In The Studio – Composing With Jacob Yoffee

In The Studio - Composing With Jacob Yoffee



so this track this this Q is an in-progress piece of music I'm reading for an upcoming series but AI and the request has been a lot of you know music that sounds like creating sometimes it can it can be darker but they don't want it to sound too electronic or overly cynthy so the idea is to have you know kind of moving Arps and stuff but with organic sounding instruments so I really like this circle bells sort of sound because it just feels very organic sounds you know very acoustic and earthy and I wanted to have this sort of bending between my major and minor so I came up with a couple chords that I really like this the voicings is kind of over an e pedal like a D major with like this flat 6 and then C major 9 like this flat six so you're getting this like the G the G and the G sharp playing off each other and to keep it kind of further off-kilter it's in five and and just sort of building this like kind of growing sense of uneasiness playing with some of taking like sounds that are acoustic and and processing and tweaking them so I'll go through the track and sort of explain what's happening it starts out with this circle bells which is doing in our page eiated figure with those odd chord voicings and this is an alto glockenspiel reversed hang on the downbeat and so right there I wanted to have some sort of machine like thing happening so if I turn off these effects this is actually the alto glockenspiel doing a mallet roll but I'm running it through trim elation some bandpass filtering and echoboy and so it ends up sounding like this and I liked it because it sounded like a machine sounds almost like the the gears whirring and and I put some some painting on it so it's gonna have some motion as the track goes along kind of leading to the next next phrase so to go back to the beginning you'll hear you'll hear that and then I have I do have some synthetic elements here it's just low kind of grungy bending signed wave because I wanted to have like they're sort of not terminator but kind of low uneasy unsure this is going to be a good thing or a bad thing and then here I'm using this is actually from the modern animated percussion I took layers and I pitched them down and kind of stretched them out and this was just something I stumbled upon using the random button and it sounds like a bowed gong and so I just kind of used pitch shifting to make it kind of fall into the chord progression that I needed that layer right there is also from the the map modern animated percussion just kind of like a nice on the downbeat of each measure hitting and then here there was this great shaker figure from the modern animated percussion but I pitched it down an octave and I'm running it through iZotope trash and then some bandpass filtering just to give it just to make it feel kind of like far away kind of atmospheric I didn't want it to be too kind of crisp I want it to be definitely more like low and sort of like not soft but wolf Wolfie if that makes sense so when it comes in it's almost like felt more than her and then underneath all this I have this base from just like really cool little library called Cruiser which kind of looks like this like 80s throwback it seems to be like a real quick way to get at like some some of those like classics since signing stuff from kind of analog synth stuff like that and it's got like this delay built into it which is great and I'm running this also through trash and then rolling off almost all the highs underneath all these chords so I'm just kind of filtering back and forth between like that a major and C major it's coming here and you'll hear here I've had these tremolo strings kind of rising underneath along with the whole track kind of like using as many of those little crunch voicings as I can I love when you have like one of my favorite sounds in all chords is when you have the the minor ninth not just that but split up spread it out by an octave I was told once that's the only real dissonant interval we have left now because everything else sounds acceptable but anytime I can fit that into a voice in I love it when you have that that sound that that minor 9th is great so I fit it in as many voices as I can and then I'm starting to bring in the the brass here running it through our four it's great reverbs and the bottom ends has got this pulse which I love still got this like dirty grungy nough stew it but the pulse really kind of keeps it moving and then on top I have this rising line just to kind of help us lead to a peak cuz again this whole thing is just a build it's not it's not built on melody it's it's built on just kind of like the energy rising to a peak and then coming down right here this is actually the Prophet 12 and I'm running it through the the Big Sky pedal and putting on some distortion and as the as the track progresses I've been raising the girth the air and the hack it just sort of like letting letting the sound sort of just fall apart as it goes and so as the track kind of fades away you're hearing almost like this signal that sounds like I don't know like a distant radio transmission kind of fading off and just getting really distorted just anyway I feel like you can make like a drone sound more interesting you know so as it kind of keeps going raise the slop get some pitch Bend in there you know add some just kind of damage the audio yeah so that's under underneath everything that's going on here really letting the brass kind of push through but as we get to the climax I'm automating the Reaver so that just drowning it and it kind of just dies away and then here we're just left with this profit 12 doing these sort of like just voice things that are getting destroyed the circle bells are still going you

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