Test 3: is similar to Klara Lewis’s 2016 sound art piece, View. The Swedish sound sculptress combines found sounds, field recordings and electronic textures to create complex sound sculptures. Using the feel of this track is a perfect way to use all the sounds and techniques I have discovered so far. I intend to mix this track to a high standard to see what potential issues may lay ahead in regards to mixing and mastering tracks with the sound stone samples.
The Main Tone: is Sound Stone Sample 10 (palm) pitched down, now playing G2 and C3
for the low part and G2, E3, A3 for the high.
I had to use a lot of effects to get this sound to where I wanted it be. On the insert I added the Reverence Reverb to give it lots of space, the frequency EQ to reduce everything between 1k and 4k (which I have had to do for most of the lead sounds) and the Cubase EQ to make a reduction between 50k and 100k. I added the Saphira Stereo master bus to add some warmth and harmonics and finished off with the Waves S1 imager to give it a wide stereo field.
The bass: was created using Sound Stone Sample tip 13 pitched down to C2 and looped in the Cubase sampler. I made a very small EQ increase at 60Hz.
FX’s 1: is Sound Stone 5 (tip) pitched down to c2 with a big reverb and auto pan.
Conclusions: Over the course of this experiments I have discovered some great techniques for controlling and manipulating the samples. It is definitely possible to create good basses, unique leads and interesting drones using just the sound stone.
Sound Stone Sample 10: Processed with Effects.
Sound Stone Sample tip 13: Processed with Effects.
Layout/Programming: I looped all the parts and added a reverse delay Hi Hat and a distorted Tom to drive the whole track forward. The loops were manipulated in a "live
jam" like fashion, fading them in and out over three minutes.
FX’s 2: is Sound Stone 5 (palm) pitched up and looped at C5, panned far right with no effects.
FX’s 3: was Sound Stone 9 (palm) imported into Padshop and manipulated, auto panned and eq’d.