The ULTIMATE weapon for quick '90s ethereal pads

Tutorial | Feb 28, 2024

In this tutorial, I demonstrate how to create ambient sounds using 32 instances of Paul Stretch. I start by selecting sounds from the Triton plugin and adding random reverbs for depth. Each instance is then sampled using different keys, lengths, and stretch amounts, resulting in a varied and powerful drone sound. By layering these instances and adding simple melodies, you can create a thick atmospheric dance track.

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I created an ambient music track using 32 instances of PaulStretch to produce unique drone sounds or ambiances. Here's a simplified overview of my process:

1. Choice of Synthesizer: I mainly use Triton, a rompler synthesizer, in its demo or trial version, which works for 20 minutes before stopping. This limitation doesn't hinder the process.

2. Sound Selection: I browse for various sounds such as pads, keyboards, bells, mallets, strings, leads, etc., within Triton.

3. Reverb Application: I apply large, spacious reverb effects to the selected sounds. I mention using free reverb plugins and suggest presets like "space is the place" or "we are stardust" for achieving the desired atmospheric effect.

4. Sampling with PaulStretch: Each instance of PaulStretch samples a single note from the selected sounds. I use the D# minor scale, sampling different notes across the instances, ensuring a variety of pitches and timbres.

5. Randomization: For each PaulStretch instance, I record the samples at random lengths and apply random stretch amounts, creating a rich tapestry of sound. The exact length and stretch amount vary, adding to the uniqueness of each drone.

6. FX Layering: After disabling the direct throughput from the synth to PaulStretch, I group the stretched samples into an FX layer for further manipulation.

7. Stereo Panning and Melodies: I strategically pan the stretched samples for stereo width and layer simple melodies to add complexity. This approach ensures that the final composition is rich in texture and depth.

8. Final Adjustments: Near the end, I recommend removing the initial synthesizer and reverb effects, leaving only the PaulStretch instances. This simplifies the project to its ambient core.

9. Project Saving: All settings and samples are saved within the project file, making it easy to reopen and modify if desired.

10. Additional Tips: I suggest experimenting with recording lengths and buffer settings in PaulStretch to tailor the ambient sounds to your preference.

This process showcases how simple techniques, when applied creatively, can yield a thick, atmospheric ambient track. Each step contributes to the evolving soundscape, demonstrating the power of sampling, stretching, and effect processing in music production.

Questions & Answers #

Maybe you dont watch the video, here are some important takeaways:

How can you create ambient sounds using 32 instances of Paul Stretch? #

To create ambient sounds using Paul Stretch, you start by selecting a plugin like Triton or a rompler that uses samples. Browse for pad, keyboard, bell, or mallet sounds and apply a random reverb effect. Then, use one key at a time to sample different sounds, adjusting the stretch amount and recording length randomly for each instance. Layer different sounds and key notes to create a complex ambient track with unique drone sounds and textures.

What is the process of creating ambient sounds with Paul Stretch? #

The process involves selecting a plugin or rompler, browsing for suitable sounds, applying a random reverb effect, and sampling one key at a time with different stretch amounts and recording lengths. Layer the sampled sounds and key notes in separate instances of Paul Stretch to create a complex and textured ambient track. Consider disabling the sound output from the reverb plugin and consolidating the track by removing the synth and reverb plugins once the desired sound is achieved.

What are some tips and tricks for creating ambient sounds with Paul Stretch? #

To enhance the ambient sounds, experiment with different random reverb effects, adjust the stretch amounts by random increments, and vary the recording lengths for each instance. Layer different sounds and key notes to create a rich and textured sound. Consider starting without reverb, as adding reverb can quickly thicken the sound. Additionally, utilizing different octaves and stereo techniques can add depth and complexity to the ambient track.

Can you save and revisit your project when creating ambient sounds with Paul Stretch? #

Yes, saving the project will retain all the settings and instances of Paul Stretch, allowing you to easily reopen and continue working on your ambient track. By removing the synth and reverb plugins once you are satisfied with the sound, you can simplify the project and focus solely on Paul Stretch. Save the project to preserve all the contents and settings for future editing and revisiting.

Transcription #

This is what im talking about in this video. The text is transcribed by AI, so it might not be perfect. If you find any mistakes, please let me know.
You can also click on the timestamps to jump to the right part of the video, which should be helpful.

[00:00:00] So I recently made a music video where I showed how to use 32 instances of all stretch to
[00:00:09] make ambient sounds.
[00:00:12] And a song of itself wrote here, I'd love to see a tutorial about your process.
[00:00:16] And the process is actually very simple, but it's very powerful because you get a different
[00:00:21] drone sound or ambience each time you do it, because each time you do it kind of a bit
[00:00:26] differently.
[00:00:28] So what I do here most of the times is I go for a Triton for the plug-in called Triton.
[00:00:34] And also the original synthesizer was some kind of romplar, so it used samples.
[00:00:40] And you can see I'm using this in demo mode or in trial version mode.
[00:00:43] It only works for 20 minutes and then it stops working.
[00:00:46] But that's perfectly fine.
[00:00:49] We go to the browse and then we browse for some pad sounds or keyboard sounds, bell,
[00:00:56] some mallet sounds, strings, lead-sounds and so on.
[00:01:01] And we put this through some random reverb.
[00:01:08] This one is also free here.
[00:01:11] And I use here some random, not some random, but some nice big reverbs.
[00:01:19] Maybe here, space is the place or we are stardust.
[00:01:23] Something like this.
[00:01:25] Let's see how it sounds.
[00:01:28] A bit more reverb.
[00:01:34] Let's get rid of the high end.
[00:01:39] Then we use here sounds like this.
[00:01:46] And what we do now is we put this into an instance of call stretch.
[00:01:53] And in here we just sample one key at a time.
[00:01:59] One sound with one key at a time.
[00:02:01] So I'm going for scale of D sharp minor and I basically press for each instance another
[00:02:08] key of the scale and just use one sound of one of these presets here.
[00:02:13] So I start pretty high or maybe here and just sample this root note.
[00:02:21] I try to leave here a bit of room in between the keys.
[00:02:37] Something like this.
[00:02:40] I hit stop and I use also for each instance a different length of this recording.
[00:02:46] So I hit at random times, record and stop.
[00:02:51] And when I hit play here, I also change the stretch amount by some random amount.
[00:02:56] So each instance gets a random stretch amount.
[00:03:02] Something like this.
[00:03:03] And then I disable here this throughput, which is actually just, you know, getting the sound
[00:03:09] from the Valhalla through the call stretch so you can hear it.
[00:03:13] But next we want to put this actually into an FX layer.
[00:03:16] So select your call stretch and use control in G.
[00:03:22] And then I use another instance here, this one.
[00:03:26] And here I record another sound and another key.
[00:03:37] Okay.
[00:03:44] And just this one.
[00:03:46] That's it.
[00:03:50] Then you get something like this.
[00:03:58] I think this was the root here.
[00:03:59] So let's call this root.
[00:04:01] Maybe it's important for later on.
[00:04:05] Then I do another ball stretch.
[00:04:07] So it goes slowly down with the keys, right?
[00:04:10] But I press always the next key in the scale a bit, you know, one step down.
[00:04:16] So let's also use this one here.
[00:04:27] A bit quieter.
[00:04:45] Okay.
[00:04:47] Next one.
[00:04:51] Let's go for vocals here.
[00:04:53] So again, this is the root key.
[00:05:05] It's a bit high pitched at the moment, but we go to the lower octaves later.
[00:05:23] And this is the root here.
[00:05:27] Another instance here of call stretch.
[00:05:33] Different sound.
[00:05:34] Or maybe go here for keyboard sound.
[00:05:46] So again, the process is very simple, but it's actually pretty powerful.
[00:06:03] Okay now we use this one.
[00:06:20] Okay let's go down here.
[00:06:44] The process is also very chill.
[00:07:14] It's also a little chill.
[00:07:21] Okay.
[00:07:41] Okay.
[00:07:51] Maybe too much reverb here.
[00:08:18] Because I have different stretch amounts here and different recording times we get
[00:08:31] a bit of reverb here.
[00:08:56] Okay.
[00:09:06] Okay.
[00:09:26] That is through it again.
[00:09:53] Maybe bass sound here.
[00:10:13] Okay.
[00:10:37] Maybe better to use, if you want to use a progression in the bass you probably want to keep the
[00:10:44] bass in just one instance so you don't layer two different bass sounds on top.
[00:10:59] That's also a root.
[00:11:03] Maybe name to this root and so on you can take these notes here and then to the left
[00:11:10] and maybe to the right.
[00:11:18] Get some kind of stereo feel.
[00:11:23] Maybe do another one.
[00:11:52] You can also start and play some melodies, some simple ones.
[00:12:12] And some belts here.
[00:12:39] Okay.
[00:13:08] Maybe another one here.
[00:13:34] So some simple melodies, nothing complex.
[00:13:38] Because you layer this so much you get so much complexity in the end.
[00:13:48] Maybe leave this at two.
[00:13:56] It's almost too much already.
[00:14:01] I should have started without using a reverb.
[00:14:04] If you add reverb you know it gets too thick too fast.
[00:14:28] And when you're done with this you can just remove here the triton completely and also
[00:14:50] the reverb.
[00:14:51] And you just stick with basically Paul Stretch.
[00:14:54] And if you save your project all the contents of this here is saved to your project.
[00:15:01] You can just open it up and it works fine.
[00:15:06] And then you can on top of that you know play some melodies.
[00:15:11] I'll do what I want.
[00:15:12] I'll just leave it.
[00:15:15] Let's go ahead and fill in this one.
[00:15:43] And you can even sample this.
[00:15:59] And by the way you can also in the settings here change the recording length or the buffer
[00:16:04] length from 30 seconds to up to 120 seconds.
[00:16:09] If you think this is way too short.
[00:16:24] Yeah that's basically how I create this track.
[00:16:29] Just with a few simple you know Paul Stretch instances sampling some random sounds from
[00:16:36] a trial version of a synthesizer of a rompler.
[00:16:40] And you get this thick atmospheric dance ambience track.
[00:16:52] That's it.
[00:16:53] Have fun.
[00:16:54] Thanks for watching.
[00:16:55] Leave a like if you like the video.
[00:16:56] Subscribe to the channel.
[00:16:57] And I'll see you in the next one.
[00:16:58] Bye.
[00:18:07] you