I absolutely love everything you've done. My question is, have started doing anything different in your live sets? Do you feel pressure from people as your popularity grows to change what you do? I mean this with the utmost respect, but is there anyone sound checking while you play, because the bass (specifically during only your set) is irrationally loud, and completely abolishes the beautiful melodies you've written.Įdit: sorry for the wall of text with no question :p You played more of your own music, the bass wasn't ear murdering, and you enjoyed yourself. The one time I truly enjoyed your set was over a year ago here in Orlando. I even went as far as to skip out on your most recent Orlando show due to lack of interest from my friends after we all saw you play in Tampa. Most recently, EDC Orlando, and a recent show in Tampa. With that said, I also wanted to let you know that recently I've been very disappointed with your live sets. I wanted to thank you for your music, and also let you know that you're my favorite musical artist ever. I've been "biggest fan" status since your remix of You Got To Go was one of your only songs, and you were releasing tracks like a mad man! It felt like one a month or more! Following your online DJ sets, showing up for every show you've played in greater Orlando / Tampa, even convinced some friends to drive down to Miami to see you play at a pool party once, which I've never done for anyone. No kidding, I've got your bumper sticker on my car I've even drunkenly thanked your mom for birthing you at a set you played here in Orlando. I take short breaks all the time and then listen back, sometimes I will even take notes during the first listen after a break.įanboy here. thats when you will notice if things arent right. Bounce out that riff and then bring it back in, reverse it/chop it/pitch it up and octive, all kinds of ways to make things sound cool but the key is to bounce it to audio first so you really have control over the manipulation. If I am making something glitchy that still has melody involved then I will usually make a synth with a ton of delay or cool fx and then riff over the section I am working on. I will have sound design sessions where I make lots of cool beeps and boops and then I chop them in once I get to the glitch out phase.
The glitches are just lots and lots of editing/snipping. Its just about making it sound wide and fat and glued together. Bounce that synth out and then do it all over again! Sometimes going an octive can help fill it out too. Make a supersaw sound, play the chord you want, bounce it out and then change the synth, throw it on top of what you've already bounced and start going through sounds on the new synth until you are like. Thanks! Fevers isn't usually a track that gets a lot of attention. Thanks for doing this by the way!!! You are the BEST!! How do you approach making atmospheres? I really love your intros and builds for how atmospheric they are while still using glitchy elements to keep them interesting - what sort of techniques do you have for adding those glitchy effects while keeping the smooth feel to the track?Īny tips you have for mixing it all together!! How do you combine all those different sounds in a way such that nothing sounds jarring or out of place? How do you make the glitchy fills that you use during the drops in tracks like Fevers and such? How do you make your supersaws so full? (I assume this is partially sound design but also partially which notes you play and how you structure chords, so any tips on either would be great)
I'll break up the question a little more to make things easier:
I've gotta say, you are by far my favorite producer these days - your stuff is just so euphoric and it sends chills down my spine! I especially love your remixes of You Got To Go and All Alone, as well as Fevers!! As a producer myself I've tried numerous times to replicate some of your work with varying degrees of success - I've also used your work in a couple mashups I've made so I have to ask: How do you approach sound design?
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