The secret behind every great double act is the way in which the two component parts work together, with successful compatibility achieved from either similarity or difference. Scottish duo The Proclaimers for example, have the biological advantage when it comes to similarity as they are twin brothers, so it’s no surprise their voices are homogeneously harmonious.There are far more examples of the second kind of partnerships though, where the contrast of the pair’s opposing attributes/flavours/tropes delivers a satisfying result. With our narrative established, let’s now look at how it applies to Austrailian collaborators Flume and Chet Faker, and their track ‘Drop The Game’.Harley Streten (Flume) and Nick Murphy (Chet Faker) first worked together in 2012 on ‘Left Alone’, a track from Flume’s self-titled debut album, before teaming up again in 2013 for the EP ‘Lockjaw’, which included ‘Drop The Game’. It’s easy to be swept away by Chet Faker’s soulful wandering vocals, just like the artist his pun-pleasing stage name pays homage to; jazz trumpeter Chet Baker. However, keeping things in line is Flume’s tight production, with punchy beats rhythmically slicing the mix into beat sized ear-fulls.Stripped back sections where your mind can float off into a daydream, are followed by a soberingly swift return back to earth, when the gravity of the percussive elements kicks back in. The catchy melody is punctuated with little rests, repetition keeps things moving but with a reluctant dragging of the heels.It’s another triple threat tutorial as we show you how to make the bass, organ and steel drum sounds for yourself with DRC.Click here to download the Ableton project fileWe’re dropping knowledge,Team Imaginando
When Modeselektor and Apparat met for the first time, it wasn’t because they had a masterplan to take the techno world by storm, they just wanted to hangout as a group of like minded musical tech-heads. The inevitable jam sessions that followed were purely ‘just for fun’, initially at least, but since then we’ve been blessed with three studio albums plus the 2016 ‘Live’ album, which offered everyone the chance to experience the magic of a Moderat show.In 2017 the band announced that they were taking a much needed hiatus from working together under the Moderat brand, something which was never meant to be a brand, and something which grew so big it ended up taking over their lives. With success comes pressure, and with the spotlight on you, under the scrutiny of the media, something which was once fun can turn into a laboured and stressful exhaustion.Every band lives for touring though, and after taking their show all the way to Coachella and back, the trio played their final homecoming gig in September 2017, to a sold out crowd under the night sky of Berlin.While Moderat may be out of sight for the foreseeable future, their sound lives on as this week we show you how to make the bass and pad sounds from their track ‘Out Of Sight’ with DRC.Click here to download the Ableton project fileEverything in moderation,Team Imaginando
A Great Sounding Yet Ultra Affordable Tape Delay For Desktop and iOS
Imaginando's latest vintage delay plug-in for desktop and iOS is seriously affordable and brings a touch of retro to your productions.
Today we are excited and proud to introduce you to a brand new product from Imaginando, with the launch of our latest effects plugin for both Desktop and iOS: K7D - Tape DelayBorn out of our deep-seated love of all things analog, we've used our meticulous methods of detailed emulation to recreate the classic sound of vintage hardware delays, with a modern twist of updated features and design.To ensure an authentic and realistic analog sound, we’ve once again focused our research and analysis on all the little irregularities and imperfections that tape delay introduces along the entire signal path.Here’s a look at the key features:- 1ms to 1 sec. dual-playhead, analog-modeled delay with noise, tape distortion and mechanical vibration models- Input with pre-amp saturation and optimized gain staging and saturation algorithms for very musical results- Normal and Ping Pong modes- Delay time spread between heads and stereo width control- High pass and Low pass filter on feedback path- Powerful LFO bipolar time modulation with multiple waveforms (sine, triangular, saw, square, sample and hold and filtered sample and hold) and possibility of inverted LFO phase on second play head (for added stereo imaging)- Delay time syncable with BPM and possibility of delay time modulation via incoming midi notes- Oscilloscope visualisation of audio waveform and LFO waveformDesigned to be flexible and versatile with a concentrated set of features presented in a stylish, easy to use interface, K7D is an affordable plugin which represents excellent value for money.K7D launches on both iOS and Desktop today 06/05/2019 with a special introductory offer available at launch.We look forward to bringing you more great things in 2019,Team Imaginando
The Roland Jupiter-8 was/is a thing of beauty, both to look at and to listen to, and for the first half of the 80s it was the synth of choice for anyone lucky enough to get their hands on one. (So popular in fact that there was a long waiting list of people more than happy to hand over the eye-watering asking price of nearly £4,000 in 1981) A must-have for musicians at the time, it was one of the sounds which helped defined the 80s and was used on loads of classic hits, including today’s tutorial track, ‘Radio Ga Ga’ by Queen.With its catchy, sing-along chorus, it would be hard to find anyone born in this millenium who isn’t familiar with the gorgeous electronic sound of this massive 1984 hit. It stole the show at the 1985 Live Aid charity concert, with the stadium of 70,000 people all clapping along in unison, just like the music video.The song was written by the band’s drummer Roger Taylor, and was originally called ‘Radio ca-ca’, inspired by his son, a small child at the time, pointing to a radio and proclaiming ‘Radio ca-ca!’ to vocalise his opinion on how bad he thought the music was. As such, the song was written by Taylor to express his frustration and sadness at the decline/importance of radio during the rise of MTV and the music video.It’s another triple tutorial which includes the sounds of the bass, pad and keys, all reconstructed using DRC. Make sure you watch till the end to find out how we take care of the guitar part too!Click here to download the Ableton project fileWe will rock you,Team Imaginando
While the genre-ambiguous style of Grimes’ music may be an acquired taste, the overarching brand curated by Canadian musician Claire Boucher is hopefully intriguing enough for you to want to find out. The music video for her 2012 single 'Genesis', directed by Grimes herself, is certainly interesting, to say the least!A diverse set of locations provide a seemingly random range of backdrops, from a secluded woodland scene to a sprawling desert, with a bunch of Instagram filters to maintains a surreal flavour throughout.It’s the foreground subjects however, that elevate things to a whole other level of odd. Grimes is seen swinging a sword one minute and sharing a limousine with a python the next, as we randomly jump between each of the bizarre scenes.Arguably the star of the show, in visual terms at least, is Brooke Candy, she’s the girl with the pink dreads, who literally shines out from the rest of the cast, thanks to an eye-catching, metal outfit; easily the most memorable thing about both the song and music video together!Before you rush off to appreciate Grimes’ Genesis music video as the piece of modern art it truly is, why not learn how to make the track’s bass sound with DRC in under 6 minutes?Click here to download the Ableton project fileA sign of the Grimes,Team Imaginando
Luke Abbott’s music has a sort of freeness, refusing to conform to any particular genre tropes or trappings, it weaves its own atmospheric path, much to the delight of a solid fan base accumulated from ten years worth of Border Community releases. 2011’s ‘Brazil’ is no exception, with its ambient phasing pads masking a deceptively fast tempo, clocking in at 165 BPM. (Indeed a more house/dancefloor-friendly ‘slow-version’ of 128 BPM was also released.)The meandering pitch drift remains prominent throughout both mixes which serves to elongate and stretch out the chord progression, dragging itself along with a leisurely demeanor.The effortless precision with which Luke manages to create such emotive soundscapes could have something to do with his degree in ‘Electro-acoustic Composition’ from the University of East Anglia, in his home city of Norwich, England. In 2012, Luke’s talent and artistic potential attracted the attention of the Wysing Arts Centre, where he was bestowed the honour of becoming their first ever ‘musician in residence’.More recently Luke composed the original score for British film ‘The Goob’, releasing the work as his 2015 album ‘Music For A Flat Landscape’.In this week’s DRC Sound Design Tutorial, we take a look at the bass and lead sounds from ‘Brazil’ by Luke Abbott.Click here to download the Ableton project fileThe same great sound, anywhere in the world,Team Imaginando