![]() ![]() If you’re looking to produce more prototypically ambient music, consider using a groove shadow all by itself to lend a barely-there rhythmic undercurrent to your synth pads and reverb washes. ![]() ![]() Plus as a further option, take the effect further by rendering the reverb as audio for slicing and processing. Tweak the timing and response of the ducking with the compressor or gate’s threshold, along with attack and release controls. Now insert a compressor or gate into the reverb channel and set its sidechain input to the main beat to get the reverb ducking and pumping in time with the audible beat. Another Kontakt tool by Tracer (don't remember now the name) that lets you edit the registry entries related to Kontakt libs (which is the main point of KLM aside from adding libs) Agree x 1. At this point, the drum loop and reverb should sound interesting, but still too disconnected for meaningful usage. But if you're going to use nicnt files for adding libs you only need: - The nicnt generator, be it Tracer's or not. Set your main drum loop as dry as possible on one track, then put a rhythmically contrasting loop on a second track with a 100% wet reverb, and balance the levels of the two as you would with a reverb mix control. ReverbĪ groove shadow is the reverb from one drum or percussion-part placed underneath another, and it’s just the thing for adding ear-catching otherworldliness to your beats (yes, we’re playing fast and loose with the definition of ambient here – but genre-bending makes everything more interesting). REPLIKA XT for instance offers a comprehensive selection of delay types, with filtering and modulation options expanding the plug-in’s functional remit to take in phasing, chorus, frequency shifting, and more – all good stuff for turning dry synth sounds and samples into atmospheric gold. High-feedback echoes are equally evocative. But don’t just reach for those standard rooms and hall reverbs, find a plug-in built with out-there sound design in mind, such as Blackhole by Eventide. Applying a huge reverb with the mix level set towards the dry end of the scale immediately gives sound spatial context and vibe. Let’s start with the obvious, in that reverb and delay effects should be among your first ports of call when you start making ambient music. This isn’t a definitive list, but it ought to serve as an inspirational starting point for your own explorations into atmospheric music. Of course, there’s no one formula for writing ambient music, but read on for seven of our best tips and tricks, along with some specially created audio examples. And that something is often what we loosely refer to as ‘atmosphere’ – the intangible X-factor that infuses a particular mood, vibe, or emotional direction into your track, turning it into something greater than a sum of its stems. All the building blocks of a great track are there, but if you’re trying to create ambient music that’s more memorable than missable, you might still find yourself missing a certain something. Synths are done, basic effects are in, and you’ve even manage to sneak in a toe-tapping rhythm? Check. ![]()
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