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Will Connor (Seesar) underscore my work with an evolving drone of some sort to juxtapose the more-active soundscape layered on top. Also, as an acoustic musician, I have to keep in mind that I will need to make lasting drones as well as perform other sounds without electronic assistance, therefore, in live situations, reproducing or emulating my recorded pieces would be extremely difficult if I over-used drones (and this is a discussion perhaps best left for the final, general advice discussion, but when creating works, especially ones that use droning, consider if you or your project will be both a live and recording project, or just one or the other. It will greatly inform how you approach drone use and creation.) a.
What are some of the techniques you use to create drones? Treha Sektori: Bow on a guitar for example, slowed and pitch down vocals. Stuzha: I use bass guitar these days.
Just a quick picking or tremolo playing. Then, lots of delay and reverb on top of that. Seesar: Acoustic drone creation can be tricky, but there are certainly some effective creation methods that can be translated to many situations. Bowing an object, shaking an object, or rolling or scraping something over an object can all be useful techniques to employ. I regularly bow cymbals, pieces of plastic, or homemade stringed instruments; attach a spring to a resonator and shake it; or place a ball or stones in a bowl and move the bowl in a circle, allowing the ball or stones to roll around inside the bowl, which will resonate loudly with a consistent movement. Singing bowl-style rubbing a piece of wood or metal against something is somewhat of a combination of these methods, and is also very effective on certain free-moving bodies.
Mechanical means to generate constant movment or extended decays is another useful approach to creating a drone, such as rotating the tyre of a bicycle with the pedal, and then scraping the rubber of the moving tyre or generate a constant whining sound that can be either used unaltered, or be manipulated in the studio. Skadi: I prefer multi-layered soundscapes with different automation to create ever-changing textures. Furthermore, I usually add some background “assisting” drones, like eerie choirs, or give the main drone more expression. Mebitek: Time stretching on single sound, delay, distortion and reverb. ProtoU: Sometimes I layer sounds on top of each other. Sometimes I just play a few synths at once and they create such an immersive feeling that it really needs just a bit of editing and a proper backbone, then it is done.
Taphephobia: I usually use a lot of reverb and echo, but not always. It depends on the sound. Capcom fighting all-stars characters. Sonologyst: There are different ones, maybe infinite. It’s possible to make drones with stratifications of synth pads, by editing acoustic instruments like brasses, winds, string instruments and so on; playing heavily distorted bass and/or guitar; editing samples, using noise from modular synthesizers and on and on b. Do you have a favorite program/instrument to use for creating drones? Skadi: Definitely Spectrasonics Omnisphere 2, since it’s a swiss army knife for sound design, and you have the opportunity to include your own samples, as well. Mebitek: Native Instruments and Kontakt.
ProtoU: I think it’s mostly Kontakt, and morphing all the different field recordings I make. Taphephobia: My guitar and Adobe Audition 3.0. I am pretty much a comfort-guy. If I like something, I try to stick with it. Treha Sektori: Theremin is lovely for droning.
Aegri Somnia: Reaktor enables you to create random calculated drones, and one life time is not enough to explore all its possibilities. Stuzha: I quite like using Paul’s Extreme Sound Stretch on some field recordings like wind. Seesar: Definitely bowing or scraping cymbals is one of my favourite means to create a drone. The overtones of vibrating discs can often interact with each other, even in just a basic, one-cymbal only situation, and typically complement and parallel over sounds to create rich, full-frequency passages. I also greatly like dragging a rubber ball over a membrane, like a large drum head, which is similar to bowing or scraping a cymbal, but with an entirely different timbre, and is also aesthetically pleasing and compositionally fulfilling. Will Connor (Seesar) c. As a beginner did you create drones the same way you do now?