Experimenting With Dark Ambient Soundscapes Using Ableton Live | Stephen Haunts | Skillshare

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Experimenting With Dark Ambient Soundscapes Using Ableton Live

teacher avatar Stephen Haunts, Trainer, Public Speaker, Author

Watch this class and thousands more

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

7 Lessons (52m)
    • 1. Course Overview

      2:20
    • 2. Setting Up The Project

      3:30
    • 3. Processing the Train Passing

      9:23
    • 4. Processing the Wind Chimes

      8:11
    • 5. Processing the Circuit Bent Furby

      8:56
    • 6. Processing the Analog Synth

      9:26
    • 7. Tidying Up the Track and Exporting

      10:01
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About This Class

The genre Dark Ambient can be a catch-all term for an entire genre of music that encompasses, ambient, ambient industrial, soundscapes and noisescapes. These are all types of music that when listened too with your eyes closed, can transport you off into another world.

In this course, I will show you how to construct a noisescape track using techniques similar to those used by the BBC Radiophonic workshop where we take some field recordings, and then process them, and mould them into shape.

Experimentation is the name of the game, and by the end of the course we will have built up a spooky sounding soundscape that will whisk you off to an alien world, roaring with wind storm and radio interference.

Meet Your Teacher

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Stephen Haunts

Trainer, Public Speaker, Author

Teacher

Hi, I am Stephen Haunts, a software developer, online trainer, classroom teacher, public speaker, podcaster and author. I have over 25 years of experience as a software developer and a leader working at huge organizations from global banks, financial lenders, healthcare and insurance. 

I am now a freelance trainer, podcaster, and book author. I also travel around the world speaking at many conferences about software development, leadership, and personal soft skills, and I have a passion for helping professionals improve their skills.

I have been teaching online with the Pluralsight platform since 2014, and I am now teaching small skills-based courses here on SkillShare. I hope you enjoy the courses that I post here and I would be grateful if you could fol... See full profile

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Transcripts

1. Course Overview: Hi, my name is Steven horns and welcome to this course, experimental, his dark ambient soundscapes using Ableton Live. In his course, I'm about to show you how to build an ambient soundscape heating found sound manipulation and audio effects in the Ableton Live digital audio workstation. Ambient sound scapes are fascinating genre to work with. For the listener. They helped transport you into a different world by immersing into a wall of sound. Soundscapes also make fantastic sand beds that you can use behind other compositions that you can lay with lo-fi beats. Soundscapes also popular in the music licensing business as a work while we film to help portray a sense of emotion and atmosphere. In this course, we're going to explore creating sound bed we've manipulated found zone, will do this by primarily using extreme sound stretching techniques, where we take high resolution audio recordings of everyday sounds. Instructor mark a piece of elastic to reveal the hidden sounds within the sounds. This is then how it's by doing additional tonal manipulation with audio plug-ins that are built into Ableton Live by default have in creating ambient sounds case for the last 17 years and have released many albums. You can hear them on Bandcamp with the link on the screen, or by searching my name, Stephen horns on streaming sites like Spotify, Apple Music, and the many other streaming services out there. As of this recording, I am creating an album called disruptor. Well, I've created free tracks are ready. This album focuses on soundscapes, ever harsher, hard edge, featuring lots of distortion. In this course, I'm going to create track for, for this album. Let's take a sneak peek of what we're going to be crazy in this course before we get started. If you don't want to hear what the untracked looks like, and please feel free to skip to the start of the next video. Okay. 2. Setting Up The Project: Now the formula that I'm able to live at just wanted to show you the four samples that we're gonna be using for this track. So I have a folder on my desktop and I have four samples in a sort of a train passing. We have some wind chimes. We have a circuit bend Furby. And what that is, is, is a Furby as a children's toy. I see from the late eighties and early nineties where did quite a few years ago by rewired the insides, it makes lots of crazy noises and I'll create some samples off for that. So this is one of those samples. And then I have an analog sim fair, where I just recorded some weird warbling noises. So since what we've got is this is the train passing. So I have a trademarked name while phase, so it just went out with a recorder to record that. Here we have some wind chimes. So I guess organic natural sounds. So sounding with him was to our track. Here we have the psychic bend Furby voice brings a smell to my face. So they find a behalf just noodling on an analog synth. So just unless or being modulated filter sweeps are sound quite cool. So these are the full base WAV files that we can use for this track. And I'll not keeping fatty bicycle not to limit what I use per track. I mean, he kind just pile lots and lots and lots of stuff in that video stops, get quite busy products keeping fairly straightforward. So now we have those sounds and let's load up Ableton Live and just make sure we're all set up ready to go here. So here we are unable to live this Ableton Live suites. Where is the top version? And you didn't have to use suite. You can use standard or even though one below which I think is called Light was important, is this isn't a tutorial that I expect you to follow along exactly with. These kinda more, sir, inspire you into a way of creating those kind of BBC Radio phonics styles or sound, soundscapes. So I urge you to do is instead of trying to follow along exactly with what I'm doing is trying to do something similar. Pixel samples, load them in new. Some of the tricks we can use indices you can come up with. So I am gonna differ. So I'm going to drop the tempo from a 120 bpm down, sir, this D 50. And the reason this is important is because when I add some, say delays or some rhythmic effects onto our track wouldn't pray quite slowly, turned out to be quite a sort of slow, kind of eerie type track. So let's just get rid of these midi tracks and amazement as well, and go to our Arrangement view. So now we know what samples we're using. We've got Ableton Live load it up. Let's start looking at how we can build up a Nia. Does track. 3. Processing the Train Passing: So we're gonna do is we're gonna bring our first sampling and Adobe stretching to it. There's kind of two ways we can approach this. Now. We can either use a sampler to stretch it or we can use direct sample manipulation. I prefer to die example manipulation. That's just personal preference. It doesn't really matter either way. So we could go to our midi instruments here. We could use a sampler, we could drop it on a truck and take one of our samples. Let's say take the wind chimes for example. We could drop the n and then on the keyboard I can play it. Now see that's pitch down quite a bit. I could then go and higher octave. But using a sample that is a common way of doing, and I do, do this from time to time. I feel free to experiment with it. So you can just go in and then record some midi notes. My actual favourite technique is to do direct samples by themselves. So what it is, we're going to start off with the train passing. So I'm going to drop that sample m. And if I double-click on the sample, It's been at the audio editor. You'll see that we've got this button here called war, but a war button selected by default. Now warping is kinda one of the kind of one of the main key features or main selling points are able to live. So for example, was doing for on the floor techno track or house track and was working at a 126 BPM. And if you've got really cool drum loop or the hi-hat libor base leap or lead that we want to use but is recorded at say, a 150 fiv BPM. And then naturally it's not gonna fit very well. So what the warping engineered live does is it creates a hundreds or thousands of little slices of that loop and then allows you to sort of change the timing of the loop. And if you're doing traditional music, That's great. It's absolutely what you want. What we want to do here though is not what we want is actually going to get in the way. So what I'm gonna do is I'm going to turn it off. Then what it is and play with this transposed I0 here. So by turning this down is going to stretch it a sample was, it's like imagining the sound isn't on a big piece of elastic and it's pulling it. So let's see what that sounds like on its own. So it sounds like a really sort of long, slow evolving, white noisy style texture, which is kinda cool. That's kind of what we want for this style of music. And what I did notice is that we as clipping in the master channels. So it's gonna bring that down a bit and bring our sample volume down a bit. Has been f. This actually serves as a really good introduction to what we wanna do. Now what I'm gonna do is I'm just going to reduce the length of the sample of it. So I'm going to put the play head here and then do Option a, just a split using the option cakes. I'm using a Mac, but there'll be an equivalent for Windows. It's gonna remove these bits off of the end. And then I'm going to hold down the option key and then drag the sample, just duplicate it. So if I put these two together, that gives us the total track live, five minutes, 20. So that can be kind of the main bed of the tracks. We have these two repeating undulating chasms if white noise. Now what wants to do is because we've used that transpose dial, we turned it right the way down. It's going to create a lot of base energy in the low end. So we just need to make sure that it's timed. So when it gets my audio effects and I'm going to add any Q8. And if I bring up the spectrogram and then just start playing, you see we've got all these volume going on in the low end. So we just want to control that a little bit. So I'm gonna change this first band here to a base roll off. I'm just going to bring that kind of inner bits. So it just helps control any low-end noise. Now what want to do is I want to add a little bit of distortion just to help sort of saturates and kind of bring out some harmonics and that sound. A particular favorite of mine for doing this is a saturates, a plug-in in life. They don't have to use this. You could use any other kind of distortion, plugging these Galois qualities one, so it's one of my kit. Well, make it a bit warmer. So it's going to drop this on and see how this sounds. So I'm just gonna play around with some of the controls. Just experiment. And just doing a nice job. Is harmonic. Ringo fully wet or dry it and saying, yeah, that sounds cool. It just adds that kind of little bit of harmonic interests to the sample. That's typically when you listen to sound scape albums. But it would be like lust mode or anyone else that you always have this kind of sense of depth. Like you're playing in a massive Cavanaugh a cathedral. And that's because I use a lot of reverb. And reverb really is your best friend on this. In fact, I always like to joke when you, when you get in trouble, oversample add reverb. Now, let me create the defaults. Projects here now has a reverb bawdy setup and it's, this is one of the standard plugins that you get with life. Completely feel free to use it as a great sound in plugging. But because I'm using Ableton Live Sweet, I'm gonna remove that. I'm gonna go to my Max for Live plug-ins. Because one of the downloadable packs that comes with life suite is his convolution reverb. And it sounds absolutely amazing. And one of my favorites is his cathedral plugins wonders and remove this onto one of the return channels. Now by doing this, it means that we can all have our tracks can feed into this return channel. So we get this as consistent reverb. Now reverbs really good way of adding depth to a track. And I'm also looking for z in multichannel by 5.1 audio. But really if you think about it, if you're sanding and if you imagine your standard in the center of the track, and you've got left and right panning so you can have things move from left to right. But if you want to make things sent out, they're further away from me. He kind of increased a reverb puppets. And that's what gives you that kind of sense of depth. So I want to do is I'm going to go to okay, it's a mixer and I'm going to select the cathedral hair. And the volume is turned down at the moment, so no sound is being sent to their return channels. What we'll do is I'm gonna just gonna port is right away up. And let's see how this sounds and we'll just play around with some of the settings that you can see here. We've got quite a lot of sound going for our returns channels such as solar down here. And if I go suddenly stopped the track, you hear that reverb Taylor was just sounds really, really nice. His play around with the river. And we changed again. We said that's dry then it's basically been scanned and dry signal coming for innovative apps not affecting. And so maybe we can get to fully wet. That is tend to side. I want to mix in our original sound. That's just create an lovely texture. So it's going to drop the volume slightly. I guess he's trying stuff that's come on quite nicely. So I'm just gonna quickly save my set. So this serves as the start of our tracks. We have kind of this low end rumble, which sounds pretty cool. And that's what we're going to start with. So next, let's see what we can do with the wind chimes. 4. Processing the Wind Chimes: All right, so now let's add in our wind chime. So I should drag that into the track here. Okay, wonders, and we'll double-click on it and return the warping engine off. And we can play around with the transpose, can go really far or we can do a small one here. Let's see how this sounds. Sorry, quiet. So she's based a volume. You can also base to sample volume so on the sand, but I just have to wind chime. You have a volume that's got a bit more sounds with the train pass in. Turn down the parsing, trying to assign some good, she's based wind chimes a bit more in the volume. And we'll wanna do is I, I, once I also run through our Riva free volume. So the reverb can actually stop the try it. You can just see that sort of silky clean reverb disk gradually fading out. Sounds absolutely amazing. So we've got quite a bit of interest in harmonic content there. So what I think could be good for this is if we place this in the middle. So as our first train passing starts to fade out, we have to wind chimes come in and they gradually mix on the second instance of the train pass in and then fade out again. Shorten the length for this sample of it. And what we can do is we can just duplicate this sample again. So you kind of have it kind of offset prying. So we have sort of a train pass in that mixes in with the wind chimes. And as a wind chimes is still playing out the train passing, coming through again. And then gradually we end on the wind chimes by themselves. Sound quite nice to see how it sounds here. Yeah, a lot with this guy. And I can imagine if you close your eyes, just have the slip plane. These and volume over some speakers, you can just kind of lose yourself in the ambience. So you earn some kind of alien planets with a raging wind blowing and some alien wind chimes going in the background and some true aliens like wind chimes as well. Okay, so what could we do with this now? So I noticed that when we created our new Ableton Live projects, it has a delay setup by default. So let's see what they've given us here. Ok, so let's, it's gonna return channels. So let's pipe through the wind chimes, turn up the volume going into the delay. Let's just see what happens here. If we soloed a delay by itself. Just basing a delay that where three other software to lie on the wind, chances qubit is ten at the feedback. Now that sounds really nice. So if we take the solo offered, just try the wind chimes again. Messaging can really sides some quite medicine now. Such trump the chime volume to slightly towards me, sort of chimes Gleason, listening in the wind, sounding really good as just doing it. It was safe. While I feel be quiet good is if we can have those wind chimes kinda panning gradually between the left and the right channels. It gets kind of a sense of movement. I think there are some quite good. Now in Max for Live, we have a plug-in here called LFO. This is a low-frequency oscillator that you can map to another parameter in life, which is quite handy. So we drag this in to our channel. And we can see we have a frequency going here. And if I click map, go to our mix of u, and then click on the pan button here. So you now see that the as the oscillators movie in its move in the pan from left to right and ISDN quite a hard panned left and right. So what we can do is we can change our depth. So we can have is a very, very subtle like that. So we can have a bit more pronounced, I think having it go for left and mites probably a bit much, but that kind of feels good. And we can also make an even changed the speed. It's going really fast. Or we can drop it quite slowly. So it's a bit more cycling that we soundscapes and ambien industrial or whatever you want to call it, kinda subtle is always better. So I think having you go from left and right quite slowly as good. So let's solo the wind chimes. And if you're listening to this for headphones should only be bit more pronounced and you can see the pan going there. Let's increase the depth. Bit more pronounced. Again in the spring or the rest of the track backend. That start to sound really quite a theorem. It's when our next video, let's bring in the forbids. You get some really quite interesting sounds in that onto our base landscape that we have now. 5. Processing the Circuit Bent Furby: So let's now add Febby sound, which is going to make the sound rule all the interesting. So she's drunk, it's him. This is a much Shultz to sample. So even wave stretching is still gonna be fairly short. So she's solo this track, just bringing issues, try that out, that is going to get ugly. He can go the other way. Transpose reedy, Hi, I like it, but laughing sounds quite good. So let's just play around. We assume volume automation on this. So I'm going to gradually fights in and then it's outside pit. Thanks be to scientific equipment. Now let's move this to about that. So as we get the train policy and gradually fighting and we can have our Febby stop. He sees a much Schultz sample I'm going to reproduce a few times. Designable. Whoops, an up on that. And then we'll do a very good job of cutting and pasting today. Okay, maybe guy tends to be too uniform of bounce it. See what the phi b style to have to train policy and then wind chimes come in and we have another Febby style go in the heights of the track with the second train policy, we have another Febby and and that's to try gradually comes to an end. We have the wind chimes in the Febby pretty much by themselves. Cl. Thank you. Fall on this IDM planets with this wind blowing and these kind of spooky wind chimes in the background and you start, A1 is kind of gurgling sound around you. Is something name is it coming to get you? He knows. There's Tri hey, we have the full wind and nobody liked where that's going. Now again, I want to make sure we have consistent reverb going on currently is turned right down. So let's turn it down. Solo the reverb, and just see how this sounds. Like I and that just sounds so milky sway you gets really nice. But she still quake SIFE how the psi. So else we've got this guy back into our normal live audio effects and see what we have here. And he says, oh, by experiments, I mean, typically when I build these tracks, I could spend an entire day or two just playing around and trying things out. Okay. We got a bit faster because we're trying to put this into a well condensed Coase, but I've tried to show to delay, so we haven't because this trust some of those trace essay. So I won't cool to descent. I have no idea whether a spacious tropism, they simulated the phi be tracking should seal this does. It gets quite interesting, is told never plug-ins on that is Toyota. The patches had to push providing some interesting texture in doubt about the fact that we have our different frequency bands. Oh, so I split. So go become hot left centered hall advisor. That sounds quite nice. We try putting somebody else on that just for a low frequency Shasta, DTMF, I've noted last time CFO is trying to route drum music to dry out. And that's really very good. What we're gonna dig someone, ease up on days that I'm sorry, he's not gonna attach it to dry and wet bulb. So I'm sounding really quite Malthus. So just type map and then button dry icon. That's probably got a bit. So you fall us, I don't know, Gallup files need to be more gradual. So I make it a bit faster than that. Okay, this is good. And you might be no going to the complaints extremes of wet and dry that just has a tight off to slightly. Ok. That's pretty cool and I see how that sounds. Silent. Suddenly very nicely. Because we've stretched this sample. I just want to make sure the how slow end. He's not too aggressive. Especially on the base that's played the phobia again, guided by small enough that you could do that through the wind chime. And though we didn't wanna do that for the wind chime as well. It just shows me doesn't have too much bystander tour guide. So for subprime this on a large sound system, a big monitor, speakers, I can get quite a modeling sounding really good. So in the next video, began to add alpha1 sample, which is the analog synth. 6. Processing the Analog Synth: Okay, let's bring in our final sample. So here we have the analog kind of filter sweep and noodle ee sound. And I created this on a semi modular analog synth. It was the arterial mini brutes, if I'm not mistaken on this one. So I'm going to bring this in now. I just, which is messing around with the symposium, doing anything particularly serious artist making a weird sound, which I then sort of resample back into the computer. And she's quite long, no excuse, quite loud sound as well. So let's for them, I'm just solo this track. Double-click on it and turn off warping. Misha's, let us do a bit of a stretch. Cutoff, somebody's bit at the beginning. So again, Command E, or whatever the equivalent Windows Key is. I'm just gonna move his phi b along a bit because I think the interesting spring y for this sound sounds like into play fast. So let's just see how the sounds. That's, that's quite interesting. Fishes take Seidel wants and see what happens. So I've got some kind of cool, right? Noise is gone all night, which sounds pretty cool. Is remember what the original sound was like. Let's just go back to find out that. So, so if I bring modulated filter sweep. So again, this just move to a little bit nicer on the track, locking down as I am, but let's just go with it. So I began to, again, we're going to push it for my reverb. Sounds. Rather read by design. The mantra sounds unbelievable. Okay, this part of it, that's a lie as well. I'm not pilots going to sound really hates believes that. He gets mad, kind of some subtle distortion again to this sound is to bring out some of the dynamics of it. So let's just play around and see what we've got. Dynamic tube warm to me that sounds like it could be interesting. Happens. Silo that sound. Okay, don't write. Who ever drive. Distort. Okay, let's try. It. Quits coming further warm and out and it's just a little bit hotter, slightly. Then takes o level. And I think there's a SoundCloud good movement in swinging the pan from left and right. So I'm just going to put the LFO backup and then map it to our panel. That's going too far, too fast. She's slightly down. So making it slower than the pan that we had on the wind chimes. Okay, we don't want the def, we don't want to go too far left and rise where it's be fairly subtle. Okay, let's try it out and present my headphones and should be more pronounced. Okay, that's good. So we can add to this, disrupt it about grain delay. Let's be scientific about it and just pick a fund name. Is go with TBI. Silent the track. So that was a bit much of grains. Kind of interesting because too much, that's just ten. The wetness down. So it's quite the same. Why should blend him and wind quite nicely? Take it off so I might try and knock down a bit more sunlight. We moved the distortions after the grain domain. Now she's takes silo off. Let's bring the oval body jam accent down. Something that we have the basic. So quite an astounding track. As I said before. Normally when the experimental means you spend a lot more time to trying out settings and playing around with different plug-ins. But we've tried to build it reasonably quick to make it into a good course by like kind of how this has developed. And it's, you know, to me it sounds quite good. So what we're gonna do in the next video, we're just going to tidy things up. We're going to do a bit of fading at the beginning and the end. I'm gonna add a little bit of compression and a best sparkle until the master bus. And then we'll go through and render it out and see how it sounds. 7. Tidying Up the Track and Exporting: Okay, so I think we have quite an interest in industrial style soundscape here. And I'm quite happy with how the track is or what you do is you need a little bit tidying up just before we exports. So I want to do is just make sure we have the volume on. And let's go into a bit of subtle volume panning or volume fading at the beginning. And at the end of each of the samples. Just so things don't finish quite so abruptly. Beginning in the wind chimes is fine, but we'll just do a little subtle fade out here. Now with the Furby sounds, you've got so much delay on their fading in and out at the beginning. Other fees We're gonna make any difference. But on the analog gaming, just that little subtle fade out at the end there. Now what I'm gonna do is I'm gonna do the same on the master bus. Beginnings fine, but as we come to the end, you just want, Sir, fade outs? So slightly there? Yeah. I should. Just because you don't want any kind of abrupt stops at the end of the track. And everything I'm do is I'm gonna set my track marker so we know where the start and the end of the song is. So as some fades out, we're gonna finish about there. Okay, so that's better. So she's quickly try this end of the track. That's pretty cool, but I just noticed that on the return channels, we need to debit a fading as well. So let's just do that here. And then do the same with the cathedral ks. You still got quite a reverb play in there to sort of do a fade out there. Perfect. Okay, I like that. So now I want to do now traditionally when I render out tracks, or at least I've got a complete album, I send it off to be independently mastered because I like to have someone else's ears work over the track, makes sure it sounds brights, make sure it sounds nice wide. And also a high remarks in engineer that owns lots of outboard gear. And also quite like my tracks to be bounced down onto tape and then resample, just give it some night animal warmth. But for the moment, what we're gonna do is we're gonna add a simple mastering compressor. So if I just type a master and say here, okay, so in our audio effects rack and got some mixing and mastering that we can just use. I'm going to use this one here, which I quite like two years went when I'm in production of an album, say is wide and war Master. And it's only go to the middle of the track and just play that. And then I'm just gonna tweak some of the settings. So I'll just turn it off. If something goes a bit dollar, put it back on. It's kinda brings a level of the tracker. Generally when you're producing an album, before you send off to a mastering engineer, you can choose to do that. It's just kind of adds a nice bit of sparkle to the end of the production. Now what I would do when I send this off to a mastering engineer, I'd actually remove this on the master bus first, but for now, if it sounds quite nice. So in fairly short space of time off, it would create a quite an ice kind of ambient soundscape. They're now of course, you can add more into it and take stuff out. You can change different plugins, you can use complete different samples. So I haven't built this course to be a particular follow-along tutorial is just to kind of show you some interesting techniques that you can use. And to prove that you don't really need to know all the ins and outs of every single control on every plugin. That kind of makes it a bit boring. And I think it's kinda good money, just dive in and try stuff out. You never know what you're going to find. So with that, let's just quickly save this. Then let's bounce to track down. So we'll go to File Export Audio and video. Now first guy into a mastering engineer, I'd send them a 24-bit WAV file that for a minute. Let's not bother with that. Let's turn on. Mp3 says that there is a constant bit rate, 320 kilobits per second. And p53, which is going to sound quite nice. Now because we set these markers up here, that means it knows where the vendor lymph starts. Kinda limp for the track is. So let's do X. And then we'll go to our desktop, disruptive for, and it's gonna create a folder. I'm just gonna call it final. And let's just call it disruptive form. And this might take a while to export a convert social speed this up for your benefits. Okay, so now that's rendered out. Let's just go back to Finder. Go into our final folder and here we have our finished track and look pale with it now, but we're just going to quickly preview just to see that is rendered. I came back see how our final track is six minutes, 19 seconds in them. You should try to hold the end. Security heat I read fading out in 3D. That's so nice. Ok, so there we have it. That is our final track. And this track, as I said at the beginning of the course, this is going to be track number four on my disruptor album. And it's quite like it is pretty good. Now one of the things I want to finish on is by sign, I believe limitations really aid creativity. So here we kinda limited ourselves, but we had four samples that we could have used. Our could've sandwiched hundreds of samples into this and create some quite interesting things. But I think unless he's more. So we had that kinda train passing sound effects that gave us kind of our low-end sub rumble, which only quite good. And we had that wind chimes, which gave you some nice, interesting, ethereal, organic quality, is very real-world sound. So we had that circuit bend Furby, which is St. there's regain rate digital, not as organic like the wind chimes, but is very digital and kind of glitchy. Gives us kinda lots of really interesting dynamics when you zoom into that sound. And in the same way, the analog seventh years that an electric analog symph, he has a nice filter sweeps, but when slowed down, you kind of start to hear the sounds within the sounds. That's really the important thing is if you record your samples are high enough resolution and then start a stretch in them in a circular Ableton Live. You do really start to uncover those sounds have in the sound. And I think that's kind of what makes it very interesting for doing soundscape. Where now what you can do is you could just program drones and sort of sounds are there on Simpson and just hit a few keys and just let it play. And that is one way to do it, lets people do do that. No way. Robert Rich is very good at doing analog or virtual analog drones, which kinda play and evolve over time. Brilliant way of doing it. But for me personally, I like getting sounds and using it as a raw material. Pulling it like a piece of elastic, uncover those sounds that were hidden within the sounds, and then apply some either analog or digital effects over the top just to help kind of bring out some Reza additional sounds. And I think you can create some really interesting soundscapes and welds. So if that thank you very much for listening. If you enjoyed this, let me know. If you create some sounds or music using these techniques. It'd be great if you can upload them so that other students can hear what you've done. If you would like to hear more videos like this, then again, please get in touch and let me know. Nothing I was planning on doing is creating a whole album where each track I do as a separate course on skill share, just to show you how I sort of thought process evolves over the space for how album, if you like it, let me know. Again. Also, if you could please rate the course if you like it, or be really good if you could write me because it helps you've discoverability of the courses. That I shall leave you to go forth and create some amazing soundscapes because it really is good fun. So thanks for listening.