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| vancbc |
I know next to nothing about the production of trance tracks. I do realise that it involves a fair bit of layering. This is where I have a question or two. Bear with me here since I don't know the correct musical terminology.
At the heart of many tracks between the chordlike soaring synths and the bass line is a series of 'blips' of sound that alternate very fast. I'll illustrate them by _-_-_-_-_.
The upper 'blips' comprise what I'll call the melody or part of the track that you can hum along to and by which you recognise the track. The lower 'blips' are of varying lower (or higher) tones and occur between the upper 'blips'.
When a track is put together, are these separate layers that are distinct from one another. In other words, is there a layer that makes up the 'melody' and that you could pull out and hear a series of discrete 'blips' with pauses in between them, i.e. - - - - - - - -; and another layer(s) that would be a series of discrete 'blips', i.e. _ _ _ _ _ _?
I don't know if this makes any sense, but it is this facet of trance tracks that has often fascinated me how these rapidly alternating tones combine together to give trance tracks that rushing, speedy signature feel. |
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| twisted420 |
the blips are occured by having an outdated soundcard or one that does not support the music...at least for me.
one question: are you using fruity loops? |
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| vancbc |
No, this has nothing to do with an outdated sound card. I have a killer amplifier and stereo system.
I do not produce any music and am not a musician. This was more a question about trance production in general. |
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| uxud |
| quote: | Originally posted by vancbc
When a track is put together, are these separate layers that are distinct from one another.
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It depends on the style of the producer, the style of the song, and the synth used as well. In production, there is always more than one way to do something, and basically what is most comfortable is the best way to go. If you're using a loop-based program, the best technique is to use different layers so that you can switch up the different octaves of the riffs easily. |
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| moth |
Generally in trance there are no conflictions between elements, if each synth is playing in key they will always be complimenting each other. With most tracks notes are very short and follow a pattern, the pattern is usually different with each synth, which probably acounts for the 'blips' you're speaking of. If you have a lead playing a melody, you usually have another instrument playing a counter melody, this often resembles the chord progression of the bassline (just something i've noticed). So with two seperate synths eq'ed differently and playing different chords in different patterns, they sound quite audibly seperate, but will compliment each other. Just like a lead and bass playing the same notes constintly, and the bass drops down a couple notes in the scale, it will make the lead sound different, even though the lead never changed notes. So thats basically why these 'blips' will sounds good together.
Also many producers (I know Sean does), layer their basslines very well, and seperatly eq the different frequency ranges of their bass. Meaning they will seperate the low, mids and highs and have different synths playing each range. So now the mid bass will blend in with the melody (leads are usually mid range) and the low (or sub bass) meshes with the basedrum. Well we all know basslines are usually short notes played very quickly (Ronski speed, armin) and are most emphasized on the on and off beat, so click 1 and 3 of a 4 click beat. This would account for the off beat 'blips'. |
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