by
Kitsune » Sat May 07, 2016 6:05 am
Try adding some layers to your harpsichord. Just stuff that sounds simular and dropped an octave, be sure to automate it the same. Sounds cool when you automate the cutoff of the main layers and volume of sound variations of the layers. I heard that adding some abient sound behind the synths fills them up a little more. Shouldn't be able to pick it out in the track though.
You have yourself a nice thick kick though sounds good!
I really like your melody as well but a bit repetitive. For variation I usually take the key notes in the melody, the ones that stand out the most and erase everything else and start a new melody with the rest of the track playing. Stop it when I need to so I don't forget the melody I am laying down. Sounds completely different but still hits the same key notes giving solid variation.
(Let me tell you the story of my people)
Super cool too that I don't hear too often is when you take the chords you automate for the future bass feel and arp them out to the 7th (so if you play a c chord you break it up so you play C, E, G, and B as individual quarter note instead of just C maj7 for a whole note.
Makes it harder to decipher the chord progression which makes everything awesome when you simplify it for the "drop??" If you'd call it that.
Personally future bass to me sounds more like the bass is being held back until the chorus, in which it is unleashed to do a bunch of bad assery with the synths.
Different attacks and delays sound super cool if you have then layered to different layers on the first beat of a measure.
You know the intial automate in before it does anything crazy. I like to layer mine so the bass cones first followed by low mids, highs, than mid highs to fill in the rest of the room. But that does change how you automate cutoff and volume sinceevery measure you have to wait a little longer for all that to happen. I like to keep it loose and usually takes around a half note to get it all in.
