layering

[AK]

I do sometimes, just depends really. I certainly don't think about it too much, if a sound needs something else to it, I just do it. I don't layer things like bass sounds, unless you can call using more than 1 osc layering? Very rarely will I use more than 2 oscillators though. But as far as samples go, I don't layer kicks anymore but sometimes use the same kick twice if it's a sample and shorten the decay on the 2nd one to almost a click and ramp up the top end and blend it in with the original - but only if I want to pull it through a bit. I guess it all depends on the sounds/mix and whether I think it's beneficial or not. I do like to 'mess' about with percussion noises in samplers though, like adding 2 or more sounds together to create almost clusters of tones.

I have that old drumsynth software thing and really got quite into it, it's slow and tedious because it's standalone but you can dial in exact frequencies ( even to decimal places ) and create these pitched percussion tones which I just record into wavelab. I do end up layering those to build either harmonic or inharmonic noises/percussion. I usually have an idea of what I'm doing and where I'm going by then though, it's not just for the sake of it.

On my Machinedrum I'm always layering things now, I don't need as many sounds as it offers so I tend to copy and alter sounds to other parts to make them more interesting and fuller if need be. Again though, it's not a matter of course, I just do it as and when I feel it's necessay.

[steevio]

I just rather synthesize something simple in a minute or two.

this is how i work. i think that with alot of practice and experience you can get exactly what you want in no time at all.

i even do this while i'm recording the tune now. actually improvising sounds on the fly. i couldnt do this if i had to think about it too much. if i think i need a new sound in the track i will grab a few knobs and tweak something up.

it really is just down to practice and having a good understanding of how your kit works, and probably more importantly having kit that allows you to do it, and a flexible sequencing system.

i think that maybe when you are spending time layering things up to get a good sound, you're just not starting with the right sound in the first place.
i had this problem recently where i was finding i couldnt get a low percussion sound to cut through in the mix, it just sounded weak. it was created by FM ing a pulsewave with the fundamental oscillator of a higher percussion sound.
traditional wisdom would say layer it up or compress it or whatever, but it ended up just being a case of adjusting the two percussion VCOs frequencies in relation to the bass VCOs frequency and adjusting the pulsewidth of all 3 VCOs till it all came into focus. suddenly everything had its own space, the harmonics of all 3 sounds worked as a unit and everything became clear, punchy and defined.

[steevio]

I just rather synthesize something simple in a minute or two.

this is how i work. i think that with alot of practice and experience you can get exactly what you want in no time at all.

i even do this while i'm recording the tune now. actually improvising sounds on the fly. i couldnt do this if i had to think about it too much. if i think i need a new sound in the track i will grab a few knobs and tweak something up.

it really is just down to practice and having a good understanding of how your kit works, and probably more importantly having kit that allows you to do it, and a flexible sequencing system.

i think that maybe when you are spending time layering things up to get a good sound, you're just not starting with the right sound in the first place.
i had this problem recently where i was finding i couldnt get a low percussion sound to cut through in the mix, it just sounded weak. it was created by FM ing a pulsewave with the fundamental oscillator of a higher percussion sound.
traditional wisdom would say layer it up or compress it or whatever, but it ended up just being a case of adjusting the two percussion VCOs frequencies in relation to the bass VCOs frequency and adjusting the pulsewidth of all 3 VCOs till it all came into focus. suddenly everything had its own space, the harmonics of all 3 sounds worked as a unit and everything became clear, punchy and defined.

You could also use a transit designer to bring out the attack and body of the perc hit. Or some eq to stop other elements fighting with it

yes but my point was that i only needed to tweak a couple of knobs to make it right. i think you missed the message.

[steevio]

90% of the time i layer my drum hits

so i will synthesis a kick or sanre or perc or hihat etc etc

then layer it with a real world recording i have done with my field recording

so for instate layering a 808 style snare with a biting into a apple.

This gives a other wise normal snare (808) a new organic style

these two sounds are then processed together, to help them gel

i think used creatively like this layering definitely has its place.

[steevio]

i got it i was just giving a alternative view everyone thinks and works differently

of course mate.

i cant use transient designer because i dont use a computer.

[steevio]

i got it i was just giving a alternative view everyone thinks and works differently

of course mate.

i cant use transient designer because i dont use a computer.

why not use a analog rack one like the spl or dbx ?

i used to have an SPL, after reading glowing reports in SOS about them, industry standard and all that, and i thought it sounded terrible. i'm not an effects guy, i'm a get it right in the synth guy.

[oblioblioblio]

my favourite music is really dense, but I think you can get more density with the methods mentioned. By having more control. Once you start overlaying and overlaying you lose control.

[jessejames]

I layer religiously but I do it to realize unique timbres and add movement and life, not to make elements bigger or punchier.