad part I used Soundiron’s Mercury Elements Amb F with Solid Bus Compressor. For the string part I used Spitfire audio’s Bernard Herrmann composer toolkit Studio Orchestra patch, long articulation. For the melody I used Exhale from Output with Solid Bus compressor and Replika XT Tape 30fps Delay.

I typically make modifications to any default patches in the above instruments. I did not keep detailed enough notes to know exactly what changes I made to the patches. For the strings, I duplicated the audio track (after bouncing from midi) on another channel. I then panned the original string channel hard left and the new one hard right pitching the left down in pitch ever so slightly and the right one up ever so slightly in pitch. This helped to give the strings a wide sound.

As with the first track of the album, I used a master folder on which any effects or mastering plugins went. All the tracks mentioned so far route to it. I then sent some of the master folder to the reverb track (in this case, not part of the folder). I used the RC48 delay unit from Native Instruments modified from the Small Church reverb preset. On the master folder I put the Solid Bus Compressor from Native Instruments with a modified mix glue preset.

It doesn’t look as though I did anything on the master bus for mastering purposes. Between what Band in a Box does and what the midi instruments I chose do, there wasn’t much need to anything special with the mastering as I did on many of the other tracks.

This track I suppose is about the most mainstream, pop sounding of any of the tracks on the album, with the exception of maybe one other piece.

Hope you enjoyed this track and the notes. Questions and comments are welcome.

Notes about the rest of the tracks will be in future articles if I get enough feedback from those of you reading this.

New Album

New Album

Album cover

It’s been nearly 3 years since I released an album so I thought it was about time to release a new one. This one is a sampler of various styles of music I compose, arrange or record. Some of it is available in sheet music from my website.

Look for it June 1, 2018 on CD-Baby, iTunes, Google Play, Amazon MP3, YouTube Music, Spotify and more.

I plan to post some details in the upcoming weeks about various tracks. In the meanwhile, an audio sample and part of the description on my CD Baby page is below. Please consider buying a copy of the whole album or individual tracks or stream it on Spotify.

Many of the titles are available in sheet music form at his website. Those that aren’t rely too much on specific computer sound libraries to be played by acoustic instruments. Three titles are based on brass quintet arrangements, but of course added to for the recording. One piece is based entirely on the results of fractal math formulas. Another one, the all percussion piece, Very Confused, uses a Beethoven piano sonata as the source rhythm but then highly manipulated. Another piece is based on a 12-tone instrumental ensemble piece. Yet another piece is more like modern trance music, but with James’ own twist. A couple came about as a result of experimenting with various sound libraries. Waiting and watching found its origins from music written on an iPad using NotateMe while in a doctor’s waiting room! While every title might not be for everybody, there is something here that you will like.