Epilogue(Sewazuki) Breakdown transcript

hey I'm back this is Chandler for Mela production and today I'm going to break down this song epilog uh this is an epilogue of a previous song called SE wazuki and I'm going to show you how I did this whole song basically it's very short so if you haven't checked it out please give it a listen uh this one I was inspired by Botanica basically a new music genre that I wasn't familiar with but uh really kind of I heard it and I liked it and I was like let me try to do something in the same vein I don't know if this is exactly it some people might say hey that's not really ban or whatever but I you know was inspired by I tried to do something a little bit similar at least in my own style so let's go over I'm going to go through the probably least interesting stuff first or the stuff that's probably the uh most uh familiar to you uh the first lead guitar sound I try to make an allen hold Holdsworth style guitar sound I use this ah lead preset it should be in IM guitar architect it sounds like this [Music] so if you have imar architect you should have this I don't think I changed much maybe the amp I brought down the treble the high mids a little bit brought down the presence a little bit I might have turned up the game I'm not sure I have the cabinet these settings and I have this set to Fusion 4 uh I turned off the Reverb on this because I'm using the Reverb here I use two separate ones I have the short Reverb and the long Reverb I'll turn these both on so you can kind of hear them off and on [Music] so the reverbs just give it a little bit more depth there's nothing really you know too interesting about that uh so let's move on here actually I'll show you a few other things I also put a compressor on there like this you can see the settings for this all I wanted to do is just kind of even out the sound so you could kind of hear every note there's nothing too interesting about that and here I cut off some of the lows because that might interfere with some of the other instruments and I boosted the highs a little bit above uh 1K and that was just to make it cut through the mix a little bit better there's nothing super interesting about that so let's move on to the piano it sounds like [Music] this for this one I used the monastery Grand I only used One mic maybe I I might have let this on the default here I think I boosted the air a little bit just so it cut through a little bit more I boosted the treble with the enhancer and that's about it everything else I left off uh a little bit of the ambience is on and I think I increased the gain for the high Keys just because for this I really wanted this to cut through there's a lot of different things on here uh in this track so I was like I really need this to kind of shine through uh after that I just went into M Auto dnamic EQ I don't think I even used any of the dynamic features I just cut off the lows and a little bit of the low mids there just so it doesn't get muddy and then I went into the short and long Reverb and then I'm also using this where it looks like what is this for cicada and this is the sound of cicada just fley and basically I'm ducking the sound of the cicas with the piano uh so I'll get to that next this one is I think fairly easy to understand this is just fully sound I actually recorded this myself uh it should be binaural so it's 3D audio if you have headphones on you should be able to hear it all around you so that's all it is since this is Botanica and it's supposed to be you know organic this is the organic sound I have so I had that in there I think this is most of the kind of easy stuff uh the other thing is the base this is just basic supera [Music] base oh this has the new Melda uh maybe theme on it so for this I have a slow attack because I don't want this you know just coming in at the very beginning I just kind of want to ease in there and I have the oscillator here you know four voices slightly detuned and I have a bit of a filter on there so this is nothing particularly new or interesting and for this I just dropped some of the low mids because I felt like maybe this would get in the way nothing super interesting I'm going to the short Reverb also I'll go over the short Reverb I'll do it afterwards actually and then finally let's get to a little bit more interesting stuff is this pad here this is just a basic kind of super saw [Music] pad okay maybe it's not quite so basic but it's not particularly complicated uh actually I didn't use anything in here for I set the attack at zero I used the envelopes in here so I have an oscillator four voices D- tuned a bit about 30% or so and I just use a normal saw wave here so that's not particularly interesting uh for the other one I did the same thing except I moved it up to eight voices 40% Dune but what I did here is I moved this up an octave so it's the same thing just boost it up an octave and has more voices and a little bit more detuned I think they're almost the same yeah I used the random phase here I think this sounds better personally and I have two filters on here the first one for the first oscillator here is 1.5 octaves above 30% resonance and the other one is two octaves above with 30% resonance and I set the ratio to whatever sounded good I thought about 40% sounds good and then finally I use this envelope and you can use this if you don't want to use the global I could have used the global here but I was probably thinking hey maybe I put something else here here I don't want this all to be affected by the global envelope so you can just use this envelope here to just affect what you want in this case the things that are coming out of the ratio play it one more [Music] time so I think this makes it kind of nice and Airy it's fairly simple I don't have any effects on there only effects I have for this is I have this cutting off the low end I'm doing a pretty kind of harsh low end cut here and that's because I don't want this interfering with any of the low-end uh any place else so those are the more basic ones but let's get into some of the I guess more advanced stuff let me see if I can undo this and not mess up everything so here I have this guitar at first what I did is I recorded myself just playing you know guitar chords but I thought it was a little bit boring I was going to do that instead of the piano when I heard it I was like H this guitar doesn't really sound good with a track so I put pianos in and I kind of had this laying around I was like you know what maybe if I use mrhythmizer on this I can make this more interesting so I used mrhythmizer and I also took a a band pass filter and cut off the lows and highs so it sounds like this [Music] m [Music] okay I'm going to try to unfreeze this and hope it doesn't break everything maybe I've ruined this forever but I'm doing it for you you probably want to see this so let's unfreeze it yeah cool so went back to normal you can see this is the m guitar setup I used use the Tulsa amp I use this radon cabinet and use a little bit of plate Reverb there hopefully you can see my settings here if you care that much IM Rhythm iser I think this is the interesting part I used General but I used mod 2 and I did this configuration using the step sequencer myself to try to find something was good I did this over eight bars I believe yeah eight bars so you can kind of see what's happening as it moves down I had to set set the step sequencer very carefully so it hit it hit the correct patterns that I wanted to but you can see it going here [Music] I basically did this by trial and error okay you can stop now so I did this by trial and error until I found something that sounded good to me then I put M Dynamics on here just so I could make sure everything is heard and then finally like I said I put a band pass filter on at 300 HZ and 360 and that just or 3,6 100 Herz uh and the reason is I wanted this to sound almost lowii if I have it without the ban pass filter it sounds high-fi and it kind of gets in the way of everything but this gives it a low-fi Vibe and it pulls it back and out of the way of the other instruments which is what I wanted uh maybe when you heard this the first time you may not have even noticed this in here most of the time like what was that and that's the kind of thing I wanted with this so that is the Guitar let's get into the grand ular pad so I showed you the first pad it sounds like this but while that's playing I have this other PAD as [Music] well so what this one is is I just have I I use the envelope here I'm trying to think of did I use the globals or the envelope I use the envelope a lot here and I think it's because I wasn't sure when when I was making these sounds and doing the sound design do I want to use all six of these or do I just want to use a few so I decided to use the envelope because that way if I want to have two of them using this envelope two of them using the other ones one of them using a different envelope I can do that as opposed to setting it with the globals and then having to redo everything and add envelopes Etc but anyways don't care about that here we go into granular sampler one I'll pop this out so you can see it what I did here is I have this I had it set to a piano sound and then what I'm doing is I'm adjusting the rate using an LFO so the rate is getting faster and slower over time and also the probability is increasing no decreasing over time so it's starting it should be really dense with grains and then over time it will decrease so let's see that actually let's adjust the ratio so now it's at 40% I'll move it to 0% so you're just hearing the piano it sounds like this and you can watch it down [Music] here I forgot the most important part I set it to reverse here to 100% so all the grains are going backwards that's why they're going from right to left and also this boundary mode it says continue at the end and there's different ways to do this I like this one if you use clip and a lots of them hit that boundary you're going to hear like a buzzing like that so I generally don't like that although there are some cases where that is the correct thing flip it will make it go from right to left and then when it hits to the end it'll go from left to right so I thought continue with the other end sounded best for this and I'm also doing this in octave up so there's that one the other one I have on the other side here is I have basically the same thing or I guess a similar thing uh the probability is a bit different or I think uh but I'm using a marba sound instead uh for this one yeah I have the ra it's also moving but not quite as much I use the exact same LFO for this as well it's also reversed and this one's two octaves up so it sounds like this [Music] and so I bounced it at about 40% give or take and I have this envelope on here and what I wanted for all of these different pad sounds to come together I didn't want them all to start at the same time I wanted one to come in and then maybe another one and then that first one might start to die down while something else comes in Etc so it sounds like you know things are kind of changing over time similar to like when you eat something nice and you hear you know taste something initially maybe some sweetness and then it turns into salty and then it has maybe a a fragrant fragrant after taste or something like that so I wanted something similar but you know auditory instead of uh using uh taste uh after that it goes here but there's no effects there and it just cut off a lot of the low end because I want this to be kind of a a light and Tre sound so there that's all I have for this if you listen to it with the pad I think this first synth pad gives it the body and then this granular pad gives it more texture like this [Music] so I know sometimes Botanica is also called pedal core and so this granular synthesis this granular pad this to me is the petals so that's how I did that I'll go over this next one of the glitch backing briefly actually did this I believe in the days of uh glitch glitch Miss I showed how to make this but I'll go over quickly one more time globals I have the global envelope set up like this in the generator I have noise it set to stairs in mono and I have the probability at 0.01 so it's very low after that it goes into this FX section here it goes into transform or M transform if you aren't using M sound Factory you can just do this with uh M noise generator and M transform uh I had have everything set like this but this isn't really the interesting part the spectral settings I have at 1024 I have the level going up and I just bend this up just a little bit and that's kind of like compression I guess but the most important thing is the transformation I set it like this so when you hear it it sounds like this so if you turn this FX section off it just sounds like this that's like random vinyl noise the M transform is what makes it sound like almost like drops I guess or glitches if I turn off convolution EZ it sounds like this not too much difference but then in uh convolution easy I'm using that vocoded IR if you watch my previous video I show you what this is uh it's like basically using a vocoder except I'm using way less CPU so by adding it it sounds like this so This VOC IR just adds a kind of like phiness or wateriness to it and then lastly I cut off some of the lowend actually a lot of the low end I cut off there so when you add this to the background of the other stuff it just adds a little bit of texture [Music] also because this is random I think it adds a kind of organic element and maybe something you don't necessarily hear when you're doing it but or when you're listening to it but it's just kind of in the background and I thought it sounded good I don't know maybe you disagree uh from there I think I have some risers and things here I'll show you these lots of these other FX and risers I did in a synth I did it here on this uh FX Creator and I'll show you how I did all those uh so I have [Music] this the first part I think is not even from a synth I think this is just a reverse symbol I pulled a sample I had and just reversed it and put it there this impact sound I'll show you how I did this I have that sound I have this I believe that's also a reverse symbol this should be a slight variation of that that sound no it's actually the same one and this one's same reverse symbol and another impact so let's get into that for these I found it was easier just to export these as samples actually actually probably bounced it uh to audio and then used it that way but let's go into here FX Creator I'll turn this on I'll play it on my keyboard and so I think it was one here yeah I have this and this is just the impact sound so it sounds like this like that and so I just used two samples here actually used some EQ I didn't realize I did that um so I have the first sample sounds like this this is just inside the sampler I believe it is called was it dark noise so if you have M sound Factory Essentials downloaded you can just find it in there under impacts noise dark noise perfect the other sample is called pop this out again this other one is oh that was dark noise did I make a mistake which with which one I popped out the first one I'm sorry was called Low war drum and the second one was dark noise so low W drum was that one this is dark noise I tuned both of these the first one the war drum was negative one and this one I left where it is after that they went into the effect section uh this one I just for the low Ward drum I took off all of the high-end or most of it and for the other one I took off lots of the lowend and some of the high-end I balanced them using this ratio module I went into convolution e and put a large deep uh impulse response on it and then finally I go into in Turbo comp which probably boosted the volume but more importantly it just compressed things so you can hear that tail for this I thought the tail and that noise was really important so if I take it off it sounds like this so it's like okay you hear it but then when I put it on you really hear that noisy tail and that's what I wanted so that's why I did that that's where that impact sound is that's where I came from let's look at some of the other stuff here I forgot which order I did all this in so you learn here with me so let's listen to this hear what I [Music] did okay this one I was actually really happy with this uh I used this as a ER the very beginning of the song you can hear this I did it here so there's actually a lot of different things but mainly this is the whole other song So if you listen to my song sayuki the original one I released last year that whole song is actually being played here using granular synthesis is it this one I think yeah here so if we pop this out I'll highlight number four pop it out here you see here I have the whole song highlighted here here it is down here and what I do is I scan through the song over time and I also increase the rate so it gets faster I dropped it down an octave here like this but watch here what it's doing with the diff individual [Music] grains yeah so it just plays the whole song it's maybe starting at different positions and it's like having I don't know like 10 versions playing at the same time but they're for like one second so I thought this was kind of a cool effect and I was like oh I actually use the whole song to do this so I thought that was cool on top of that I use this oscillator I think this is just a low note I just added that in there this I have noise and just does this just a riser this one I was also a bit happy with this one so for this I use the granular sampler and I'm using go up here here it is yeah metal plank so this is inside uh the in sound Factory Essentials I believe yeah inside Transat organic I think a lot of these sound good when you're using the granular synthesizer I put these in reverse I'm let me see am I increasing oh I'm using the rate is random and I have the probability down a bit uh I think that's about it oh I'm also adjusting the semitones this actually makes a big difference so let's listen to this and actually I'll let you see what it's doing here and look at the semitones too I think you'll find that interesting so the probability is stopping it from constantly playing like that which I don't want the rate is making it move faster and slower of course I have the volume kind of increasing over time because it's a riser but the semitones I think are doing a lot of work if I turn this off it'll sound like this so I think the semitones really help if I turn the rate off as well it'll sound a little bit more boring so I think that's okay but when you add both of these together to me that's sounding much more interesting also I set the width here at 38% if I set it 100% it's going to go completely left and completely right which is not really what I want also this width is kind of randomized so different grains will go to the right and left randomly I I'll let you hear it at 100% it sounds like this that's certainly not bad but for me for what I was trying to do I was like that's a bit too distracting it's 0% that's a little bit too narrow so I thought about 38 39% was good for me and finally I have the sampler here I think this is just like noise oh it's just a riser it sounds like this [Music] okay so all these sounds are combined with this Riser uh I basically just eqed them so hopefully none of them would get in the other's way I put a convolution on the uh last part this is the song SE wazuki goes through this convolution Reverb here uh it's really short I don't know why I use this it's in convolution but it's not actually using a convolution it's using a synthetic convolution but that sounded good to me and finally they all goes into the mixer there's nothing in six okay there so let's hear it all together if you play everything together it sounds like this [Music] basically I want it to sound like it's coming right in your face and it's surrounding you Etc so that's what I was going for with that first Riser let's go to the next part see what I did here this is the thing that's under the impact sound uh so actually maybe it's part of the impact sound actually probably here so it sounds like this so let's take a look at what I did for this I think it's mostly just samples I use the first sampler here like this yeah this is just an organic here what is the name of this going to tell me name of the actual sample yeah samples glass bits that's some good looping that's pretty seamless I I'm not sure if I did that or that was already like that but anyways it sounded good so I just wanted that glass bit I thought that sounded really good and went well with this uh I have this decaying over time next part is I have a noise glitch that sounds like this this is also in the M sound Factory Essentials folder so if you download that you'll have this next part is this is just in the factory for drum sampler hip-hop glass I just turn this hip-hop glass in Reverse so if you click this button it will reverse it that's all I did there and then I probably have some delay or something in the FX section I'll show you that in a second uh next one is I have a beer can this is also in the effects I just put that in reverse I probably also have this delayed and finally I have this Chinese symbol here uh what I did here I'll pop this out so you can see it I'm actually adjusting this envelope so it starts or actually it fades in until uh 221 milliseconds so just a slight uh attack on there and lots of these I actually delayed I'll show you here in the effect section like this I put a delay on it because I don't want all these hitting at the same time and becoming a mess I kind of want it to be like one then the next one then the next one and then the next one so as one's uh decaying another one will start increasing in volume so altogether they sound like this I think that's it for that one uh just use the mixer here oh also use the vocoded IR on not all the sounds but most of them the things from row two three and four Al together and D here this one I use kind of under all the sounds here for FX sounds like this okay and so why I push that uh wrong one here so for this I think I used a few different samples here I'll try to cut all this off so one sounds like this it still on I don't have anything coming out of there must not been using one at all but uh basically I have different ratios of this and it's moving randomly between a bunch of different samples uh let's see if I can turn this off so you can kind of hear what each one is doing so this should be sample coming out of two actually turn the delay off too how that going crazy I sorry yeah so this is just a sample I have to I remember I put a bunch of effects and things on there so that's this I put this delay on here to kind of uh give it some length and also some interest uh this I put this in the generator section because once you stop uh playing the note you let go of the note the delay stops even if it's in the feedback loop which is good uh let's see next one can I do two and just play it here this is next sample this one is wind chimes did that even show you what the first one was uh tumbling Twigs which sounds like this this cool uh next one is sci-fi 2 and the last one is dripping metal so I have all these playing at the same time and basically the ratio is moved between randomly so each time I hit this it will trigger a separate amount of each of these like this and so by using just these four samples I can get a lot of variation out of these so it sounds a bit different each time uh after that I went into the effect section and I used the same M transform trick I showed you about before with the noise and I use this why do I use two as well I don't remember why I did that so I have it going from one maybe I maybe I didn't use that at all uh and then I have this yeah I didn't use one at all I think I had something interesting there and then I was like a that's actually garbage so I got rid of it but I have this same thing going I think I showed you before it's going into vocoded IR it's I even though I have a mixer here the first one's muted it's just lane two and then I have it going through this basically doing the same thing except this is just an LFO going through all these and then into M Dynamics and this is just to make it loud enough so you can hear it so it sounds like this so when you do this sometimes when you hit it it immediately doesn't make a sound and that's kind of a problem so I bounced this out and then I cut off the silence and some parts were interesting some parts weren't and I took the parts that were interesting and I use them here in this FX section so it sounds like this this is a water drop I synthesized this if you don't know how to do this check out my video from maybe two or 3 months ago I did one on water sounds and how to do it in an M sound Factory and I show you EX exactly how to make this water drop sound that's all I did I'm not sure if I saved that here but if you don't know how to do that that's all I did uh let's see if there's anything else I think I explained everything maybe that's all the sounds here oh here I did just kind of a riser sound but this I'm not even sure if I use this for anything yeah so that's just just a a sound maybe I put this in the background here while some of the stuff's going but it's basically just white noise and that's about it I'll let you listen to the whole thing together uh oh besides the Reverb so I use this short Studio Reverb you can see the settings here if you have M turbo Reverb you should have this and for the long Reverb I used Randy Hall on the warm setting and here are all the different param I put a little bit of modulation on there just to sweeten it up and let's play it one one time at the end here we go [Music] he [Applause] [Music] so that's it I used murbo comp on here just to do a little bit of compression you can hear it here just like one or two DB of compression nothing crazy I used M turbo compare to kind of compare it to some other tracks in the genre to make sure it was close I don't know if I got it completely there and then after that I exported it out I put in spectral Dynamics on it probably did maybe some slight EQ and limited it to bring the volume up to speed and do the fadein and fade outs so that's completely it how I made made this I'd never tried anything like this before I used more layering and probably more sound design than I've ever done in any other song but I was happy just to have the experience doing this because I'm not sure if I'm going to be full-time Botanica composer in the future but I think a lot of these things can be used in other songs and sometimes just a little sprinkle of a glitch sound or some granular pads or something can really add interest to your song and uh I would I don't know I don't know if I'm ever satisfied with the music I make but I was happy to try something new and I thought it was fun to make if nothing else although a little bit tiring so this song is maybe like a minute or so how long is this yeah like a minute and 17 seconds I was like oh man this this was a lot of work for a minute and 17 seconds I understand now why most Botanica songs are like 45 seconds long I think trying to do a a 3 minute Botanica song I like oh man you're going to wear yourself out with all that layering might may might make my computer explode also but uh anyway hopefully that gave you some ideas on how to do some of these things I think if I did it the next time it would probably be easier a lot of this was trial and error and things but hopefully this makes it easier for you so you don't have to do that yourself uh if you like this give me a thumbs up if there's some question that I didn't answer or something you don't understand please leave that below subscribe if you haven't done that and check out all the other plugins at milder production.com till next time see you