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Making music is, in itself, simple, and I try to keep the arrangement as simple as possible for maximum impact. I like to try and keep things as simple as possible and make my point in as few steps as possible. I really want to believe that less is more. Would it be fair to say that your productions are fairly stripped back?
I think something else that sets your music apart from a lot of other experimental club music is the absence of heavy layering. People often over-dress a very simple idea and, actually, if they just removed a bunch of the layers, that kick, snare, and one synth would bang so hard. I try to tie everything together as much as I can – that’s been super important in my production. In a lot of experimental club music, you’ll hear several things happening at the same time – they’re happening in the same space but not really co-existing. I just think it gives a nice sense of cohesion. Yes, I do that quite a lot, and also with the Max for Live LFO. Is that a typical approach for you – syncing various modulations with one LFO? Different tones are tied to different spaces, I look at it as a way of looking at the same object through a bunch of different lenses.
As the sound becomes more “glistening,” it sits further in the distance. And it’s the same random LFO that’s modulating the first wavetable. Yes – it goes to the mix, the pre-delay, everything. You’re using one LFO to manipulate several parameters of the reverb at once, right? I’ve also routed some other modulation and then turned it off. That’s just a suggestion – turn it up and see if you like what it does. I really like the disorientation that results from that. I’m really obsessed with collapsing space – the idea of sitting in one acoustic environment and then, all of a sudden, you’re in a different one. Something I have in pretty much all my tunes is modulated reverb. The other wavetable is just providing a slightly more consonant low oscillator, to sit underneath that and give it a bit of body. But actually, I’ve found that I can, kind of, switch it out for any of the tables in the remastered folder and there’s always something really interesting there. I really like the way that the Chrome wavetable evolves across its spread of waveforms. One of the main things is just using LFOs to scan across the two wavetables. What kind of modulations have you used in this case?
It’s chaotic, without being too chaotic, you know?Ī lot of my music is focused around fairly consonant melodies, so that unpredictability is one way for me to get away with writing pop melodies and to feel okay with that for a minute. I like to be able to hit a key and know that it’s going to do something that’s within the range of what I’m expecting, but not 100% the same sound each time. So with this patch, I was really trying to use that to break apart the transients a little bit and create something that’s not super static. The thing I really like about Massive X is that it has ridiculous amounts of cross modulation capability – you can generate some really wild, chaotic elements with that.
Download massive native instruments Patch#
Let’s start with the patch itself – what did you set out to achieve with it?
Download massive native instruments download#
Listen to AYA demo the patch below, download it for yourself, then read on to find out how it was made and take an exclusive look into her sound design process. The result, 2020 coldest champion, is a masterclass in efficient patching, turning just a handful of well-chosen modulations into a dramatically morphing patch that flip-flops between plastic-sounding plucks and lush, detuned brass pads without ever becoming too unruly. We recently got in touch to ask AYA if she’d lend her synthesis talents to our Patch and Play series, providing an exclusive preset for MASSIVE X.
Download massive native instruments for free#
Said alias was retired soon after with 24-track retrospective are eye pea ell oh eff tea that you can still grab for free over on BandCamp. The recently defunct Tri Angle released AYA’s shape-shifting debut EP and departt from mono games in 2019 under her previous alias, LOFT. For a few years now, Manchester-based club experimentalist Aya Sinclair has been releasing a steady stream of warped electronic tracks that variously connect the dots between drum and bass, footwork, grime, and – as she explains further down the page – metalcore.
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