Hi @deejay27, I’d like to answer this directly (also in response to the @JonasNymose reply) Thanks for taking the time to submit constructive feedback… happy to answer!
This tutorial was done in the style of several currently popular songs and acts that make music in this genre. In many instances they feature a pulsing bottom end with very discernible melodic parts. Because melody becomes quite noticeable in the human vocal range and ever upward it works quite well against the backdrop of a club style kick and bass and this track has set out to reflect that. This track is mixed with all frequencies considered just like all previous tutorials, it is not mastered of course but does have a different pre-mastering chain in the final tweaks - something that I tend to use more and more and which can deliver literally “exciting” results. I hope to explain a couple of things:
It can be subjective to a point. I have listened to this on 3 pairs of studio monitors, Sony mdr 7506 headphones and also a well tuned Funktion One club system… all unmastered… and yes the high frequencies sparkle with alot of harmonic content with both synth melody and the matching fx from the snare. I would never deny that. The intent was to demonstrate that it can have a great effect working the synth melody in various ways.
I have found from experience that supplying all dynamics (provided they don’t kill the mix) is better than shelving and deleting content prior to handing a song over to a mastering engineer. They can notch out content if required but they cannot add. One way that might help define those frequencies would be to use the hi hats as the sidechain source at a certain frequency input against the higher melody and corresponding fx. I did not personally find this necessary.
Not sure what is meant by “mid range samples” but the mid and high from the synth is modulated, worked and non-linear in order to be noticeable when present and when not. The driving low endpulse used primarily as a backdrop for that.The fx of the snare might also add to what might technically be called harmonic distortion - covered a little in the tutorial - about how frequencies can hit sweet spots by rubbing together and creating their own texture. This is perhaps subjective and to taste of course. We are not talking lo-fi aesthetic here either but a more purposeful way of helping something cut through in a certain way.
Some of us are also more or less sensitive to different parts of the spectrum. My aim and intention was to demonstrate that a stacked melody with fx can cut through with brilliance and sheen. It has obviously done that and then some for a couple of you. The pre-master chain also adds harmonic drive and saturation. I also tend to use these kind of tools more than compression these days. It has macro options that can be utilised to taste.
No need to bite your tongue… it’s the weekend! Please feel free to field any other questions or observations.
Thanks for the tutorial.
I learned quite a bit, since I’m not so familiar with this genre.
As im more of a player I really like the happy incidents you get with the sequencing, creating things I would never have created by just playing.
I like the creation constant tension building during the arranging.
However by doing this I get the feleing you never get to a point where you can say ‘This is the main part of the track’, or ‘this is what I’m building towards’. Is this intentially done? Or maybe this is genre specific?
Hi @maartensiem. Really happy you enjoyed the sequencing! In another lifetime I was also an instrumentalist and like to use this method to open up new ways/ideas/channels to squeezing more out of a simple idea. It is the simple idea of repetition, something hypnotic, that also leads me to make less of “the main part of the track” or actually building to any kind of crescendo, extended break down or mega-drop - to answer your question - with more of a focus on shifting energies within the main idea/s. I think this is totally stylistic and not genre dependent to be honest as both exist harmoniously. I just have found over the years, from playing both live and from DJing, that over the course of the performance I prefer to build towards things over extended periods of time and crave for ideas and tracks that don’t rely in and of themselves to be an all-in-one piece. It is always up to you! Generally, that which is more emo and trancey can get a bit fromage-like and almost needs a breakdown whereas the repetitive nature of modern techno can suffice without. I still like both persuasions.
Quite a few trick for generating melodies that I haven’t seen before, good value for the money (or time to watch). But I have to agree with some other commenters, the highs are harsh and over the top, especialy when the “mmm pre-master” thing is put on at the end, it brings out the worst of the track.
Christian’s tutorials are not only about sound design and arrangement, they all offer very good tips to enhance workflow.
With this tutorial I think one get’s a road to create something in the direction of the amazing track ‘Duo Tone’ by Petar Dundov and Gregor Tresher from 2011 and other kind of tracks.
Just wanted to share my track in which I used the techniques explained in this tutorial.
Its my first attempt, but I like it. The producion needs some work and maybe its too melodic, but thats fine by me. Already working on next track Maybe you have some tips, Chris?
Great for a first attempt for sure. “Too” melodic is subject to taste and this is definitely not overblown. I would say that perhaps a little diversity, slight builds and accents along the way in your arrangement of percussion might go a long way to add and subtract energy and focus throughout the track. Looking forward to the next one. Great stuff
Interesting series! Especially the sequencer, I am going to watch the techniques video too. I still have a question though. How is the structure of a melodic techno track? I cannot see clear break’s, build ups and drop’s in it.
Thanks for the kind words! As I’ve discussed in past chats regarding structure, there is no defining necessity for any break, build-up or drop depending on the intended outcome of the track. This does not mean there is any reason to not have them, rather, it is a great test of all the ideas and cohesion of the elements of a track to not require any of these things to begin with. Try to hold the tension with smaller, less obvious touches first. My suggestion is to focus on the inherent groove and touches of melody over the course of 5 or 6 minutes to make the track interesting by itself without the need for any of these usual suspects. Then, when you do want a build or drop etc it will have even more impact because you’ve got the energy just right in the whole track - and the more pronounced elements will not feel forced, obvious or obligatory.
Sometimes it’s fun to loop 128 bars or so and enjoy noodling/overdubbing with some return fx, or just with cutoff and release of your synths for example. Utilise midi control to the max and group similar sounds etc, messing around with just the mute function on different elements will give you a good feel of how energy can shift in your tracks just by playing around. You might even end with something much more epic this way. Happy Music making…
Great tutorials man. Keep them coming…