Original Message 1/8                 Date: 11-Jul-00  @  09:43 AM   -   Epic Trance

rws

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can some people give me some ideas about what's going
on behind those crazy builds in trance/progressive house? I've tried programming them, but I find them very stilted sounding...

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Message 2/8                 Date: 12-Jul-00  @  10:07 AM   -   RE: Epic Trance

k

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hmm....well, it's a combi of crescendo's... drums & synths all building at the same time inc' filter sweeps etc... flange sweeps, fx sweeps/builds, whatever.. also what the track has broken down to 'melodically' is also a factor sometimes... a track can 'hold' a section of the progression at a 'tension' chord... holding and building until the break releases it.... use a transition chord like the last part in a progression just before the key-change ... hold that chord and it created tension of anticipation of the next section as long as the crowd have already heard that progression once, they can anticipate it at that point... other times, the structure is so classic, people can 'intuit' the next section...

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Message 3/8                 Date: 13-Jul-00  @  09:47 AM   -   RE: Epic Trance

ggehiere

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Yeah, as k stated, everything just build in volume and/
or pitch. The easiest and most exploited technique is
the snare swell. Start at 0 velocity and slide up to
full velocity over the progression of 4 or 8 bars. A
classic example is 4 bars of 1/8th note hits, 2 bars of
1/16th note hits, then 2 bars of 1/32 note hits.

Trance usually uses a reverberated kick to signify the
end of the build... You've heard it before.

There are posts in music theory regarding build and
silences you should check out - how to make sounds
louder.

Best

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Message 4/8                 Date: 13-Jul-00  @  11:32 AM   -   RE: Epic Trance

mathew

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a rather overused variation is to simply take the chord sequence or riff and half it, play that for 8 bars, half it again etc etc until for the final few bars before it breaks it is little more than a repeating percussive like hit. Add snare/kick roll/sweeping fx over the top to taste.

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Message 5/8                 Date: 13-Jul-00  @  12:49 PM   -   RE: Epic Trance

0/d

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Another thing you could do if you are using a heavy lead would be to set up an apreggio of one to three of the notes in your main riff and give it a massive bottom end.Use a real farty gargly sound and start a build with the cutoff from zero to max,maybe add some delay in towards the end so it bounces into the next section.But the simplist way of applying a build is to insert a highly pitched string when the snares start,I know its overused and cliched to bits but you know the saying "when all else fails............put some strings in :-)

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Message 6/8                 Date: 14-Jul-00  @  11:52 AM   -   RE: Epic Trance

JAWA

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Detune crash cymbals, that's about as roar-y as you can get, apply some phasing and panning effects and you're laughing

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Message 7/8                 Date: 14-Jul-00  @  01:13 PM   -   RE: Epic Trance

rws

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Great suggestions so far, this is what I was looking for, the stuff that can make trance/progressive house "formulaic" at times. It's a good starting point for me right now.

I couldn't find the mentioned articles on build / silence in musical theory, could someone point me?

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Message 8/8                 Date: 14-Jul-00  @  01:31 PM   -   RE: Epic Trance

swanofnever

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i'm sure lots of other people use this same fairly-lame trick, but i feel the need to keep it real and represent (yes, i'm a big star wars geek):

try this: sample a clean (i.e no backing music) tie-figher fly-by roar, then reverse it, strech it to 4 or 8 bars length (you'll have to play with it, so that it "swells" until the crashing/breaking/crest-point of the build, cause the raw sound goes from low to high to low -- get the highest point to line up with where you want the peak to be), maybe env. the volume a bit (so it swells more), and then make a copy (so you have 2 identical waves)...
now go into AcidWav (or any prog. that lets you specify hz. and lfo shape for tremolo), and trem. each .wav individually, using a bpm-synced rate -- one sample gets trem'd using a ramp-up lfo, one gets ramp-down... pan 'em stereo (you might have to fine-tune the rate/polarity/etc. of the ramps to get good movement), and then add a few more layers of other building-up type shit...

and please don't flame me for this stale-ass tip, i'm just too damn anal to give away any really good stuff...

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