I find it really handy to stem out old songs and keep them in my samples folder so that I can use old ideas that are mine and re-contextualize them, often drawing out new emotions and moods. So instead of trying to build it up from scratch, I prefer loading up familiar sounds such as samples or stems, and trying to work from there. I also just have a really hard time dealing with the ‘blank slate’. I’ve never been good at just writing chords or melodies down without having some sort of base to come up with them. The hardest part of the song writing process for me is figuring out melodies and harmonies. Some of my processes will require using third party vsts, but I’ll also try to suggest some alternatives so that you can recreate some of these processes elsewhere. I’ve always shied away from writing melodies and chords off of nothing, and over the years I’ve worked on gaming the whole process so that ableton will write things for me, such that I only have to go back and clean up afterwards.
Here is a list of concepts and tools we will go over in this lesson: We ask you kindly to not share Lux Cache content outside of the Patreon, our contributors rely on your donations. This tutorial is available as both a Patreon text post and.
To premiere the sequel to 2020’s ‘Organic Sound Design Masterclass’, sv1 explores his fresh new range of obscure and creative production techniques - investigating what’s possible spectral and generative effects inside Ableton Live and beyond.
In this Lux Cache tutorial series, our residential sound design master sv1 dives into the tinkering of microscopic textures to create his rich, nuanced and infinitely detailed compositions. He has given more than 80 world premieres of new works and is highly regarded for his contemporary and experimental performances with New Zealand’s two premiere music ensembles, Stroma and 175 East, as well as his innovative programming for the New Zealand Symphony Orchestra.Part 1: Creative Tonal Mangling & Generative Melodies with sv1 McKeich was a finalist of the Gergiev Festival Conductors Masterclass, under the guidance of Professor Ilya Musin and Valery Gergiev. He started his career as a bassoonist with Sydney Symphony Orchestra and studied conducting with legendary teacher and pedagogue Ilya Musin and prominent conductors Valery Gergiev, Sian Edwards and Peter Eötvös. From 2002 – 2006 he was Associate Conductor of the New Zealand Symphony Orchestra and performs regularly with them to this day. He has performed in New Zealand, Australia, China, the Netherlands, Italy, England, Austria, Switzerland, France and Germany with orchestras and chamber ensembles including Elision Ensemble, Metropole Orkest of the Netherlands Radio, Asko Ensemble of Holland, Sydney Symphony, Adelaide Symphony, Melbourne Symphony and the EX Orchestra. Michael’s other research interests include post-tonal theory, New Zealand music and the intersection between maths and music.Īn immensely versatile conductor, Hamish McKeich works regularly in Australia and Europe and conducts all the major orchestras in New Zealand, as well as Stroma New Music Ensemble. Michael's suite of real-time audio effects, SoundMagic Spectral, is widely used in both industry and academia worldwide, by artists such as Aphex Twin and Brian Eno.
His works have been performed by musicians/groups such as the Hilversum Radio Chamber Orchestra, Soundinitiative, Ensemble Nikel, the New Zealand Symphony Orchestra, Roberto Fabbriciani, Michael Houstoun, the New Zealand String Quartet, NZTrio, the Viennese Saxophonic Orchestra, Ensemble Offspring, Ensemble Reconsil and the Ensemble Pierrot Lunaire Wien. He was the recipient of the Mozart Fellowship in 2001, the Douglas Lilburn Prize in 2003, the CANZ Trust Fund Award in 2012, and the SOUNZ Contemporary Award in 2014. He teaches composition and sonic arts at Victoria University of Wellington, is editor of Wai-te-ata Music Press, and directs Stroma New Music Ensemble.
#SOUNDMAGIC SPECTRAL MICHAEL NORRIS SOFTWARE#
Michael Norris is a composer, software developer and music theorist.
0 kommentar(er)
