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1

General BPM for Synthwave?

-Variable, typically 85-110
--Up to 150 for more aggressive styles, or as low as 70 for chill.

2

Most common automation for Synthwave?

-Lots of Filter Cutoff automations

3

Most things in Synthwave sound very ______
 

-Analog, commonly with drift.

4

Describe Synthwave Drums

-Dry acoustic, 80s drum machine
--Acoustic kicks, hi hats, cymbals
---Gated reverb on the snare
----And some Toms transitioning.

5

Describe common Synthwave Basslines

-Pedalpoint or on the root note of the chord
--With some octave jumps sometimes.

6

Osheen - make synthwave in 5 minutes

Bass -
Same simple 16th note bass root progression
Arp - 
Simple arp, either chords or manual
Pads - 
Chord pads.
Drums - 
Kick 1234
Snare with gated reverb 1 and 3
Shaker/hat, etc 16th notes?
Tomfill, kick, snare extra in spots
Sub bass - 
Same as regular bass.
Melody? - 
Simple?

Osheen - make synthwave in 5 minutes

Bass -
Same simple 16th note bass root progression
Arp - 
Simple arp, either chords or manual
Pads - 
Chord pads.
Drums - 
Kick 1234
Snare with gated reverb 1 and 3
Shaker/hat, etc 16th notes?
Tomfill, kick, snare extra in spots
Sub bass - 
Same as regular bass.
Melody? - 
Simple?

7

Scuffy - how to synthwave

80s drum machiens
Basic kick and snare
Adding more percs, shakers, toms,

Scuffy - how to synthwave

80s drum machiens
Basic kick and snare
Adding more percs, shakers, toms,

8

Synthwave Wiki - What is Synthwave?

Synthwave (also called outrun, retrowave, or futuresynth) is a genre of electronic music influenced by 1980s film soundtracks and video games.

9

The subgenre name "outrun" comes from where?

-The 1986 driving arcade game Out Run, which was known for its soundtrack that could be selected in-game.
--According to musician Perturbator (James Kent), the style is mainly instrumental, and often contains 1980s clichéd elements in the sound such as electronic drums, gated reverb, and analog synthesizer bass lines and leads, all to resemble tracks from that time period.

10

Background
Synthwave originates from the mid 2000s. French acts including David Grellier (College), Kavinsky, and Justice are recognized as pioneers contributing to the early synthwave sound. These early artists began creating music inspired by famous 1980s score composers; music which was, at the time, largely associated with French house.[4]
 

Background
Synthwave originates from the mid 2000s. French acts including David Grellier (College), Kavinsky, and Justice are recognized as pioneers contributing to the early synthwave sound. These early artists began creating music inspired by famous 1980s score composers; music which was, at the time, largely associated with French house.[4]
 

11

What 2011 Movie increased the populatiry of Synthwave?

-The release of the movie Drive in 2011, whose soundtrack featured several synthwave artists, pushed new fans and artists inspired by it toward the genre. Since 2015, synthwave has reached a broader audience from outside musicians and popular media.

12

Synthwave Artists
The dark aggression of artists like ________ and ________ or the pure ’80s worship of _________ and _______________.

-Perturbator and Mega Drive
--Mitch Murder and Miami Nights 1984

13

Cyberspace is a global and dynamic domain (subject to constant change) characterized by the combined use of electrons and the electromagnetic spectrum, whose purpose is to create, store, modify, exchange, share, and extract, use, eliminate information and disrupt physical resources.

Cyberspace is a global and dynamic domain (subject to constant change) characterized by the combined use of electrons and the electromagnetic spectrum, whose purpose is to create, store, modify, exchange, share, and extract, use, eliminate information and disrupt physical resources.

14

Cyberspace includes: a) physical infrastructures and telecommunications devices that allow for the connection of technological and communication system networks, understood in the broadest sense (SCADA devices, smartphones/tablets, computers, servers, etc.); b) computer systems (see point a) and the related (sometimes embedded) software that guarantee the domain's basic operational functioning and connectivity; c) networks between computer systems; d) networks of networks that connect computer systems (the distinction between networks and networks of networks is mainly organizational); e) the access nodes of users and intermediaries routing nodes; f) constituent data (or resident data). Often, in common parlance (and sometimes in commercial language), networks of networks are called the Internet (with a lowercase i), while networks between computers are called intranet. Internet (with a capital I, in journalistic language sometimes called the Net) can be considered a part of the system a). A distinctive and constitutive feature of cyberspace is that no central entity exercises control over all the networks that make up this new domain.

Cyberspace includes: a) physical infrastructures and telecommunications devices that allow for the connection of technological and communication system networks, understood in the broadest sense (SCADA devices, smartphones/tablets, computers, servers, etc.); b) computer systems (see point a) and the related (sometimes embedded) software that guarantee the domain's basic operational functioning and connectivity; c) networks between computer systems; d) networks of networks that connect computer systems (the distinction between networks and networks of networks is mainly organizational); e) the access nodes of users and intermediaries routing nodes; f) constituent data (or resident data). Often, in common parlance (and sometimes in commercial language), networks of networks are called the Internet (with a lowercase i), while networks between computers are called intranet. Internet (with a capital I, in journalistic language sometimes called the Net) can be considered a part of the system a). A distinctive and constitutive feature of cyberspace is that no central entity exercises control over all the networks that make up this new domain.

15

Just as in the real world there is no world government, cyberspace lacks an institutionally predefined hierarchical center. To cyberspace, a domain without a hierarchical ordering principle, we can, therefore, extend the definition of international politics coined by Kenneth Waltz: as being "with no system of law enforceable." This does not mean that the dimension of power in cyberspace is absent, nor that power is dispersed and scattered into a thousand invisible streams, nor that it is evenly spread across myriad people and organizations, as some scholars had predicted. On the contrary, cyberspace is characterized by a precise structuring of hierarchies of power.
 

Just as in the real world there is no world government, cyberspace lacks an institutionally predefined hierarchical center. To cyberspace, a domain without a hierarchical ordering principle, we can, therefore, extend the definition of international politics coined by Kenneth Waltz: as being "with no system of law enforceable." This does not mean that the dimension of power in cyberspace is absent, nor that power is dispersed and scattered into a thousand invisible streams, nor that it is evenly spread across myriad people and organizations, as some scholars had predicted. On the contrary, cyberspace is characterized by a precise structuring of hierarchies of power.
 

16

Synthwave Artists - 
PERTURBATOR
MEGA DRIVE
Cerpenter Brut
Flash Arnold
Nightsatan
Dead Astronauts
Lazerhawk
Dan Terminus
Zombi
Lost Years - amplifier - Converter

Synthwave Artists - 
PERTURBATOR
MEGA DRIVE
Cerpenter Brut
Flash Arnold
Nightsatan
Dead Astronauts
Lazerhawk
Dan Terminus
Zombi
Lost Years - amplifier - Converter

17

-In the formative days of synthwave, what was it commonly called?

-“outrun” and “outrun electro” were the most common names for the genre, with “synthwave” overtaking them in popularity roughly around 2014.
--As the genre continues to expand, “outrun” remains a useful term for describing the specific music style established on the earliest synthwave releases.

18

Examples of formative albums that shaped the sound and visual aesthetic of outrun music in the late ‘00s through 2010 include:


Kavinsky
Teddy Boy (2006)
1986 (2007)
Nightcall (2010)

Futurecop!
The Unicorn & The Lost City of Alvograth (2008)

Mitch Murder
After Hours (2009)
Television (2010)

Lazerhawk
Redline (2010)

Miami Nights 1984
Early Summer (2010)

19

Synthwave:
Describe Outrun type music

-In general, outrun music is typified by a stiff, four-on-the-floor beat reminiscent of house music and its roots in Euro disco, as well as clean and articulate synthesizer melodies.
--Structurally, the music is often linear in the style of its EDM influences, maintaining a single rhythmic pattern and only one or two lead melodies through an entire song.
---Early outrun emphasizes ‘80s nostalgia more than almost all synthwave releases that followed, frequently incorporating audio clips from pop culture of the decade.
----Songs like Mitch Murder’s “Palmer’s Arcade” (2011), Lost Years’ “Park Avenue 1989” (2012), and Botnit’s “Hi-Score” (2013) provide excellent examples of the inclusion of ‘80s audio artifacts into outrun music.
 

20

Synthwave:
Outrun remains relevant and popular in 2017 and early 2018, with recordings like what?

-Tokyo Rose’s The Chase: Last Run and CJ Burnett’s Moonlit City providing contemporary examples of synthwave’s pioneering sound.
--Other albums, like Overvad’s Massive Scoop and Ace Marino’s Cocaine Flamingo feature a slightly evolved style that remains in alignment with classic outrun.

21

Synthwave:
Describe Darksynth

-In contrast to Miami Nights 1984’s vision of sunny oceanside drives and Mitch Murder’s afternoons in video arcades, darksynth’s embrace of ‘80s retrofuturism turned toward B horror movies, comic books, and pulp science fiction for its identity, often incorporating music elements from metal and industrial genres.
--The origins of the darksynth sound can be heard in the previously mentioned outrun releases, such as on Kavinsky’s “Wayfarer” and “Deadcruiser,” as well as Futurecop’s “As Seen on TV.”
---However, the style would not emerge in its full form until 2012 with albums like Perturbator’s Terror 404, Carpenter Brut’s EP 1, and Mega Drive’s VHS.
----Mega Drive - VHS
-----Fixions - Genocity

22

Retro Electro/Outrun Electro - 
Damokles - Bring out the funk
-Electro’s original and most iconic sound is a form of hip-hop, and in the most basic sense, blends funk and synthpop with turntablism.
--It was developed in the early ‘80s on seminal releases like Afrikaa Bombataa and Soul Sonic Force‘s 1982 album Planet Rock, Hashim‘s 1983 Al-Naafyish, and Herbie Hancock’s Future Shock, also from 1983. Hancock’s “Rockit” is the most famous example of the original electro sound.

Retro Electro/Outrun Electro - 
Damokles - Bring out the funk
-Electro’s original and most iconic sound is a form of hip-hop, and in the most basic sense, blends funk and synthpop with turntablism.
--It was developed in the early ‘80s on seminal releases like Afrikaa Bombataa and Soul Sonic Force‘s 1982 album Planet Rock, Hashim‘s 1983 Al-Naafyish, and Herbie Hancock’s Future Shock, also from 1983. Hancock’s “Rockit” is the most famous example of the original electro sound.

23

Synthpop, House, and Nu Disco - 
Mecha Maiko - Mad But Soft 
-Similarly, elements of nu disco and house music are prevalent within synthwave, and their characteristics have remained apparent throughout the genre’s lifespan. For example, artists including L’Equipe Du Son, Worship, and Flashworx delivered nu disco and house-infused synthwave tracks around 2010 that were closely related to the earliest outrun albums.
Perhaps no one represents the hybrid style of synthpop and synthwave better than Mecha Maiko, first with her darkly atmospheric creations as part of Dead Astronauts, then with a solo debut in early 2018. Her song “Electric Heat” is an excellent example of a song that can be classified as both synthpop and synthwave. Alex’s Simulations album is a similarly excellent example of a synthwave-synthpop creation. 

Synthpop, House, and Nu Disco - 
Mecha Maiko - Mad But Soft 
-Similarly, elements of nu disco and house music are prevalent within synthwave, and their characteristics have remained apparent throughout the genre’s lifespan. For example, artists including L’Equipe Du Son, Worship, and Flashworx delivered nu disco and house-infused synthwave tracks around 2010 that were closely related to the earliest outrun albums.
Perhaps no one represents the hybrid style of synthpop and synthwave better than Mecha Maiko, first with her darkly atmospheric creations as part of Dead Astronauts, then with a solo debut in early 2018. Her song “Electric Heat” is an excellent example of a song that can be classified as both synthpop and synthwave. Alex’s Simulations album is a similarly excellent example of a synthwave-synthpop creation. 

24

Popwave / Dreamwave - 

Popwave / Dreamwave - 

25

Popwave / Dreamwave - 
FM Attack - Deja Vu

In the late ‘00s and early ‘10s, a gentler style of retro synth music emerged alongside nu disco and outrun. This subtle variation, with its softly sculpted textures, breathy vocals, and downtempo delivery soon came be known appropriately as “dreamwave”. Significant dreamwave creations include most of the songs in FM Attack‘s discography, including those on the foundational Dreamatic from 2009 and the more meditative subsequent albums, Deja Vu and Stellar. 

Electric Youth’s Innerworld, Trevor Something’s Synthetic Love, and Timecop1983’s Journeys, all from 2014, are also examples of dreamwave. The collaboration between Electric Youth and College on the song “A Real Hero,” featured on the Drive soundtrack from 2011, is the most famous example of dreamwave.
 

Popwave / Dreamwave - 
FM Attack - Deja Vu

In the late ‘00s and early ‘10s, a gentler style of retro synth music emerged alongside nu disco and outrun. This subtle variation, with its softly sculpted textures, breathy vocals, and downtempo delivery soon came be known appropriately as “dreamwave”. Significant dreamwave creations include most of the songs in FM Attack‘s discography, including those on the foundational Dreamatic from 2009 and the more meditative subsequent albums, Deja Vu and Stellar. 

Electric Youth’s Innerworld, Trevor Something’s Synthetic Love, and Timecop1983’s Journeys, all from 2014, are also examples of dreamwave. The collaboration between Electric Youth and College on the song “A Real Hero,” featured on the Drive soundtrack from 2011, is the most famous example of dreamwave.
 

26

Cinematic Synthwave
Gregoria Franco - Quantum Memories

These creations reflect classic film scores like John Carpenter’s Escape From New York, Vangelis’ Blade Runner, Tangerine Dream’s Thief, and Brad Fiedel’s The Terminator. 

Cinematic Synthwave
Gregoria Franco - Quantum Memories

These creations reflect classic film scores like John Carpenter’s Escape From New York, Vangelis’ Blade Runner, Tangerine Dream’s Thief, and Brad Fiedel’s The Terminator. 

27

Cyberpunk Synthwave (Cybersynth)
mangadrive - botrun - two machiens enter, one man lives

-As darksynth forerunners delve deeper into non-melodic songwriting with experimental rhythms and deeply distorted synth bass, the genre has begun to fracture down the middle.

In many cases, cybersynth artists preserve the strong melodic hooks of synthwave and early darksynth while incorporating increasingly gritty effects, prominent electric guitar, and energetic rhythms for an elaborate and exciting new sound. This music has a fluid songwriting approach that differs significantly from the static beats of outrun and the extreme rhythmic approaches of modern darksynth music. It also leans toward detailed and complex song compositions more than most other synthwave creations. The origins of the style can be traced back to songs like Power Glove’s “Night Force” (2012), Mega Drive’s “Acid Spit” (2014), and OGRE’s “Don’t Call Me a Hero” (2014), though the music has been rapidly expanding and forming its own identity in the past two years.

Zombie Hyperdrive’s Hyperion album from 2016 marks the beginning of a wave of new cybersynth releases, and 2017 saw several excellent recordings from Isidor, Astral Tales, Roborg, and 3Force that further advanced the genre. Many established outrun artists have also begun trending toward the new sound, with Nightstop’s Time Recoil soundtrack offering an example of the growing interest in the style. A comparison of Astral Tales’ “Colonies” and Isidor’s “Sirius A” with Lazerpunk’s “Warmachine” and Daniel Deluxe’s “Renegades” reveals the vast divide in the creative directions of artists at the edges of synthwave and darksynth.

Cyberpunk Synthwave (Cybersynth)
mangadrive - botrun - two machiens enter, one man lives

-As darksynth forerunners delve deeper into non-melodic songwriting with experimental rhythms and deeply distorted synth bass, the genre has begun to fracture down the middle.

In many cases, cybersynth artists preserve the strong melodic hooks of synthwave and early darksynth while incorporating increasingly gritty effects, prominent electric guitar, and energetic rhythms for an elaborate and exciting new sound. This music has a fluid songwriting approach that differs significantly from the static beats of outrun and the extreme rhythmic approaches of modern darksynth music. It also leans toward detailed and complex song compositions more than most other synthwave creations. The origins of the style can be traced back to songs like Power Glove’s “Night Force” (2012), Mega Drive’s “Acid Spit” (2014), and OGRE’s “Don’t Call Me a Hero” (2014), though the music has been rapidly expanding and forming its own identity in the past two years.

Zombie Hyperdrive’s Hyperion album from 2016 marks the beginning of a wave of new cybersynth releases, and 2017 saw several excellent recordings from Isidor, Astral Tales, Roborg, and 3Force that further advanced the genre. Many established outrun artists have also begun trending toward the new sound, with Nightstop’s Time Recoil soundtrack offering an example of the growing interest in the style. A comparison of Astral Tales’ “Colonies” and Isidor’s “Sirius A” with Lazerpunk’s “Warmachine” and Daniel Deluxe’s “Renegades” reveals the vast divide in the creative directions of artists at the edges of synthwave and darksynth.

28

Top 10 Synthwave Albums of 2018
10. Sung – Fahrenheit
9. Meteor – Voyage Into Fear(Cinematic Synthwave)
8. Jeremiah Kane – All or Nothing(Cyberpunk Synthwave)
7. Glitch Black – Emergent Behavior
6. Wolf and Raven – Lair of the Dragon
5. Cloud Battalion – Storm City(aggressive OutRun)
4. Caspro – Kardasynth
3. Ace Buchannon – Magenta Nights(OutRun)
2. Isidor – Lord of Synth
1. Beckett – Outrun the Skyline

Top 10 Synthwave Albums of 2018
10. Sung – Fahrenheit
9. Meteor – Voyage Into Fear(Cinematic Synthwave)
8. Jeremiah Kane – All or Nothing(Cyberpunk Synthwave)
7. Glitch Black – Emergent Behavior
6. Wolf and Raven – Lair of the Dragon
5. Cloud Battalion – Storm City(aggressive OutRun)
4. Caspro – Kardasynth
3. Ace Buchannon – Magenta Nights(OutRun)
2. Isidor – Lord of Synth
1. Beckett – Outrun the Skyline

29

Synthwave:
Describe common Snare pattern

-Play on the 2nd and 4th beats (Half Notes).
--Add in an occasional reverse snare sample hit.

30

Synthwave:
Describe common Snare source, and processing

-Find a snare with a lot of low-mid body.
--In the studio, this was achieved by using two mics (one top and one bottom) with the bottom mic being the loudest, both EQ'd by cutting the mids, and then compressed.
---For added tonality, use a white/pink noise through a keyed gate in parallel, to extend the snare sound.
----Initially sent to a short/small-room reverb with a high-cut on it along with early reflections, then send that to a gated plate/big-room reverb.

31

Synthwave:
Describe common Kick pattern and source

-Play on every Quarter Note.
--Sound Design: Roland TR 707 or LinnDrum samples are good for '80s style. Compress and EQ the kick to make it really solid. For additional thickness, use a 60Hz tone, gated and keyed by the kick itself to make the kick sound lower.

32

Synthwave:
Describe common Drum Patterns

-A lot of drum patterns would have a simple rhythmic element (steady kick/snare/16th hats) and then something a little more complex on the top like a shaker, clap, bell/chime pattern.
--When it comes to programming the drums, use plenty of synthetic toms, cowbells and delayed claps.
 

33

Synthwave:
Describe common Drum Reverb Processing

Lots of reverb.
-It was common to set up two or three units on drums alone.
--A kick with its own reverb; the snare with its own reverb and then the entire kit.
---The kit reverb could be a nice, big hall reverb setting with good sounding early reflections, and a gate on the tail, to push the drums back in the mix and give an '80s sheen.
Reverb Gating:
-The drums had a lot of reverb on them, but to keep them from getting muddy, they'd also be gated so that only the first milliseconds of the reverb were above the gate - basically using the gate to chop off the 'tails'.
--How sensitive you want the gate is based on tempo, of course - faster tempos will need tighter thresholds to keep that separation.

34

Synthwave:
Describe common Guitar patterns

-Simple progressions and arpeggio-like phrases for rhythm, hair-solos for lead.

35

Synthwave:
Describe common Guitar Sound Design

-Guitars were often brittle (not a lot of bottom end), with lots of cheap compression, digital chorus and digital reverb.
--To emulate this, trim the guitars below 120Hz (could probably go to 300-400Hz depending on what being played).
---Lead riffs usually have solid state distortion/overdrive, controlled with lots of compression and generous chorus and reverb.

36

Synthwave:
Describe common Synth - Keyboards patterns

-Simple progressions, great choruses and arpeggios are your friend.
--Try working a simple harmonized chord progression and start making strange voices or patches.
 

37

Synthwave:
Describe common Synth - Keyboards patterns Sound Design

-Play with patches, do modulation via LFOs and chorus the hell out of things for depth.
--The Moog, Jupiter8, PolySix or Yamaha DX7 were heavily featured.
 

38

Synthwave:
Describe common Synth - Pads Patterns

-Pads, pads and more pads.

39

Synthwave:
Describe common Synth - Pads Sound Design

-Pads are helped by chorus, with stereo chorus being even better.
--An alternative is semi-complex fully-quantized arrangements with sounds that are distinctively 'synth' with short delays.
---Big Oberheim synth pads were the pads of choice.

40

Synthwave:
Describe common Synth - Bass Pattners

-Arpeggiators were often used, sometimes to create single note repetition or to actually play an arpeggiated part.
--Playing eighth-notes from alternate octaves (or using an arpeggiator to achieve the same) with an FM synth is a standard '80s pop trope.

41

Synthwave:
Describe common Synth - Bass Sound Design

-Emulate the analogue sound through an FM synth with 4-6 Operators.
--Also consider: set one of the oscillators to a pulse wave with the filter cutoff controlled by an envelope with an immediate attack and a reasonably fast decay to nothing (i.e. sustain at minimum).
---Then modulate that oscillator with another oscillator; a square wave is perfect for this, but you can play around with others.
----In the early 80s, a lot of the synth sounds would have been all analogue. By the mid-80s (84-88), Yamaha DX, Roland D50 and Emu samplers were all over the place but analogue synths still played a huge role.
-----Fairlight would have been on quite a bit of material throughout the middle 80s.

42

Synthwave:
Describe common Reverb

-Use it on everything
--You won't get the '80s sound without two or three digital reverbs. An alternative was long, saturated echo-delays more than spring or plate style reverbs.
---Lexicon 224s came out in about 1980 and the AMS reverbs came out in that same time period.

43

Synthwave:
Describe Overall Structure, Tone & Mixing

-Structure and Tempo: Structures were fairly simple, BPM range was mostly 100-110 BPM.
--Sound Design: Go easy on the bass, but heavy on the digital reverb and chorus. Low frequencies were often dialled back, and there was typically an emphasis in the 8-9kHz range to add bite and sheen. On the master channel, brickwall limiting was not used, but subtler compression was common. This created more dynamic range in the music than modern tracks.
 

44

Describe this waveform's function on a parameter when used as a modulator:
Square

-Square wave goes instantly on and then instantly off.
Each waveform has a distinctive character as a sound source and as a modulator.

45

Describe this waveform's function on a parameter when used as a modulator:
Saw

--Saw wave goes instantly on and gradually off.
Each waveform has a distinctive character as a sound source and as a modulator.

46

Describe this waveform's function on a parameter when used as a modulator:
Triangle
 

---Triangle wave goes gradually on and gradually off.
Each waveform has a distinctive character as a sound source and as a modulator.
 

47

Describe this waveform's function on a parameter when used as a modulator:
Pulse

----Pulse wave goes instanly on and instantly off, but is like a variable square wave.
Each waveform has a distinctive character as a sound source and as a modulator.
 

48

Describe this waveform's function on a parameter when used as a modulator:
Sine

-----Sine wave smoothly on and off
Each waveform has a distinctive character as a sound source and as a modulator.
 

49

NOTE: Can use any LFO shape to change the Serum LFOS...not just use the default Triangle LFO..DUH.
 

NOTE: Can use any LFO shape to change the Serum LFOS...not just use the default Triangle LFO..DUH.
 

50

7 Main components of a synthesizer - 

-Oscillator
--Amplifier
---Filter
----Vol ENV
-----Filter ENV
------Pitch ENV
-------LFO

51

4 common filter controls - 

-Filter Type
--Cutoff
---Slope/roll off - measured in dB per Octave
----Resonance

52

3 common LFO Controls - 

-Rate
--Waveform
---Depth
 

53

NOTE: Not just pitch bending a lead line, but also using selective vibrato.

NOTE: Not just pitch bending a lead line, but also using selective vibrato.

54

Beat Academy - How to make retrowave sounds - 

Arp - 
Synthwave Drone - 
Saw, mono, 

Beat Academy - How to make retrowave sounds - 

Arp - 
Synthwave Drone - 
Saw, mono, 

55

Most common Synthwave Drumkits?

-Emu
--Lin
---Roland

56

Woody Piano Shack - ableton live synthwave tutorial - 

-Constant semi-arp lead line, while the chords underlying change. ok.
--ARP with Topline - Arpeggio pattern WITH a simple melodic line on top of it.
---Cliche synthwave intro - Just two instruments gradually opening the filter cutoff. A synth line and bass or whatever else.
-----Drum pattern/drum rack - 
Standard 4/4 kick snare pattern, can add aux percussion in after.
Claps sometimes perhaps
Toms
-----FX - sweep, riser, build, downfilters, white noise, etc.

Woody Piano Shack - ableton live synthwave tutorial - 

-Constant semi-arp lead line, while the chords underlying change. ok.
--ARP with Topline - Arpeggio pattern WITH a simple melodic line on top of it.
---Cliche synthwave intro - Just two instruments gradually opening the filter cutoff. A synth line and bass or whatever else.
-----Drum pattern/drum rack - 
Standard 4/4 kick snare pattern, can add aux percussion in after.
Claps sometimes perhaps
Toms
-----FX - sweep, riser, build, downfilters, white noise, etc.

57

The Ghost Mall - Retro Chords - 
-80s pop, inspired by R and B, which was inspired by Jazz. ok.
--In this 70s retro song, he has 4 chord progressions: Intro chords, pre chorus chords, chorus chords, verse chords.
---Changing chords by changing: Root note, pedal note, inversion, register/octave, inner voices, staccato vs legato, 

The Ghost Mall - Retro Chords - 
-80s pop, inspired by R and B, which was inspired by Jazz. ok.
--In this 70s retro song, he has 4 chord progressions: Intro chords, pre chorus chords, chorus chords, verse chords.
---Changing chords by changing: Root note, pedal note, inversion, register/octave, inner voices, staccato vs legato, 

58

Synthwave:
Creating and enhancing space - 

-Mixing the reverbs and delays as if they were individual instruments.
--Big plate reverb on the snares.
---Ducking/sidechaining to dry and panning. etc.

59

Sonic academy intro synthwave trackview - 
1-16 - Bass and lead slowly filtering in.
16-32 - Crash, down sweep, vocal yeah to transition, kick 1-2, snare 1-2, clap 1-2 come in.
-Synth riff response to vocal lyrics.
--Tom hits to transition, do do do do 4 hits going down in pitch.
---Crashes - Periodically between sub sections
-----Downfilters often stacked with crashes.
-80 or so - drums drop out into a sort of break. vocal shout and synth riff. 
Uplifter
--96 or so - Tom fill at end of upfilter. drums come back in and guitar solo. interesting. 
 

Sonic academy intro synthwave trackview - 
1-16 - Bass and lead slowly filtering in.
16-32 - Crash, down sweep, vocal yeah to transition, kick 1-2, snare 1-2, clap 1-2 come in.
-Synth riff response to vocal lyrics.
--Tom hits to transition, do do do do 4 hits going down in pitch.
---Crashes - Periodically between sub sections
-----Downfilters often stacked with crashes.
-80 or so - drums drop out into a sort of break. vocal shout and synth riff. 
Uplifter
--96 or so - Tom fill at end of upfilter. drums come back in and guitar solo. interesting. 
 

60

Sonic Academy - How To Make Synthwave with The Midnight
Kick EQ

-Bell filtering down 200, 3500,
--Small bell boosting 7k.

61

Ste Ingham - How to make SYNTHWAVE - 
FLP - 1 - 113 bars, 100 BPM, 

Kick - 16-31, 32-49, 65-80, 81-113.
Snares - 16-31, 32-49, 65-80, 81-113 
Hats - 16-31, 32-49, 65-80, 81-113 
Rim shot - 16-31, 32-49, 65-80, 81-113
Always playing besides intro and break. And 1-1/2 bar drop outs.

Bass - Repetitive walking bassline. 2-49, 65-113
Always plays except during part of the break.

Pad - 1-16, 49-65
Playing turing intro and break only.

Arp - 1-32, 49-81, 97-113
Plays during most of the intro and break and part of the higher energy portion. 

Lead - 33-49, 81-113
Filling in any gaps left by the ARP dropping out.

2nd melody - 24-32, 73-81, 105-113
Essentially a PRE melody melody. only really playing PRE.

Pad Layer Walking - 1-32, 41-49, 57-81, 89-113
Adding movement, playing in intro and various parts.

Crash - 2,16,32,49,65,81,87,
Momentrum every 8 bars.

Crash Reverse 1,8,15,24,31, 40....etc Pretty much every 8 bars except in a couple spots.
Momentum every 8 bars.

Tom FIll - 16, 32,65,81. At each major transition point.
At every major transition point. Panning around.

Processing - Relatively lots of reverb and delay.

NOTE : REMEMBER SYNCOPATED PATTERNS 1 bar, 2 bar, 3 bar, 4 bar, 8 bar, 6 bar, 1/2 bar, 3/4 bar etc repeating patterns that overlap to create interest.

Ste Ingham - How to make SYNTHWAVE - 
FLP - 1 - 113 bars, 100 BPM, 

Kick - 16-31, 32-49, 65-80, 81-113.
Snares - 16-31, 32-49, 65-80, 81-113 
Hats - 16-31, 32-49, 65-80, 81-113 
Rim shot - 16-31, 32-49, 65-80, 81-113
Always playing besides intro and break. And 1-1/2 bar drop outs.

Bass - Repetitive walking bassline. 2-49, 65-113
Always plays except during part of the break.

Pad - 1-16, 49-65
Playing turing intro and break only.

Arp - 1-32, 49-81, 97-113
Plays during most of the intro and break and part of the higher energy portion. 

Lead - 33-49, 81-113
Filling in any gaps left by the ARP dropping out.

2nd melody - 24-32, 73-81, 105-113
Essentially a PRE melody melody. only really playing PRE.

Pad Layer Walking - 1-32, 41-49, 57-81, 89-113
Adding movement, playing in intro and various parts.

Crash - 2,16,32,49,65,81,87,
Momentrum every 8 bars.

Crash Reverse 1,8,15,24,31, 40....etc Pretty much every 8 bars except in a couple spots.
Momentum every 8 bars.

Tom FIll - 16, 32,65,81. At each major transition point.
At every major transition point. Panning around.

Processing - Relatively lots of reverb and delay.

NOTE : REMEMBER SYNCOPATED PATTERNS 1 bar, 2 bar, 3 bar, 4 bar, 8 bar, 6 bar, 1/2 bar, 3/4 bar etc repeating patterns that overlap to create interest.

62

Ste Ingham - How to make DARK SYNTHWAVE - 
100BPM.

Drums - 
Kick, snare, hi hat 4/4 with 1/16th hats constant.

Tom Fill -
Loading a tom sample. Using the amp envelope. Drawing tom midi.
Places it on bar 8 going into 9.

Crash -
Crash and reverse crash.

Bass - 
Constant 1/16th notes
Simple pattern.

Melodies - 
Whiting in an arp pattern in MIDI 1/16th notes.

Lead - 
Simple melody

Arrangement - 
Essentially, put each element in it's own pattern in playlist.
Moved it over, then drag copying each piece as he places it around.

8 bar intro with bass and arp
8 bar intro2 with drums added
Tom fills and crashes every 8 or 16 bars.

Transitions - Besides tom fills and crashs, often "snare riffs" with kicks cut out.

Automation - 
Bass intro automation - 
Sidechain automation on the bass, so that it only starts sidechaining when the drums come in...duh ok
And Filter cutoff automation duh.

Adding Elements - 
Pad - Pad chords during the "break"

Piano Riff - 
Added to second "drop" to enhance the energy.

Sub Pad - 
During break.

Mixing - 
I think he is mixing in order or importance.
Drums first
Arp Second
Lead Third

Ste Ingham - How to make DARK SYNTHWAVE - 
100BPM.

Drums - 
Kick, snare, hi hat 4/4 with 1/16th hats constant.

Tom Fill -
Loading a tom sample. Using the amp envelope. Drawing tom midi.
Places it on bar 8 going into 9.

Crash -
Crash and reverse crash.

Bass - 
Constant 1/16th notes
Simple pattern.

Melodies - 
Whiting in an arp pattern in MIDI 1/16th notes.

Lead - 
Simple melody

Arrangement - 
Essentially, put each element in it's own pattern in playlist.
Moved it over, then drag copying each piece as he places it around.

8 bar intro with bass and arp
8 bar intro2 with drums added
Tom fills and crashes every 8 or 16 bars.

Transitions - Besides tom fills and crashs, often "snare riffs" with kicks cut out.

Automation - 
Bass intro automation - 
Sidechain automation on the bass, so that it only starts sidechaining when the drums come in...duh ok
And Filter cutoff automation duh.

Adding Elements - 
Pad - Pad chords during the "break"

Piano Riff - 
Added to second "drop" to enhance the energy.

Sub Pad - 
During break.

Mixing - 
I think he is mixing in order or importance.
Drums first
Arp Second
Lead Third

63

Synthwave
Tom Fills Common processing/modulation?

-Pitch Shifting
--Panning
---Volume Shifting
----Velocity Shifting
NOTE: Same as hats, and percs in trap/hip hop.

64

Ste Ingham - Synthwave Sessions 2 - Snares

-Gated Reverbed Snare was popular in the 80s.
-Can automate volume of the whole or just the reverb.
-Can manually cut the audio clip.
--Layering white noise to add bite.
---Sometimes some snare fills, or extra hits.

Ste Ingham - Synthwave Sessions 2 - Snares

-Gated Reverbed Snare was popular in the 80s.
-Can automate volume of the whole or just the reverb.
-Can manually cut the audio clip.
--Layering white noise to add bite.
---Sometimes some snare fills, or extra hits.

65

Synthwave
Compare Arps that are in the front as a focus versus ones that are a background element?

-The more upfront it is, the more you build it like a lead line, with variation and layering.
--The more background it is, the more monotonous it is and plain.

66

Synthwave
What is commonly put above the ARP pattern?

-Putting a simple Riff above the arp, which is also above the chords.

67

Ste Ingham - synthwave 4 Structure - 

12 intro
8 verse breakdown
8 build
16 drop
12 intro
8 verse breakdown
8 build
16 drop
8 Middle 8
24 Drop
NOTE: 3 drops? Lol ok.

Ste Ingham - synthwave 4 Structure - 

12 intro
8 verse breakdown
8 build
16 drop
12 intro
8 verse breakdown
8 build
16 drop
8 Middle 8
24 Drop
NOTE: 3 drops? Lol ok.

68

Synthwave track 1-108
8 Intro,verse, breakdown
8 build
32 drop - Has riser and stuff in the middle of the drop "sections"
8 break
8 build
16 drop
12 Middle 8
8 drop outro

NOTE: Has Bassline, Arp, Pad all playing near 100% of the track, but filtering in and out, etc.
Drums - Everywhere except: Intro, Break, build,middle 8. So only drop.

Pad 1-81, 85-08
Lead - 33-49, 65-81, 81-85 choppy, 85-108
Arp - 1-108
Bass - 1-108
Drums - 17-49, 65-81, 93-108
Transition FX - 8, 16, 32, 48, 64, 80,84, 92,108,
Riser - 13,29,45,61,77,89,105
NOTE: Lots of filter cutoff automation

Synthwave track 1-108
8 Intro,verse, breakdown
8 build
32 drop - Has riser and stuff in the middle of the drop "sections"
8 break
8 build
16 drop
12 Middle 8
8 drop outro

NOTE: Has Bassline, Arp, Pad all playing near 100% of the track, but filtering in and out, etc.
Drums - Everywhere except: Intro, Break, build,middle 8. So only drop.

Pad 1-81, 85-08
Lead - 33-49, 65-81, 81-85 choppy, 85-108
Arp - 1-108
Bass - 1-108
Drums - 17-49, 65-81, 93-108
Transition FX - 8, 16, 32, 48, 64, 80,84, 92,108,
Riser - 13,29,45,61,77,89,105
NOTE: Lots of filter cutoff automation

69

Synthwave
General Vocal delay/reverb

-Often a VERY short delay on the vocals.
--Often a very shortreverb on the vocals.
 

70

Synthwave Transitions general ideas

-Adding things in so the listener sort of knows that there will be some sort of change.
--Often riser with a crash paired, and possibly other things like toms.

71

Synthwave
Most common FX automation?

-Automating Reverb, Delays, and most of all Filter Cutoff.
--Reverse Reverb, duh.

72

Synthwave General Plugin Chain

-LOTS of reverb and delay
--Sidechain is last.
---Limiter is near last?

73

Synthwave Gates General concepts

-Drums are generally heavily gated in synthwave
--Gated Reverb also.

74

Synthwave Swing General Ideas

-NOTE: Swing Is Good
--Modify Swing amount in wrapper.

75

Synthwave Extended Mixes general ideas

-Make your track DJ friendly by haing a 8,16,32 bar intro and outro WITH drums.
--This makes it more of a "Club Mix"

76

Synthwave Reverse Reverb General Concepts

-Do it lots

77

78

Synthwave More Exciting Tracks Concepts

-FX - Automated or building in a 2,4,8,16,32 bar loops
--Percussion - Little drum fills, extra or reduced hits of the normal pattern.
---Synths
----Reverb on the Delays
-Instrument Loops - Adding in a guitar riff or something.
Riffs - Adding little small few note riffs around in places.

79

Synthwave EQ Matching General Concepts

-Using an analyzer to see the general shape of the frequency spectrum during different parts and EQ Matching to that shape. duh.

80

Synthwave Filtering General Concepts
 

-Do it Lots

81

Synthwave Sessions 24: Mixing Kick and Bass
-Make sure the sounds are right. Make sure the timbre of the kick and bass work well.
--Make sure the length of them work together.
My NOTE: Have the bass and the kick on different notes and notch out the fundamental and perhaps harmonic out of each one.
-Sidechaining Bass and kick inverse volume envelopes
--Bussing the kick and bass together and glue compressing it.
---Differential Tonal EQing, Boosing what you like in one and removing the same area from another.
GATING
-ABOVE ALL, PICK THE RIGHT SOUNDS FIRST

Synthwave Sessions 24: Mixing Kick and Bass
-Make sure the sounds are right. Make sure the timbre of the kick and bass work well.
--Make sure the length of them work together.
My NOTE: Have the bass and the kick on different notes and notch out the fundamental and perhaps harmonic out of each one.
-Sidechaining Bass and kick inverse volume envelopes
--Bussing the kick and bass together and glue compressing it.
---Differential Tonal EQing, Boosing what you like in one and removing the same area from another.
GATING
-ABOVE ALL, PICK THE RIGHT SOUNDS FIRST

82

Synthwave:
Reversing Samples General Concepts

-Reverses are awesome, do it.
--And add variations etc etc.

83

Why does white noise work so well as transition FX?


-Using white noise to make transitions in the frequency spectrum more smooth AND keep things fuller.
 

84

Sidehcained white noise works very well for what?

-Sidechained white noise is nice and bouncy.

 

85

Synthwave:
Saving Scores General Concepts

-SAVING SCORE OR MIDI for your snare risers and fills.
--Then you can apply that pattern to different instruments later on many projects with velocity and panning and everything saved.

86

Synthwave:
Double Time Audio

-Resample and double the BPM?
--Then switch to stretch mode and bring the BPM back down to where you want????
 

87

Synthmania - 1980s Synth Bass Arpeggio Techniques

-Synth Octave Bass - Alternating octaves, often with shots that stack with some of the hits.
--1/16 note bass, consistent or moving often.
---1/8 note bass
----All in various rhythms.

88

Moogggy Various Stuff - How to make 80s Synthwave
-Quantize 1/8, Volume LFO sidechain?
--Retro FX, saturation and reverb
---Gated Reverb Kick and snare?
----2/16 delay to bass(more rhythm)
-----Juno type chorus to make it fat
------Hats, 3/16 delay, LFO, boosted highs, plate reverb.
--Master retro FX
---Sub-bass  - LFO and Chorus???
-Toms with a plate reverb.
--Organ sounds?
---Lots of reverb and gating, distortion, lots of cutoff automation, 
-Crash with 1/4 stereo delay, reverb, boosted highs,

Moogggy Various Stuff - How to make 80s Synthwave
-Quantize 1/8, Volume LFO sidechain?
--Retro FX, saturation and reverb
---Gated Reverb Kick and snare?
----2/16 delay to bass(more rhythm)
-----Juno type chorus to make it fat
------Hats, 3/16 delay, LFO, boosted highs, plate reverb.
--Master retro FX
---Sub-bass  - LFO and Chorus???
-Toms with a plate reverb.
--Organ sounds?
---Lots of reverb and gating, distortion, lots of cutoff automation, 
-Crash with 1/4 stereo delay, reverb, boosted highs,

89

Synthwave
Countermelody General Concepts

-Countermelody lead, both of them very simple and repetiive maybe 3 notes.

90

Mikuru - How to make synthwave
Drum Pattern - 
Kick with sidechain animation to make it behidn the bass??? Only on 1 and 3
Snare - layered on 2 and 4
Hi hat - Hi hat loop/shaker loop
Closed hats - 1/16
Rides - 4/4 sometimes
TOM FILL

ARP - Basic Triad 4 chord 1 bar each progression.
Harmless preset

Bass - 1/16 note basic, Saw and triangle, LPF,
Serum layers

BackLead - rising sequences followed often by falling motion in the melody.
Saw and Triangle waves, LPF
Harmless Layers

Plucky Chord - 1/16 rhyhtm same triad chord progression.

BARS - 
1-4 Chord Arp
5 Bassline comes in
Pre 9 Melody comes in 1/4 of a bar PRE! Remember those!!!
9 Pluck chords and Lead melody comes in.
16/17 Full bar tom fill, As melody and choreds filter out.
17 - "drop" Full drum pattern, chords, pluck, basses WITH layers, Drop Pad, Melody
21 - Extra drum hits each gorup of bars to get things to move forward.

Mikuru - How to make synthwave
Drum Pattern - 
Kick with sidechain animation to make it behidn the bass??? Only on 1 and 3
Snare - layered on 2 and 4
Hi hat - Hi hat loop/shaker loop
Closed hats - 1/16
Rides - 4/4 sometimes
TOM FILL

ARP - Basic Triad 4 chord 1 bar each progression.
Harmless preset

Bass - 1/16 note basic, Saw and triangle, LPF,
Serum layers

BackLead - rising sequences followed often by falling motion in the melody.
Saw and Triangle waves, LPF
Harmless Layers

Plucky Chord - 1/16 rhyhtm same triad chord progression.

BARS - 
1-4 Chord Arp
5 Bassline comes in
Pre 9 Melody comes in 1/4 of a bar PRE! Remember those!!!
9 Pluck chords and Lead melody comes in.
16/17 Full bar tom fill, As melody and choreds filter out.
17 - "drop" Full drum pattern, chords, pluck, basses WITH layers, Drop Pad, Melody
21 - Extra drum hits each gorup of bars to get things to move forward.

91

Hydout - How to make synthwave - 
OTT On pianos hardcore. 

Hydout - How to make synthwave - 
OTT On pianos hardcore. 

92

Synthwave
Compressing Pads General Concepts

-As a pad filters in, or anything else filters in, you compress it and automate the compressor with the filter so that it's more consistent but the tonality changes as the filter opens.

93

Synthwave
Compressing Drums General Concepts

-Making sure release allows the compressor to recover between hard transients.
--Often compressing reverb, so reverb before compressors for the 80s sound, possibly gating afterward also.

94

5 Steps to Becoming a Better Producer

-Produce Different Genres and Look at Different Genres
--LEARN LEARN LEARN
---Compare and Replicate
----Get Feedback from a variety
-----Get Visibility, Promotion
AND BE NICE TO EVERYONE

95

Synthwave
Pick the right _______ right away first

-Sounds

96

Another Monster Productions - How To Make Synthwave or Retrowave

Kick Snare - Layered Kick and Layered Snare and compressed together.
Hi Hat -also layered, and a ride
Toms - pitch down fills.
Crash - Really expanded and stereo?
Synth 1 - idk
Arpeggio - Arping and panning around, izotope vinyl on lots of stuff, delay
Intro Pad - 
Vocal Sample - Vocal shots?
Lead Synth - 
More Synths - Synth shots, arch melodic lines for movement, 
Another Pad - breakpad, 
Next Section - Organ sound?, Adding a ride, 
Synth Solo - 1/16 note repetitive riff solo with minisynth, 

Another Monster Productions - How To Make Synthwave or Retrowave

Kick Snare - Layered Kick and Layered Snare and compressed together.
Hi Hat -also layered, and a ride
Toms - pitch down fills.
Crash - Really expanded and stereo?
Synth 1 - idk
Arpeggio - Arping and panning around, izotope vinyl on lots of stuff, delay
Intro Pad - 
Vocal Sample - Vocal shots?
Lead Synth - 
More Synths - Synth shots, arch melodic lines for movement, 
Another Pad - breakpad, 
Next Section - Organ sound?, Adding a ride, 
Synth Solo - 1/16 note repetitive riff solo with minisynth, 

97

How To Make Synthwave with Timecop 1983 - Creating the bass
-ARP with variaions, using the same concepts of a melody. Such as a climax note, and small variations in either pitch or rhythm

How To Make Synthwave with Timecop 1983 - Creating the bass
-ARP with variaions, using the same concepts of a melody. Such as a climax note, and small variations in either pitch or rhythm

98

BBrightz Music - How To Make Synthwave
-Puts in random single tom hits the same way you would use reverses in a drum loop.
--CTRL+U to quick chop in piano roll.
---LFO automation clip on filter cutoff on bass.
----Ping pong delay and reverb together with ping pong together..ok.

BBrightz Music - How To Make Synthwave
-Puts in random single tom hits the same way you would use reverses in a drum loop.
--CTRL+U to quick chop in piano roll.
---LFO automation clip on filter cutoff on bass.
----Ping pong delay and reverb together with ping pong together..ok.

99

Synthwave:
GET YOUR MUSIC HEARD!

NewRetrowave
https://www.youtube.com/user/NewRetro...
The 80s Guy
https://www.youtube.com/channel/UC6gh...
Recall FM
https://www.youtube.com/channel/UCphf...
The Prime Thanatos
https://www.youtube.com/user/ThePrime...
Future City Records
https://www.youtube.com/channel/UC5tH...
Drive Radio
https://soundcloud.com/drivemusicradio
Beyond Synth
https://soundcloud.com/beyond-synth

AND ALL OF THEIR ABOUT LINKED YOUTUBE CHANNELS

Synthwave:
GET YOUR MUSIC HEARD!

NewRetrowave
https://www.youtube.com/user/NewRetro...
The 80s Guy
https://www.youtube.com/channel/UC6gh...
Recall FM
https://www.youtube.com/channel/UCphf...
The Prime Thanatos
https://www.youtube.com/user/ThePrime...
Future City Records
https://www.youtube.com/channel/UC5tH...
Drive Radio
https://soundcloud.com/drivemusicradio
Beyond Synth
https://soundcloud.com/beyond-synth

AND ALL OF THEIR ABOUT LINKED YOUTUBE CHANNELS

100

Synthwave LABELS

Future City Records
http://futurecityrecords.com/contacts/

NewRetroWave
https://newretrowave.com/contact-us/

LazerDisc Recordings
http://lazerdiscs.com/contact/
 

Synthwave LABELS

Future City Records
http://futurecityrecords.com/contacts/

NewRetroWave
https://newretrowave.com/contact-us/

LazerDisc Recordings
http://lazerdiscs.com/contact/
 

101

How to Make Vaporwave -

-Intro has Pad chords, crackle, bells, atmosphere, shakers come in.
--Bass and arp come in around 24 bars slowly,
---More percussion and pads, less arp and bass than syntrhwave.
----Slower BPM, so 70BPM, 70 bars in 4/4 is a 4 minute song.
-Seems to be much more like Lofi.
--Pad and crackle play pretty much the whole way through. The next most prominent element is a rhodes type sound and a bell.
---Lots of reverb and delay to fill the time gaps left by 70bpm.
----Additional Pitch wobble and glide around.
-Pitch wobble on the bells even.
 

102

Synthwave
-Omnisphere has a bunch of ____ sounds.

-Juno
 

103

How to make awesome synthwave / 80s drums-

-Only use parts of the sample that you like, cut out what you dont like and layer.
--Really pay attention to the parts that overlap and see if you actually want that or if you want to cut/crossfade, gate, etc.

How to make awesome synthwave / 80s drums-

-Only use parts of the sample that you like, cut out what you dont like and layer.
--Really pay attention to the parts that overlap and see if you actually want that or if you want to cut/crossfade, gate, etc.

104

Learn To Write BETTER Melodies Concepts

-Repeition with change.
--Call and response.
---Short and long notes.

105

How To Make FUNKY synth basslines Concepts

-Making things a 1/16 note off from what you would expect.
--Moving by an octave from what you would expect

106

How To Sound Like 01: Kavinsky

-Instead of just playing root notes of the chords in the bass. Consider playing the 3,5 7, or even the 2 4 , you get it.
--Passing tones and escape tones in the bassline.
---The bass is notes are 1 bar long, modulated to have filter cutoff and many other things automate on trigger over a bar.
----Hook tones? Like passing tones, except that they're close to the destination.
-Uses Vocoded Vocal
--Making Arp sound dirty with bitcrusher and white noise.

107

How to Sound Like Dynatron (SpaceWave)

-85 BPM
--Crash, reverse, reverb
---Starts with bass pad, saga pad, FX lifeforms vocal thing, and another vocal thing
----16 starts with a simple simple lead melody whole notes.
-----Very smooth, progressive sounding
-33 arch melody
--41 arp, bass, kick, snare
-73 outro, 77 end.
--Essentialy the song is just basic transitions, slow progressive build to a drop and then it ends.
---Creative non-standard Arp Patterns, Could have half arp and half riff call and response.

108

How To Sound Like 02: Home - 

-Ping pong delay on jazz chords
--Shakers panning
---Perc Hits

109

NOTEE: Can reliably copy and paste scores with ctrl c ctrl v if you click on the middle highlight button in rack.

NOTEE: Can reliably copy and paste scores with ctrl c ctrl v if you click on the middle highlight button in rack.

110

Synthwave
Dance with the Dead Main Element

-Guitar riffs simple and repetitive as the main element, rather than the arp and bass.
 

111

Synthwave:
Strange Things Style General Elements

-Main element is an arp and drone pad for atmosphere, suspense, tension,
--Minimal drum importance.
---The arch pattern melodic line also present.
----Ping pong delay and reverb on the arp and automated.
-----Dirty Noise Stabs

112

Synthwave:
Cinematic Synthwave General Elements

-Big brass horn, fanfare type thing at the start to make it sound more EPIC.
--Big horn, brass, bass hits to move it forward.
---Lots of little sounds and hits and stuff.
----Chopping brass/horn sounds to make it choppy and interesting.
-----Lots of hits and fills and panning stuff.

113

General Elements in Chillwave/Chill Out/ASMR type music?

-Very relaxed, slow arp.
--A very chill arp and pad are the main elements in this track.
---With additional types of pad sounds adding in later.
----Also piano chords sort of layering in at a later time.
-----Group of ambient sounds and reverb swell going into break that has basically just pads.
------Things very wide and panning and moving a lot.
-------Vocal doubler on the pad
-A simple auto pannel semi-pedal, 2-3 notes repeating.
--Nature ambient sound FX.

114

Synthwave
Sampling a track General Concepts

-Filtering the sample
--Chopping it and using it in creative ways.

115

How to Sound Like 04: Miami Nights 84 (Outrun Style)

-130bpm, 100 bars, so 3.5 mins
--General strucutre 16 bar into, 8 bar build, 32 bar drop, 8 bar break, 24 bar drop, 16 bar drop?
---1 bar dropouts and drum fill for transitioning.

Kick -8-105
snare - 17-57, 65-105
HH - 25-57, 65-105
Perc- 9-57, 65-105
Bass - 9-57, 65-105
Bass Chopped - 57-65
Pad intro - 1-8
Pad build - 9-24
Pad Drop - 25-57, 65-105
Break Pad - 57-65
Arp - 9-57, 89-105, 
GTR LEAD2 - 41-57, 81-105,
Saw chord lead - 65-89
GTR LEAD1- 74-89
GTR LEAD3 - 81-105
Transitions fx - Every 8 bars or so, reverses and filters. Drum fill dropouts often.
LEead legato pitchglide transition.

-LOTS of sidechain pumping.
--Has bass filter cutoff automation too.
---sidechaining basically everything, but some things sidechained less or more than others.

116

How to Sound Like 05: Carpenter Brut

-More Aggressive.
Turbo Killer
146 BPM, 153 bars, 4/4, 4 mins,

Arp1 - 54-70
Arp2- 70-78
LD1 - 38-54, 78-94, 114-150, 
LD1 filter cutoff - 38-54, 78-94
LD2 - 110-114
LD Extra - 122-146
Bass Top - 22-38, 54-70, 
Bass p2 - 38-54, 70-94, 114-146, 
Bass tra - 22-38, 54-70, 
Bass ling - 22-38, 54-70, 
Bass ling 2 - 38-54, 70-94, 114-146, 
Kick - 18-22 stuttered, 
HH - 
Clap - 
Snare - 18-22 stuttered, 
Guitar - 
Organ/choir Chords - 2-22, 91-114
Arp - 2-22, 91-114
Crash - 
Crash reverse - 

117

SIDENOTE: Just open 2 FL studios. One with your project and one with a template/kit/idea you want to draw from.

SIDENOTE: Just open 2 FL studios. One with your project and one with a template/kit/idea you want to draw from.

118

-----NOTE: ALWAYS TRY TO GET SOME TYPE OF CALL AND RESPOSNE GOING. Even if it's a subtle version that the listener doesn't really notice.

-----NOTE: ALWAYS TRY TO GET SOME TYPE OF CALL AND RESPOSNE GOING. Even if it's a subtle version that the listener doesn't really notice.

119

Song Analysis Tips for PRE-Arrangement
NOTE: Can just drag a song into DAW, and then put a labeled MIDI clip for each element you hear in playlist.

Song Analysis Tips for PRE-Arrangement
NOTE: Can just drag a song into DAW, and then put a labeled MIDI clip for each element you hear in playlist.

120

How To Make - Carpenter Brut - "Turbo Killer" 

-Adding drums that are super FAT
--Adding basses and procesing them to make them fucked. Distorted, slipped, limited, compressed, waveshaped, etc.
---Note that brut has atleast one WIDE bass layer.
----Carpenter has an LFO on a LPF on the basses? To make it pulse over time?

-Lots of compression and distortion on the drums.
--The Basses and the bass layers are the most important part in this type of synthwave tracks.
 

121