How to Compose Ambient Music (Create Sound Worlds)

1. Your Adventure in Ambient Music: Hello, composers, Mike here and you are about to go on a new learning adventure. Your destination for this journey is to learn the secrets off, how to compose ambient and atmospheric music in many different styles. You will learn the foundations of ambient music, the golden guidelines of Andean music, the sounds and coolers off ambient music. You will get many live examples, practical assignments and bonus Resource is you will be able to create anything from magical atmospheres too thrilling under school moods to dork and evil soundscapes. My name is Mike and I am a composer, just like you. I started making music back in 1998 and I love to educate, motivate and inspire creative people like yourself. So take action now and start your journey to become a master of ambient music composition. Let's begin your adventure right now. 2. The Power of Ambient Music: Why is ambient and atmospheric music so incredibly effective and powerful? Well, let's think about it. Music in media such as film, TV and games is often mainly about creating a background atmosphere that will elevate the mood and vibe off each scene. Without that music or even worse, the wrong kind of musical emotion, that scene will be ruined. Ambient music is all about atmosphere without grabbing your attention. It's the cool off underscoring in media production because it can create a strong emotional foundation without taking up too much space in the overall mix, which means that there will be a lot of room for dialogue and sound effects. Ambient and atmospheric music is four more common than you might think in movies, TV and games. Because even though you remember all those wonderful main themes and melodies in movie soundtracks, you can be sure that ambient and atmospheric music is everywhere. You just don't remember it, which is the very point off ambient music, not grabbing your attention, just making you feel the core emotion off everything that is the essence off ambient and atmospheric music 3. Create Worlds of Sound: what you are going to create is a world off sounds, because that's what ambient music is really all about. Soundscapes, textures, background atmospheres and harmonies that flow together and become a landscape off sounds that create an overall mood and emotion. Let me give you some practical tips and examples. Now your main focus for ambient music when it comes to the four main elements or colors off music, rhythm, harmony, melody and ambience is to have very little focus. Low focus on rhythm, medium to perhaps hire focus on harmony because that sets the mood and emotion. Very little focus on melody and, if you use melody, use long notes that are flowing into each other so they don't take attention. And high the highest focused on ambience, meaning the very sound palette juice to shape the world off sound for your ambient music composition. Now regarding the voice leading and basically the connection off all the ports and sounds in your ambient music, make sure it is smooth and that everything flow effortlessly into each other. This goes for your course and harmonies, all the sounds, the transition between sections and so on. Think smooth and flow So let's say you start with an F in the root with a low dynamic and at an f here and in a harmony, I would say that is distort. Now think way mawr about the flow and connection to make it smooth and effortless. Instead, off what course and harmonies you play. So the connection and flow is more important. Slow and short intervals like this, right? No. Now regarding the voice distribution, meaning first what chords they choose to use in your ambient music composition and then also the voicings off those courts in the full range of music, meaning court inversions and so long. I have a general guideline, I recommend, and that is to use mainly minimalistic vied and open harmonies records. So, for example, instead of playing very thick voicings and for example, it's a seven course like this that is way too dens in the mix. Ambient music is supposed to go in the background, so you should first of all, make it more. Ah, Spacey spread out, voicing so, for example, having a space here in between and also not go for two big accords. So I recommend even focusing a lot of to know torment is like, let's say this and do not feel the urge to double it up all across the section because it's not supposed to be a big and complete. You should have spaced in the mix, especially here in the mid range, where you really want avoid to think communists and voicings because and the music is supposed to be in the background and not check. Ah, the listeners focus, and this middle area off the octaves is basically the vocal range. Here is where we hear the most where we focused have the most attention when we listen to things. So, for example, in a movie, this is where sound effects and voice vocals should be so spread out rather to have it like . So now I have that Justin Oak Saving the base and TUNEL Tormey is up here, so I leave lots of space here, and you can also call about this with Q and filtering so that you really minimize the focus and attention off your music and pushed into the background, which is more the base and the high range. Great. So let's continue by demonstrating a couple of live examples off styles off ambient music. This is an example off relaxing and cool ambient music. - This is an example off dark and ominous ambient music, - and here is an example off magical and dreamy ambient music. - Now , later, in this course, I will break down these live examples to let you know my creative thoughts on implementation in order to create these specific styles off ambient music. Now let's continue your journey in the next video. 4. Live Example of Ambient Music: I will now play for you a complete ambient music composition I created in the style of magical, bright and wonderful mystery world. And in the final part of this course, you will see me creating this entire composition from scratch. All right, let's play ambient music in three to you one go! 5. Assignment Ear Training: Congratulations, my friend. You have now learned the fundamentals and power off ambient music as well as got a practical live example with creative insights to guide you. Now it's time for your first assignment, which I call ear training, because in order to learn and master the creation off ambient music, you will have to develop a good ear and instinct for how these style music sounds. Listen with attention to details. Don't just listen to the music. Analyze everything that is going on the tempo, the harmonies, instruments and sounds, textures, playing styles, etcetera. So open up your favorite music streaming service, and I will now give you a list of great examples off composers, albums and soundtracks to start with for your training exercise. Then you can continue searching form or ambient music in various styles. Now the more facts you listen to and analyze, the better your composer instincts and feeling. For this show, anger will become here or sound franks with ambient music. Here are albums with ambient music. Now, if you want to find more ambient music using or regional soundtracks in movies, video games, etcetera, you will find that it is used lot in Shong Gers like SciFi, horror thriller and drama. If you want to find albums from artists and composers in this style, you concert for terms like ambient music, atmospheric music, reading music, space music, chill out music, relaxed music, meditation, music, etcetera. So take action now and do this ear training exercise to truly become familiar with this style, mood and character off ambient and atmospheric music. Then let's continue your journey in the next video. 6. The Sounds of Ambient Music: Now let's explore these sound world off ambient music. I will go through all main types of sounds that I personally consider to be fundamental coolers off the sound palette he will use in ambient music composition. I will first do a quick explanation off each sound colder off ambient and atmospheric music , then follow up with a live demonstration on each sound. 7. 1 Noisescapes & Soundscapes: noise escapes or sounds that are like atmospheric textures without any focused tonal or harmonic aspect. Basically, they are like ambient background noise, like the breeze off the wind or the sound of the sea. Here is a live example off a noises. The difference between noise escapes and soundscapes is that soundscapes or atmospheres with a more pronounced tonal centre, meaning you can play these sounds. Soundscapes can range from ominous textures, too bright and shimmering landscapes off sound. This is a live example over his soundscape. Now let me give you some practical tips for soundscapes and noise escapes. One Minimalism orphan works best meaning. Playing less notes with these sums, especially for noise escapes, seems that this is basically an ambient noise texture. You only play one note like this, or in the case of soundscapes, you could play, for example, simple Harmonists that say, a bass note and two part harmony like this. The focus should be really minimal, so I actually like to use only perhaps octaves because you don't want to have it to take too much room in the overall mix. If you're going to use other instruments in your ambient track to sound engines. And since basically, what sources are going to use to create these noise escapes or soundscapes. So there are, of course, many different sound engines and synthesizers. My favorite for atmospheric sounds is all nous fear made by Spectra Sonics. Ah, there's also lost in they seemed called El Kimmy, which is native to logic. And there are many other instruments that you can find in search for atmosphere, noise escapes or soundscapes or textures and relate. Try to find the precept. You can work with three field recordings. You can actually go out into the field and record natural ambiance like the sound of the window rattling leaves on the ground, or whatever kind of natural ambiance you find. If water is great for ambient textures as well or record foley effects, meaning that you have some kind of object in your home or wherever or experiment by, for example, scratching various surfaces. Ah, and objects with other types of objects to create a long sound that you can then do sound design on and used as an ambient texture. Four. The sound design aspects over no skips and soundscapes, the first a DSR meaning the AMP. envelope in most cases a long sustained, perhaps even Max and a long release. When you release the key, it will continue resonating and fading out slowly over a long period of time, time stretching. So if you have an audio file, for example, if you record like a gave you as an example leaves rustling on the ground. Stretching them out for a long time will create a really cool texture, ambient texture as well. And, of course, huge reverb. So if you take this sound here, if I turn off the reverb if I now release, don't hear that big space. So using huge size and looks Ah, long time for the reverb and then you hear that really deep sound and then finally modulation because you can have these as kind of static pad like soundscapes and textures. But sometimes you might want to use some or modulation and movement into the sound, so one way is to, for example, add a delay. But you sync up, uh, another is to do some kind of modulation effect that you sink. Ah, like solar. See, I have it here on the no escape. So, for example, a tremolo like this. You can sink it to your beat if you want to. You looking Turn it on. If without on When I turn it on Max here they're left to right adding movement. But you often want to do this more in a more subtle way for ambient textures. And also, if you want to add some rhythmic pals into it, turn that off. You should use a rhythmic gate or some kind of party unless used this one. But I'm fun off. So I already created this preset here. So this is the actual Vidic pattern and this kind of Prague in actually applies this rhythm too many different modules. So if I play it now, at 100% makes eyes way too rhythmic for ambient music in most cases. Well, what you can do is if I dislike this gate mix so it doesn't apply to the actual AMP the level. It will be four less prominent. So it now it applies to the filter cut off the residents here and some other module service . And now, compared to you, be a leveling gate here This game gets four to click your rhythm. This'll get some rhythmic pals inside this soundscape, and if you want to reduce it even further there, it's actually mix. Nope. So this I really like. If you use a rhythmic plug in like this one, look for a mixing. Absurd can dial it in. So without it at all, thesis basically turned off. Now on, then you can just makes this to taste just ahead at it. Subtle pals into the texture. 8. 2 Drones & Pads: a drone in music is an atmospheric, sustained sound that stays on the same pitch for a very long time, most often one single sustained note or doubled in octaves. It has a similar effect as a pedal tone, which anchors the harmonic tonal centre. A drone can often have a lot of motion and movement in it, or even shimmering rhythmic effects. But the key aspect is a droning sound that keeps playing the same harmonic tonal centre for a long section in your music. This is a live example of a drone. A pad in music is, as the name suggests, a soft background sound like a cloudy harmonic atmosphere most often made with a synthesizer playing chords and harmonies and is often related to rush orchestral strings. In the sound. However, the tone Kohler range off pads is huge, from glassy to metallic to shimmering to magic to dork etcetera, and this is a live example off a pet way. Now let me give you some practical tips on drones and pads. One. Choose the mood and Kohler, So first you need to decide if you're going for a synthesized or sound design type of drone repaired like, for example, ominous fear, which is my favorite. Some design. And since engine, which has a great present browser, as you can see here, or if you are going for an acoustic or hybrid type of sound like, for example, four So which is a breast sample library, which has these hybrid types of sounds. So if you listen to this, that is a pad based on acoustic breast orchestral breast. And in the fullness first case, you can go into the priesthood browser, and you need to decide what kinds of Kohler you need for the sound. So, for example, this is a holo and pure sound. You might want to have something mawr nostalgic, And, of course, you need to know what range you're going to use. For example, if you played up here or if you play down here and if you want to go for a drone meaning a tonal centre that is held for a long time, you can use a pad straining type of sound for there's just play one note like this or with the breast pad like it is, or with octaves like this. There's also dedicated plug ins for the drone type sound like a drone, our master edition. So you simply hold down one note here, which sets a one total center cut type of soundscape that really provide the anchor for the underlying tone and harmony of your music. So that is for the drones and pats. Choose the mood and cold refers acoustic synthesized hybrid, and also the range next tip is less is more meaning, Vona notes and few changes in the case of drones. It's very simple. Simply one note like this in the case over a pad strings brass type of Ah, a pad like this. You can go for octave more. Or if you want to play harmonies like a cord like this, just don't change it up like you would you on a piano or other type of sound, because the pad is going to be like you landscape off in the background of your track. So just play it like hold it for a long time. Don't do big changes until the next call comes in there on the tip. Number three is shaped the frequency range. Don't clutter the overall mix. You don't play like the big like this or it will overtake the entire track without that one sound. Instead, try to focus the range where you're going to play the pad. I would not even use a bass note. In most cases. Just the Harmon like this, the court here let other instruments take care of the rest. And also, in the case of, for example, the drone here. As you can see, you have like it, eat you here. So let's say you don't want the high end reduce that reduce the May Just go for the low end , like so when you could do the same thing. Ah, in here, either in the plug in itself or simply bring up the EQ you for the tracks. So let's say if you move, move this away. Bring up the Ikea here on Let's say you're going to reduce some of the low end and high and just to get a narrow arrange for this pad. Like so, shape the frequency range off the pad or drone, unless you wanted to be the entire center point of your ambient music composition. That is about the most cases. You would use it as a background element alone, so you want to have some headroom for other sounds and instruments in your composition. 9. 3 Soft Strings: orchestral strings or amazing for their tonal and dynamic range of music. And in ambient music, you can use these softer dynamics to create a very subtle background atmosphere, which can be standard, sustained harmonies, softer and muted articulations, or perhaps even trim ILO's or trills to add some more tension into your ambient music. This is a live example off soft strings, so let me give you some practical tips on soft strings in ambient music. One used lush strings with, though dynamics. So if we take a look of this string passed here, I am now using only the clothes my position, which is way too focused and bright for ambient music. So the first step is to remove the clothes Mike's news either the Decca or even go as far as only the whole Mike's, which is a lot smoother and more lush and also low dynamic. So don't put it her here up at the top use lowered P P p two, perhaps MP and no sudden changes in the dynamics, either. Like so. Tip number two is to use muted articulations like common sardine O'Flaherty founder or so test. Oh, so if we take a look here I have and voted Ace of Tests to here. And let's take a listen. I find this is one of the best ways for using strings in ambient music because they have much of that brightness and shortness reduced from using muted articulation. So that is the still test a patch in low dynamics, and even if you go quite high, it's still very soft. And corn sardine Oh, another one, even softly, in my opinion. So that's technology. Your using muted soft articulations and tip number three huge reverb, which is always your best friend in ambient music. So if you take, for example, these lush strings again, even with the whole reverb here on, by the way first you can. Some string libraries actually have a ah artificial Sardinha switch. So if we listen to this, if I activate the Sortino, which is basically a sophisticated IKI fielder type of thing, but without it, even with the lush sound off all of the hallmarks, it's still not ambient enough in most cases, which means put on a big reverb on it. So ah, and quite a lot high setting as well. So I'm using a whole reverb here, and you can probably go even higher on its. So when you release it, it really has that long fade. And together with the Sorvino, it will really become atmospheric. So those are my three top tips on soft strings, using lush strings and meaning not a shore up solo or quartet section, but actually a bigger in sambal low dynamics on those strings. Beauty articulations like Concertino flat on those so Testa and others and also using a huge river, meaning a big space and quite a lot of it to bring the sound into the background. 10. 4 Ambient Keys and Plucks: keys and especially pianos or excellent for Andean music. Again, like with strings, you should focus on a softer tone and lower dynamics in a minimalist arrangement. A soft Piana port can be the foundation off the music, especially with a great deep reverb and perhaps even some DeLay added. Let's listen to an example off ambient keys, plucked strings or even synth based plaque sounds can also be used in ambient music, like a horse or acoustic guitar, but it can sound too bright and focused in the context off ambient music since the attack off the sound is very short when you pluck a string, so a dreamy reverb and Vogler dynamics to bring out the softer tone is preferred. I also like using very wide sounds with doubling or unison effects for these types of sounds. You can even go so far as to dial back the initial attack by shaping the attack port off the A D. A sore AMP envelope for the sound. Now let's listen to a live example off ambient plucks. - So let me give you some practical examples off ambient keys and ambient plaques, so tip number one is used a soft and warm tone with, though Dynamics, let me give you a practical example. So I have this addictive keys Plug in here, and I have dialed in a very short, bright hard tone with right Tom Burr. And this will sound like this a second here that can, perhaps due for some rock pop style comping. But it doesn't work for ambient music, but which what happens if I turn the tone to a softer sound? Like so here and many piano Plagens have some kind of tone shaping and no bore faded like this to Tom Burr down. And that's compared to what we have now. And if I also play with low dynamics, completely different. So Tip Number two is to use round attack without too much focus, and this is actually tied to what I just described as a soft and warm tone. But basically this was show better if I used this guitar here on dumb. If I have it on the initial setting, you can hear it's very dreamy and ambient, but you still have that clear attack from plucking a string, and we can do this on a horrible swell. Even if I just I don't haven't even have the close. Michael, you hear? If you think the initial attack is too Ah, short and focused, you can actually use Ah, 80 sore envelope in some cases, depending on what plugging you used and add some attack time. She really round off the attack like so? So you don't get that short. Protect on. We can do these two. Let's say let's see which one. I have a bone. Yeah, this one as well. So let's go back here to something in the middle. So you still hear that clear attack? Well, you can use also a transient shaper as an insert effect and really dial down the attack. Complete this off, and you hear that it rounds off the attack of the sound. So that is another way to get around attack without too much focus in the mix. So you can use these on plaques as well. Of course, Tip number three. Use a big space with minimal clothes sound. So if you go back to the horror Pierre, you can see that I haven't used a close close microphone. I use the decker and hold you can even use on Lee the hole. If you wish, this will be super soft, so it since I only used that mike, I would probably need to increase the volume. But let's add the decades here as well, compared to the close mike, which is much more in focus. So, of course, you can use the whole marks and ambient microphones, but you can also use big reverb, which which I already have own here. So without it, it's still a reverb, unwritten reverb kind of sound because of the whole microphone. But with the extra reverb, you really get that dreamy, dreamy sound. Tip number four is to use add delay for extra depth. This works especially good own pluck sounds. So, for example, this one here if we add a delay to it and you can use, of course, and in start effect by just going to use this one like so. So now we can play really minimalistic and get that Ambien tone like so. And Tip number five is to use filtering orry queuing for a super soft tone. So let's go back to you. Let's use this cinematic piano here, which is already very soft, so if you use a hard tone here with a bright tech, and I have these river bones at some river dial to tone down. Use a soft tone and we have, and you can add even more reverb if you want delay, of course, but you can also use extra filtering if you want. So let's say we add in fact, Ah, the high cut here to really, really make this super ambient. I'm going to go extreme on this. So without with plastic in here, that is, if you want to really ambient sound now I actually filter the reverb as well, in this case, since it was on the par gain. Ah, but you can, of course, at some extra river author words like so must make it extreme. So those are my top tips for using ambient keys and ambient plaques in your ambient music composition. Soft and warm toned with low dynamics round off the attack, Teoh not make it too much. Focus. Ah, big space, meaning reverb and use minimal close sounds. So turn off all the clothes microphones. If the instruments has them, you can use added delay for extra depth in some cases, even course in the delay and finally filtering and e queuing. If you want a super soft tone 11. 5 String Harmonics: string harmonics or one off the most magical sounds acoustic instruments can create. In my opinion, they have a way off adding that shimmering high end and even without reverb, they often can sound very lush and beautiful. Now this is an example off string harmonics, both plucked and bowed. - Now let me give you some practical tips on using string harmonics in ambient music. One. These sounds are grateful, adding that high and shimmer. So if you have bowed harmonics, you could use it as a high end drone like this, just holding the key. It adds a lot of tension here on that stimulating high end. You could do it without harmony like this. For example, I wouldn't go further than two notes in most situations, and it can also use plucked harmonics, for example, on an acoustic guitar. And um, let's see if you play it, you can hear that it get that magical pluck kind of sound because you only hear the harmonics, not the fundamental tone tip to round off the attack if necessary, especially for plaque. Tor Monix, As you can hear it, has that high end shimmering medical quality. But it can sound a bit too focused on short with that attack. So either use transient designer and remove the attack as much as you can or which I prefer if the instrument has it an 80 s or envelope and add some attack time. So instead of getting that crystal clear pluck, you remove that initial attack to make it warmer instead of and I would into your taste. Tip number three. You can apply light, rhythmic or movement effects for added motion. Eso, for example. In this case, I actually have some delay that is the cool, which add more rhythm. So put it at often a slower ah delay time Or, in the case, off the boat harmonics, you can use some kind of rhythmic, gating type of effect, and ah, dialed in the mix of it. So instead, off this dry sound, let's apply some rhythm, so this is a sweeping kind of motion. You can also go if you want to have ah, more rhythmic effect like soak butt dial down the mix. Zero No, a blend between the two. So here's some subtle rhythmic effect in there. While still keeping that high tension atmosphere and tip number four. Be careful with overall level and, ah dynamics because it can become too piercing and focused. So we go back to the collector Monix healthy. Ah, if you want to keep some attack here, make sure you play very softly because if you play to to hoard, it will not work for ambient music. And the same goes for bowed harmonics. If you play up here at full everything, it will probably be too high in the mix. So I recommend lower dynamics and mainly keeping the overall volume lower. Also, you can use the close mikes and even the room marks that only use whole Mike's. If you want to dial it back further in the mix and use a big, whole reverb. And as you can hear, it's no way, way in the background. So those are my main tips for string harmonics. These sounds are great for adding high and shimmer. You might want to round off the attack if necessary. You might also want to apply some relight rhythmic or movement effect for added motion, and you should be careful with over a little by playing with low dynamics and lo little 12. 6 Subtle Pulses: You should be careful with adding too much rhythmic focus in ambient music. But a subtle pulse can do a lot for adding both interest and some slight, energetic drive in the background off your ambient music composition. I find that seen Desai, sirs and hybrid sounds or best for this. Now let's listen to to live examples off subtle pulses first a Paul's playing harmonies and second, a soundscape or drone pals on one key. - Now let me give you some practical tips for subtle pulses in ambient music. First, you can play pauses with notes on your keyboard. Just make sure to make them soft and round, so they the rhythm of them is not too much in focus. So, for example, I have loaded this patch here in ominous fear, which is kind of a pluck sound asleep in here. I have extended some a attack time and made some release here. So, actually, not really plucking about more round in the tone so you can start by playing this and I loved for pulses to really make them blend together so the notes really blur together using a delay. So I just added a eight note daughter delay here with this delay effect. Let's get here. And I also use a bass AMP. Orphan by using some kind off effect is really warm the sound because I loved using these policies in the low range anyway, So there you have it. The final sound. If I play this now, and if I want to make them blend together even more, I can extend the release here so the nose really blend together like so instead, off playing doctors re plucky. So at some attack time release time as some delay and an effect like a base samples something similar e queuing filtering to form the piles of sound. So that's number one. Play pulses with notes. Probably my favorite way, but my second typist to Houston or paid Viator So I am using the arpeggios are here inside ominous fear on again. If you use an RPG Attar, make sure if you want to settle piles to use a long, really long sound like this long resident released here because then it will not be a plucky focus rhythm. But if I activate this or pages are now, so I now all I need to hold down one note when I activate this So before long release and then when I activate the ORP educator, it is a subtle parts because of the extreme long released If I had this on zero like this, it wouldn't adul suit on ambient music compositions Do you need to make sure you have a really long resident sound? That is how we create a subtle piles on our mediator. Now the next tip I have is using a grid negating effects and then blended to and with a mixed level so it doesn't take too much prominent with prominence with the rhythm. So I have for this using a plug in called Novo because it already has a gate included. But it suddenly goes in and out of time and changes various aspects of the sounds. I only again need to hold on one out, but like so when it comes here, the sustained read the gating effect him at the same time, and you can off course use an insert effect on a long sustained sound like, for example, one of my favorites here in logic is called Ah no, that that one is called rhythmic effects step affects because if you can dow in a rhythm and then use the mix level knob to, ah, apply various blends off the polls with the sustained sound. And finally, my fourth fleet is to use Temple sings effects. So one way is if you go here and check this sustained sound, let's just told down one note like So. One way is to use an external effect that is temple sting like a tremolo, for example, on 1/4 notes. So without with this creates a subtle pals because it only changed is one aspect of the sounds that is not every gate on the level. What you can also do is to use Tempus Inc LFO so Ah, if you check was the do you have the right one here if you check here. I have an LFO on the AMP. YouTube, but it doesn't go down to sear. It starts from the middle and goes up like so. And then you can set the L A phone, for example, eight notes and apply the depth jobs of without this is without anything but the sustained sound. Now, if I increase this, you will hear this The Powells the eighth note piles becoming more and more prominent like so on. If you wanted to go extreme, you should said they. So it changed us the overall aspect because now it goes from Sierra tive Max. So this is basically rhythmic eight now, um, but almost all elephants have these depth jobs. We can still flight on this Sutherland on you can, for example, at some let's say delay to this to make it even more subtle on blend that to taste as well . All right, so those were my top tips for subtle pulses. One play pulses with notes. Just make sure to play them with lower dynamics and round them off. Make them softer by using attack or even better long release to make the nose blend together When you pay. Play the pals two is to use an RPG ater and just make sure that the notes still blend together. You can in fact, use for example, two layers off synthesizers or sound engines, one with your PD ater on and while with it off, and then blend those together. If you want to. You three is to use a rid negating effect. Just make sure to blend it with a mixed level or some kind of dry, wet knob. Eso that the rhythm is not too much in focus. You want to create its subtle piles after all, and four is too used. Temple sink defects like tremolo panning effects or ah, sink Ella foes to various aspects of your sound. 13. 7 Tension FX: There are a lot of ways, and orchestra and acoustic instruments can create tension by playing clusters, dissonant sounds and various sustained effects on their instruments. This can be amazing for ambient and atmospheric music for a scary or high tension type movie scene, for example, now I will play three live examples of what I call tension effects. This can be different articulations playing styles and clusters to shape the sound into a high tension character. - Now let me give you some practical tips for using tension effects in ambient music. Tip one is using cluster chords and harmonies and mainly you want include some dissonant intervals when you play these, so these are big, massive clusters of courts. So, for example, if I play something like this, for example, you sing very dissonant chord like this on then, just keeping the dynamics low in the background, asking here that could be a great it's kind of ah, soundscape about very dissonant. Or you can even use some kind of crescendo or, um, swell articulation when playing. There's so let's try it again began really high tension, so that's displaying cluster chords and harmonies with an instrument. There's also some specific plug ins like thrill here where you can actually go and use cluster effects and simply hold one note and then, um, make it go like this. So this is basically varies random orchestral cluster effects that builds tension with a dynamic increase there. So ah, those are instrumental effects for clusters. Also, various articulations that were great for tension. One is tremolo, which is basically a fast repetition like this. Even high. Often the higher trim Alers are very distant, or Tennison again. Keep the dynamics low. You can use also trills. There's none in here, but basically you want to use often a seminal trill, which is basically playing. Let me do it like this. Ah, like that, playing a seminal to port. So those are instrumental effects like this one. Clusters on an atmospheric effects various kinds here using articulations like tremolo and seminal trills, and the Royals other kinds over very decent article articulations you can use then, if we continue, Um, we all have other kinds of instrumental effects. You can use specific libraries that focus on orchestral effects like this one palette, orchestral effects, and then you just rolled one up and play. So there's many libraries like this out on the market that you can use for instant, instant tension, and you can even you might even want to add some extra reverb on this just to push it into the background like so and so one. And ah, there is also scraping, bowing and exciting. And albeit I call these fully effects because you can do it yourself. But you can also use it on instruments. If you take a shell oboe, for example, and Bo a symbol or gung, you can get this kind of sound super dissonant and used a lot in horror and thriller scores , obviously at a much lower volume in most cases. But again, ah, tip number three here is using Foley effects, which is bowing, scraping or exciting an orbiting in way to create resident vibe. Right? So those all my main tips for creating tension effects Tip One is using cluster course and harmonies that you play on breast strings or whatever instrument you want. Tip two is to use instrumental and orchestral effects and or articulations such as tremolo , seminal trills and so on. And Tip three is to record your own Foley effects. A will find sample libraries that has, ah, objects that you use a bow on chill abo that is scrape or exciting anyway to create a dissident atmospheric residence of it. 14. Assignment Sound Palette Experiments: Congratulations, my friend. You now have a great overview off the sound palette for ambient and atmospheric music. Your assignment now is to go into your d w an experiment by creating, shaping and playing the complete sound palatable ambient music. Use all these sound colors you just learn about, and any others instruments and sounds you can think of. That would be amazing for ambient music. Mastering these sound palette for any style and shong er off music is crucial for you as a composer. So take action and do this sound palette assignment. When you're dumb, let's continue your journey in the next video. 15. The Golden Guidelines of Ambient Music: Now we are going to learn the golden guidelines of ambient music that I personally follow. As a composer, however, it is always up to you how you choose to write and shape your musical positions, and any rule or guideline can be broken if it is a creative choice. First, remember that the overall foundation off Andean music is to provide on atmospheric background with a specific mood that goes well with the visuals off the movie scene, video game or whatever end product your music is used in. Now let's learn the golden guidelines off ambient music. 16. 1 Minimal Rhythm: guideline for ambient music, minimal rhythm to create a sense of action, urgency and energy in music, Rhythm is your best friend. This means that the opposite is true for ambient and atmospheric music. Dial down your use rhythm and percussion. Make sure that any rhythmic groove does not take up too much focus in the overall mix. For a really atmospheric mood, you might even want to skip the use of percussion altogether. So, for example, main percussion grooves like this obviously goes away. If you're composing ambient music, if you're going to use any type of percussive pattern, make sure it is a subtle background. Powell's off rhythm, not a focused groove like that. These also goes for melodic rhythms like Austin autos, comping and stuff like this, because that takes way too much attention in your music. So again, if you're going to use any kind off melodic rhythmic pattern, make sure it's a subtle Powell's or something that blurs together and is not that it defined Now. Even if you play, for example, a piano or any melodic or cold or harmonic thing in your ambient music composition, let's say this one. Everything you play will have rhythm, so since you are going to use meaning, move rhythm instead of playing a faster pattern like this, extend the notes to make the rhythm mawr minimal. So don't add too many passing notes and stuff. Try something like this instead. Uh, let it cold, because that way you get minimal rhythm and really accent the ambient atmosphere. 17. 2 Low Contrast: guideline for Indians. Music, though contrast. Hi controls in music such as big dynamic controls in performances, huge accents, stabs, etcetera, works great for action music. It commands attention and power for ambient music, however, usually try to reduce the contrasts. This dynamic range no sudden hits and impacts, basically nothing that jumps out in the music and grabs attention. So basically, you want to condemned the dynamic range of all your parts in your composition and then, of course, move it towards the lower dynamic range. Ah, which can mean, for example, if you have a breast poor, poor like this don't do big crescendos and swells up to F F F like this. Instead, keep it in the lower range and don't do any big jumps like so instead. Ah, on strengths. It can sound like this. Keep it slow with a dynamic shifting, not do any sudden dynamic changes. And if you play, for example, a piano or something, keep it in. The lower ranged off dynamics again when you change. Uh, don't do a sudden dynamic shift, because that will be too high Contrast like this that doesn't work for ambient music. So keep the contrast, though, in all your performances off ambient music 18. 3 Subtle Changes: guideline for ambient music. Subtle changes. Now this means that you should be careful to change things to abruptly in your music, basically not surprising the listener too much by forcing a sudden change, for example, when shaping expression and dynamic curves or any automation, do it in a smooth and subtle way. This also applies to any transition within your arrangement. Make sure to smooth it out and make it more subtle. You should even be careful with to sudden hormone IQ or melodic changes. Basically, make your music story flow effortlessly instead of having highly control Sted sections. So, for example, if you play harmless or courts on strings, don't do any big voice shift. Things like instead do a smooth voice leading with short, subtle changes like this and no sudden movement in dynamics. Is he older to learn, so instead, keep it very smooth, the flow of all curves and on piano, for example, if you play a melody, by the way, you shouldn't have too much focus on melody and ambient music. But if you play a Mona Fornek line like this, uh, keep the dynamic smooth knows all this subtle shares and don't go overboard like with big intervals like, because that grabs too much attention, as well as a subtle, subtle changes like and also, if you transition from one section to another, don't do big shifts in harmony, a harmonic progression or energy level or anything make the sections flow together as seamlessly as possible. So basically, ambient music is all about smooth and subtle changes. Having everything, every party right, the harmonic progressions, your sections in your arrangement flow smoothly into each other. 19. 4 Long Notes: guideline for ambient music, long notes to make sure your music is truly ambient and atmospheric. You should mainly focus on long, sustained notes for melodies, harmonies and chords. I would even recommend you to not use too many chord changes, either, but rather hold the cords for a longer time than most other styles of music. Basically, in ambient music, everything is more stretched out in time. So in every sound and party play in your ambient music composition, you should prefer using long notes as much as possible. So, for example, this soundscape like this could keep playing for a long time like a drone or, for example, a pad playing you harmony like this. Them's shift after a long time or when you play a piano, hold the notes out for a long time. Whether that is a melody, you can still use a couple of short notes, of course, but you should favor the long notes with course. You can play uh, long notes like this before he changed over a long time singles for strings or other orchestral instruments very long and slow like this. So that's the essence off. Using long notes in ambient music, stretch almost every note in port and sound out in time to create that atmospheric vibe. 20. 5 Soft Sounds: guideline for Indian music soft sounds. You should generally avoid short, bright and focused sounds in ambient music. Instead, try to use mawr instruments that has a general soft sound to them. For example, if you use a piano, use a softer tone like a felt piano. Instead of a bright upright piano, which would suit a pope or rook track for strings, you can often use muted articulations like Concertino All you can even use sound design to make instruments have a rounder tone by adding some attack time within eight years or envelope. So, basically, for ambient music, you want to focus on using sounds that has a soft and round tone and character. So let's take a piano, for example, instead of using a hold character and bright tone like this, which might work for Pope and Rock as a comping piano with some delay, perhaps use a darker software or former character and dialing the tone to a former somber like this on. Of course, using lower dynamics and loss of re burb reverb will make it even softer for strings. For example, you can go for only using whole Mike's, for example, like this, and lower dynamics again and even use a muted articulation, such as Sortino to make it even softer. If you sing Desai sirs, for example, making pads make sure to take advantage is off low pass filters to form the sound and also used attack time in a long release to be really make it smooth like this, perfect for ambient music on Finally, if you have some pluck type of sounds, you can use a transient shaper to reduce the attack. Dial down the tone, as you can do with this, setting hair to a warmer setting and also no close mikes focused on whole mikes and perhaps Decca Mix to make it a softer, warmer tone like this. Another thing you can do to get a warmer, final tone in Iranian music is to focus more on the though where warmer range off music regarding the hormones and knows that use. So instead of playing like this, I will play the brass and winds at the same time. Ah, even with lower dynamics that will be more present and focused to the listener compared to play it down here. So that's the guideline for ambient music. Focus on soft round sounds with warm tone 21. 6 Low Dynamics: guideline for ambient music. Low dynamics. This is related to the soft overall sound off ambient music basically should focus on the P P P two, perhaps MP range in the dynamics and rarely go over this, especially if you use any percussion all rhythm at all. I recommend keeping the dynamics really low as well as the overall level of them. In fact, you should pretty much avoid any kind off accents in ambient music. So ambient music is all about being in the background like an atmospheric texture, which means that you should really focus on the lower dynamics off music from really soft P p, p and meaning as soft as you can play perhaps MP or something, but basically never above the middle off average dynamics. So, for example, if you have strings, ah, avoid going over somewhere here around the middle, going to hire if ah, Fortis Immel Dynamics will take too much focus. Instead, play around in the P P p two p basically ah, dynamic range, and any instrument that is controlled by velocity level like this piano really play those key soft. If you don't have a piano waited keyboard, this infection keyboard. Sometimes it can be a bit too loud in dynamics, meaning it's very hard to play soft. And if you get too high, just go in and edit or even decreased the overall the lawsuit. Level off that media recording, but again focus on the low dynamics that is what will bring out the ambient character in your music. 22. 7 Depth & Space: guideline for ambient music, depth and space to make music, feel more atmospheric depth and space effects, or your best friend's meaning mainly reverb and delay. Often you can use way more reverb than other Saunders of music, and any sound with a focused attack like piano or plucked string can benefit a lot from added delay as well. Not only reverb amount is important here, but time as well. Adding more depth will push the music more into the background, which is one off the key aspect off ambient music. Now reverb and delay adds a lot of depth to music and can really push it into the background, which is one of the main aspect off ambient music in most types of music, like E. G. M. And strong music beats Hey, Pope Pope and other modern Sean Gers or popular songs and music. You should generally be careful with using too much reverb and delay because it really blurs the sound together. And since this is a main aspect of ambient music, you can instead go crazy here. So let's take this piano patch here, which is now super dry without an reverb or delay. It is soft, however, in the tone. Now if we start by adding reverb in most cases, like even in orchestral music, your rally go above let's say, 2 to 3 seconds, three seconds being one of the longer whole re verbs. But Anami music, You can go even longer than this. Let's say five seconds or 5000 milliseconds and a high amount here and now. You get really bushed out at a deep sound, and you can also do the same with delay. I have just added a sing to delay here on adult ID quarter notes, and then I applied quite a lot here with this send here, you can use, of course, an insert effect for this or send effect in your DW. But basically this is what you can do now. If I just play one note, I get a really bushed out reverb and delay so I can play things. Ah, very far into the background like this on and also using lots of reverb and delay basically automatically makes you play less notes. And since ambient music is way more minimal, this can be to your advantage because you want to have those long notes minimal rhythm and really stretched out everything. The No to play. And in this case, with reverb and delay, everything just takes more time, corms it down. 23. 8 Create Soundscapes: guideline for ambient music create soundscapes, one of the most creative and fun aspect off ambient music composition, in my opinion, is that you can focus so much on mood and soundscapes, creating unique atmospheric textures from the instrument to use this sound effects and textures and creative sound design. Ambient music is so much more focused on this overrule atmosphere and soundscape than it is melodies, harmonies and rhythms. You can practically have an entire ambient music composition based on sound effects, sound design and atmospheric textures. So if you play a pad or string patch, for example, don't focus that much on what Melody plays or what course it plays. Ah, I would mainly think of it as creating a sound bed that slowly flows throughout your music . So, for example, you could start with a perfect fifth Harmony like this with the route down here. Continue chasing only one thing here. So basically what idea? There was public kind of the base was the pedal note, and here I only played eHarmony to know tor money all the times with practically I didn't play any court. It wasn't really Milly. Just what That was that soft. Ah, sound bed in the background. And if you play some kind off soundscape Ah, for example, ah, a no escape Flavell sounds. But Scott soundscape have found, with experimenting with sound design, for example, textures playable textures. Often you can just go with one note the route the tonal centre, and do something With that. For example, you might want to focus on adding some modulation to the filter. So a lot more focus on adding movement and motion with various automation and modulation. Instead of doing a lot with the action notes you play. So basically focus more on creating worlds off sound, with design sound design shaping, adding modulation automation and do something way more minimal with the actual no to play on the instruments in ambient music composition. 24. Assignment 16 Bars of Ambient Music: Congratulations, my friend. You have now learned the golden guidelines off ambient and atmospheric music. Which means it is time for you to take action now and learn by doing the only way to master any field. So open up your D w and stored by creating your own sound palette that he will use as your starting point for creating your own ambient music composition. Start by experimenting with the sounds and colors of Amit music. Then implement in practice, eat off the golden Guidelines and finally write a 16 bore ambient music composition. Keep it simple. Focus on the overall soundscape and mood. You aim to create good luck. And when you are finished, I will see you in the next three. Do you, my friend? 25. Ambient Music Relaxing & Calm: Now here I have some practical tips on composing, relaxing and cool ambient music. First, use very long notes with a few changes to use very soft and round sounds that feels relaxing when you hear them. And three use extra low dynamics, meaning all ambient music should really focus on the lower dynamics. But if you want a truly relaxing and calm vibe, you really want Teoh keeping the range of P P P two p. B. Meaning very, very soft and low dynamics. So let me play some examples here on my keyboard just to show you what you can do with the relaxing and cool style of music. So let's say you start with F using very low dynamics. I adjust with a fatal here. We can hold it down for a long time before you do change. And when you do a change, be careful with changing all the voices at the same time. Just introduce small, tiny changes like one voice or two, for example, going up to this note here and then perhaps changing to a C chord here. Well, this can go here on DA. This can go here now Let's start again if and so wants to keep all the changes. All the nodes long for your harmonies, chords and melodies, and use very few and tiny changes when you make a change. So the next one was very soft and round sounds of this piano is very soft and warm in its tone. President here and the strings and whatever other sounds use. I do say very lush warm sound for that year and extra low dynamics on everything that you write. So on articulations you can go for muted articulations such as so dino or flower town before strings, for example. Very, very warm pads where he have e cute and filter off the high range and so on. Now let me play you a practical example a short composition that I made in this style. And then I will break down my creative thoughts for creating this and how I implemented everything in the production. All right, all right, so here we have the composition on, let me start by going through each track that I've used here. So I have an ambient piano on top, which was actually the start of the composition, because I wanted that really soft, deep piano with huge reverb. If I play an F court here, you hear how soft on deep they sound released, very relaxing. Then I have actually pluck sound. It should be careful with plaque sounds because they can be too sharp, but I use a good warriors guitar patch. I think it's called in illness Fear, which is really spacey if I play this now and it's also very low in the mix, but with the added the lady, as you can hear there as an effect, it really makes a difference a sub base, really to just boost the low end off the actual string basis where I use what's the ah flatters lush basis with sardine? Oh, by the well, let me show what I used for the ambient piano that is the gentleman because it has a really , really soft tone. The sub base is also just a sine wave. In honest, very king is whatever you think you want for that are flatters with Sortino articulation. No close mike, so I can get really, really, really warm sound, also with added reverb than a Chilo. Also, a father strings four chills and use. Um with the can hold Mike's Again Sardinha which is really great for that warm, mellow tone. Let's see yeah, Finally, I used just a background choir from pallets Informix sketch pad and this is just ah, think mainly to note Harmonists some trials here, um, on guy used heavy e queuing and insane reverb on it. So So if we check everything now in the piano roll, we can first see the dynamics curves here that or really low we could see its well, peach pp somewhere around here very, very low. That pique is basically 45 50 around here on some instruments but really, really low dynamics. And you can also see that the voice leading is very, um smooth, Especially here. It might look stumbled dense here in the mid range. But since the velocities are so low and I used heavy Ik Ewing, it really took away that that bright focus in the makes and also a huge reverb. So if you check what each instrument's place here actually wrote down the cold progression here really simple corporation s. So we take a listen to the solo piano on its own. No way. That's the cadence just this piano alone is that is what I started. This composition, I really said, is that warm, mellow tone would be great for a relaxing and corn vibe. And, as you could see here, super low dynamics on everything and also very smooth voice leading long notes, Very little right going on, Really? For the plaques. It's basically it's somewhat of a military. You could say that with very few changes are not really a melody more of a horny. I would say, Uh, and basically you hear more of that river of tail and later than the actual pluck, which is Ah, by intention, because I use what's the reverb delay on? Let's see if I actually change something in here. I think I think I only deduced that, um, very lush delay on that for the saw base. Super super low dynamics extremely low just to boost the base of this so that his layer off this lush based here with Sereno just playing the root of each chord so very, very soft and mellow cello doesn't a little bit more, but not really that much. But he could say that this is the main melody. Actually off the case, as Can Harrigan, Long Nose and the choir. Ihsaa Simple doing something like this. Let's go in extremely low dynamics here as well. And let's now that you hurdle the track. Let's see what I've done on each show here. Actually used again pointing to boost it up because I wanted the piano mawr present in the mix. Because with this vote dynamics, it was getting lost. I wanted it to be the main, um, driving harmony off this composition. So I didn't do that much. No. We queuing or anything on that on the ambient plaques s he heard. I added lots of delay. If I stop this way, you can hear the delay releasing their the saw base. I didn't really do anything on the basis. Ah, well, the main thing there was to amuse the close mikes and used the sardine Oh, there. But not nothing major for the cello. So I actually went in and e cute. I added some war on the theater in the 405 100 range because I wanted extra warmth on this Teoh make that take part of the low mids, basically and then for the choir here is where when most insane with the sound design. First I added an insane big control or not insane about 3.5 seconds is a very long reverb. So here on the EQ you I went really deep with high cut, really high cat and a catch here also in the focal range, which is usually between one and three kilohertz where we ah p of the most off frequencies . So this is where the human ear picks up the most of its focal centre with frequencies. So I cut that a lot six decibel. So without those, the quiet re sexually she present and we those way back in the space. So that is the composition again. Take a look at what it looks out here in the piano roll very long notes. On the most part, basically, quarter note is the shortest no tear on and this is from a composition in 60 bpm. So I usually focused on the lower or the resting rate for the heart rate. Your pulse, which is usually around around 60 or somewhere, is perhaps up to 70. You want to really keep that pace really slow because that is What will make your conversation is relaxing together with love dynamics in the long notes, the focus off on a lyrical, smooth flow for all your parts. Now I recommend you to take action and practice composing, relaxing and cool ambient music similar to the style I just demonstrated. 26. Ambient Music Dark & Ominous: Now let me give you some practical tips for composing Dark and Omen is ambient music. First, it should really focus on dissonant intervals and harmonies, and you don't even need to resolve the dissonance. Normally, when you use, for example, diminished chord, resolve it, and whatever you do when you resolve a dissident quarter harmony in army and music stay away from major. So if you go from diminished like this, don't go to see Major. That takes away all the darkness and creepiness that you really want in this style off ambient music. Instead, if you want to resolve goes to the minder like this because minor is still that darker, more male of tone eso. If you play something very Vaux, you can get that evil sense of dark and ominous like this, especially if you have something with the base and then some high end shrill here, like so that is a great way to really have an extra sense of darkness. Keep the the voicing so that you have a really focused, low end. Like so Tip. Number two is to use haunting and creepy sounds like tens articulations comparative, for example, relaxing ambient music where you should use warm sounds like Saudi. No articulations. Here we can use articulations that are tens on their own, like from alos. Same no trills su pointed shell. Oh, which is burial nasal piercing sound on Strange since the warm you can also use very creepy soundscapes and no escapes in the background. 23 is to use sound, a sign and modulation that adds tension such as, for example, Peach Benz. I don't know if it's Yeah, like this. So if you play, let's say here in the base, so going out of tune like that is very, very creepy, and you can also use modulation on the pitch. So basically, if I just show this with a pitch, Ben, but it can use the synthesizer. We're effect for this pitch. Creeping is basically where it doesn't really stay completely. In June, it drifts a bit like this, which is very creepy as well. Also sweeping movement, especially if you have add movement in those creepy soundscapes and atmospheric sounds that can do look to attention as well as tension like palaces, for example, heartbeat or any type of especially soft pulses because it should generally avoid very focused, pausing rhythms in any style of ambient music. But he could have a subtle pulse. So now let me play you a practical example off a composition of dark and ominous ambient music that I created. And later, after you heard it, I will break down my creative thoughts and implementation off this specific track. - So this is the composition here. And if we take a look of what's going on in the piano roll, you first see these kind of drone in the middle that is the tonal centre on DA. Then you can also see that the low dynamics his present as always, it's a bit more going on here compared to the relaxing Ambien composition. But, you know, so you can see more space in between the nose, which adds that, um, air in between like the silent parts actually makes it even more haunting. And let's through all the soundscapes and no noise escapes. So if we start from scratch, this is actually a dark noise. Escape is the first track, which is really just a one note playing these noise that I also see if I filtered. Yeah, I heavily filtered out low end to just make it sound like a creepy atmosphere resident here . That works really great for this style. Then I have a pad dork pad really low that provides, basically, ah, a low harmony on top of the base. So here I actually first used a pad sound enormous verus. Well, so you can go ahead and search for any type of dark pad in any synthesizer. Then I actually used a bass amp to round off the sound, as at some distortion here with this particular effect is called Fat Effects. And then heavy it queueing, as you can see again, really cut the focal range. 12 db here at around 101 and 1/2 alerts and way with the deepest low win because the base to care of that. So this is about this track? Sounds like really, really creepy on goes well with the dark. No escape like a droney kind of background Atmos atmosphere. Those tracks. This takes care of that. Then, for the deep bass. I think this is justice sub base, basically Ah, minimal deep cream in trillion, which is played enormous fear taking out of the total route. Let's see like this, and it can barely hear it in the I can barely hear it right now because it's so low. It just takes care off the deepest Lewin. I could probably increase that debate. In fact, um let me let me let me actually create a bit higher. Be a tire like this so you can draw in the modulation. How he so we'll see me doing that. Live slow, slow curves in the modulation just like that. And now we have a bit more, I think still kind of low. But that's the deep bass. Then I have another pad and this is from that This is an organic pad basically made from real instruments from brass in four. So this particular preset just to add some more movement in motion, I also heavily filtered this I will not super heavily but cut away the focal point here. And then I used a nose and imager to really wide in. This is sound you can see from the harmonies are used here and here on Dhere and here, here and here, here and here. It's half steps because that is a great interval to use four dissonance that I have this piano, which I called creepy piano. Not because of the tone is a dark tone on with lots of reverb. Sounds like this. Not really creepy on its own, but the harmonies is what makes this creepy. So d minor d flat. I go from this Judy Flat. Ah, no, let's see from D minor Teoh d flat six. Um, unless you can see here. There is lots of space here in between the nose because I really want those dark ambiance is and no escapes to cut through. But let's take a listen to this, since this provides the harmonic focus off the dissonance harmonies off this composition. - Very , very dissonant harmonies and, as you can see here, very low dynamic, so very gentle but really creepy. I could if I wanted to add some pitch creeping or pitch drifting to make it even more creepy, but I just left it at that because all the ambiance is created that really creepy tension. Finally, I have this chill pointed shell oh, playing for Melo. So this is a really high shrill sound and also adding tremolo. Remove the clothes. My mike's at its own reverb really, though long notes playing at a low dynamics like this very, very deserted. Here again, the same a note. Change their attention. I think I used to me queuing now not on that track. So those are a along the tracks and together they really create. I think the creepy piano is the most focus of this piece as well. But since I have a lot of space and this is so low in dynamics, those dark ambiance is the noise keeps cut through so on, as you can hear Ovral them it is very deep and spacey. So its way in the back, almost like you're in. Ah, the crypt Sore in the catacombs and you might meet aliens or monsters any second. Now, Now, go ahead and take action to practice composing and producing dark and ominous ambient music . And you already have my practical tips and guidelines as well as these live example off a composition in this style to help you get started. So have fun and go all in on dork and ominous music 27. Ambient Music Magical & Dreamy: Now let me give you some practical tips on composing, magical and V me and being music. Tip one is to use huge depth and space, meaning using sound with long released effort, you released the key. Ah, deep residence. And of course, a huge reverb. So, for example, a pad sound like this, uh, in a huge reverb whole or even bigger. Tip two is to use a deep movement, like slow movement and soft houses like delay. So, for example, if you take this pad here in Novo, I played like you If major on, by the way, major chords work well for these magical and dreamy ambience. And as you can hear, it has somewhat of a pulse as well as a slow movement at the same time. And you can use delay effects for days. This well. So, for example, on this piano, a stereo delay and three is to use what I call shimmer sounds meaning airy, soft and high end Sounds like wood wins, holo pads, etcetera. So, for example, these would wings here or this flute here has a huge reverb in its and with a low dynamic to concern like this and you can really hear a dreamy, magical vibe, because Wood wins has a soft and round tone to begin with, and those work really well for magical and dreamy ambient music. So sounds like this. That is soft, she marine airy in quality. We were great for this style. Now let's go ahead and let me play a practical example of composition I made in this style , which I will then break down my creator thoughts and implementation for the specific example rights . Here we are. And this is the magical and dreamy composition. If we go into the piano roll editor and take a look what we have, you can see the cords here are really long and slow with changes. Again, we're changing, basically with quarter notes. In the end, Teoh make it flow together and the votes leading more smooth. And, um, the dynamic is low. Be tired than the relaxing, calm style Averman music, but still very low. So let's take a look at what sounds we have. So in the base I have Ah, this flood is lush basis, lush pad, not Sardinha in this case, but with extra reverb and very long notes and low velocity that makes providing the route there. Then I have this pad here from ominous fear, which I have added river bone and also boosted the similar frequency to add that medical vibe. Cut loft in the focal range where if your ears will have the most focused between one and three kilohertz and also the low end, so overrule it sounds like this way, providing the deep pad in oak tapes. Then I have a track which called, which is called warm woodwinds, which is layered with mountain flute, as I call it. So the warm wood wins is actually more more of the lower range off the woodwinds. I used woodwind ensemble essentials for this Onda Um, I added a dork room reverb to make it even darker in tone and softer and again cattle bit off this focus, ranging que and let's take a look and listen what this sounds like. So this is basically the the tune off this composition, but very, very every instant. Marie and the Mountain Flute is basically think. It's solo flute with natural vibrato and a dark room with an insane long reverb 6.4 seconds and very little dry amount, which makes it sound very distant and extreme. Lodi Menem dynamics, as you can see so together, layered with warm woodwinds thing that provides the melodic part off this Amin composition . But since it is so long notes, it really isn't felt as melody rather like harmonic vine. But ah, and also since it's so deep and rich and spacey, then I have another pad here, which is from Novo on Dumb Leave. It's yeah, is this has a slow housing movement into it, and I also added a trim miller to extend that movement, even Mawr and some extra vitamin hysteria vital in here. So in context with hormones, this sounds like very magical and shimmering tone, I believe and again, as you can see super low dynamics and finally I have what I call emotion piano. I started having some rhythmic movement, but then I decided to just go with. The delay is to relate, So I first have a transient shaper with the attack on the lowest to reduce the heat or the pluck off the each note. And then I added these, um, ping pong delay so it bounces to from the left to the right, like like so and it provides the harmonics or the court progression with long, long cords and very few changes, as you can see. So let's take a listen to that. See, As you can see, the voice leading is very smooth. So one thing that you can pay attention to you here is when you use very, very long notes. Ah, you can actually use way Mawr DeLay. If I had used, like quarter notes on this, this amount of delay would make it so muddy it would not be able to even hear what it's playing, basically. But when you use very long notes, you have the ability to use a, ah, a lot of more reverb. So this really makes is very high and with a lot of feedback, and so that provides the harmonic context. So let's listen to it all while watching the piano roll editor and you will see how it works together again here, - truly magical to my my ears at least. All right, So now Ah, go ahead and take action on this and practice composing and producing magical and dreamy ambient music. African here is way more about ambiance again and sound design. Finding atmospheric sounds airy, shimmering sounds that really contribute to that magical vibe. But of course, you, when thinking about harmonies here, you should mainly avoid dissonant or minutes and go with minor and major course to begin with, and also some suspended chords, as I have used here since four chords. To add some tension in the movement that resolves to major or a minor, try its offer words right, take action and have fun with magical and dreamy ambient music. 28. Live Creation of Ambient Music Part 1: All right, so here we are in the d W. And as you can see, I have imported a video track because I created these. I make these music videos from my compositions and ah, I like to use them. Asked inspiration. So I actually create the visual footage first, and I even title that fact for So I opened this up. You can see that this is the video that I will use this inspiration and the track is called the Magic Ocean above. So this is the inspiration. Now, as you can see of my story folder, which I used to sketch my compositions that have percussion, rhythm based hormone ability, ambience, effects and shimmer and obviously four and Andean track, the ambiance group will be the main focal point. So let's start in here and see if it can find something with me. Just update the screen set. I have, for example, alchemy via its little that up and see if you can find a cool so escape or something to start with. Let's see, I'm just gonna adjust my shirt. All right, So what shall we do? Which key should would be in like be B flat. Perhaps that was kind of a cool son. And I'm just gonna go with it's going to go with that for now. I think so. It's just add It's just that, um and then you can't see my second screen, but I have the piano roll here over sick and screen. In fact, that's opened up so you can see gonna make those into complete. Ah, like so. And it touches here and there. Perhaps I'm gonna extend this. Let's do eight bars off beef. Let this is how I usually think about it. In fact, let's move up that Oh, no, that's just like a droning sound. Oh, by the way, we're gonna go with the, like, 74 Temple. Nice. Nice. Nice. Um, let's try some kinetic movement on DA. Let's see if we can. Why isn't it like so? So I'm going to know. Sorry about that. To spend content connection. Um, for this right now, it's only beef. Let and, um should I do some harmony here. Let's see what we could do. Like a pad. I'm not sure I'm gonna go with full courts or just I see it's this school she was Go with major or minor. That's gonna do Horman harmony here like so And then I'm gonna see here if we can. I forgot. There's because I worked with dual screen, so I don't really use piano roll over here. But anyway, what's called ties that Andi Um, I think I have some Qantas. Nope lengths she did not know things like so So you can see North links or Quanta tastes. And then I think close. It's fills up that for now, still in B flat. I think this is big. Too old was reduced to minus six. And let's core about some space for it. Um, gonna reduce some of the president's in it or a lot in effect. So this I think it's too much in the base to because I want to add another drone there. Something like that? Yep. And now we both rights. In fact, I'm gonna go with real strings here instead, for this takes a quote, the wealthy lord, And then I'm gonna object that we see. Should I perhaps remove the drone sound here? I think I will. Let's see, Let's go up the octave. Okay. What? What the Let's go on if you check. This is a very, very long notes on. And I changed my mind. I don't want pull strings. Wasn't that Copy this and go to some like a so tester instead. Just warned that super soft vibe Onda Um, delete that for now. Close that. Let's see, as you can hear now we're super soft, Andi, I'm gonna add some modulation to this. Well, I I have to be honest, I I'm I'm going to work with my second screen. So when I click this, I have the piano roll here. I can't record both screens at the same time, but I will explain the pros is anyway. So Ah, I'm going to add some modulation to this just to have some movement into the sound like so gonna think I'm kinda move up? No, but what does it do? Like so like So? So I get some movement. What we have? No, I'm gonna move it up an octave on. Let's see if we open up this again. We have four and closed. I don't want the clothes just going to go with it far. Mike, Let's see what that sounds like ho itself. I'm gonna go with the maid too, right? Since that it's just so soft, I'm going to mimic it. Um, perhaps with the And by the way, I'm gonna I'm gonna try this this to to cope, pity or kinetic, which is very subtle, atmospheric, textured kind of sound. So I'm gonna remove one notes. I just have that there. What's up with this? So what we have now on, by the way, what is this? Um, should I do something with illness? Fear here? Yep. So that would make this. So now we have Let's bring up the visuals. Right. Um, I'm gonna go with base here on. I'm gonna go. We the low pad base, which is super super soft. Put it up on DIT is going to be on Lee. Let's see, just low. It says a shopper's B flat. Basically. So we have. We all want that depth in the low end that's reduced up. I think I'm going to stick it up there. No precaution, no rhythm, but perhaps some woodwinds. But I'm thinking about doing some woodwinds with a synthesizer. In fact, let's use ominous fear so duplicate that this is not going to be an orchestral track in that sense, but actually some kind of let's let's go. Let's go to the patch browser and see if we can find, like, food type tones and boots and winds. Flutie colors. What's this? Yeah, I don't know. Okay, so why is it so low now? I'm gonna check if I have a very low here. Let's try something. Yeah, that's very in fact, I'm gonna move that over to shimmer because it's a very shimmery south. I like to have these for mixing purposes too fast. Right? So that's eight boards here. It's quant ties them and let's see. I'm gonna Qantas them too. What? Has no things right? No. Um, get over here. Get over there. What did I use for? Oh, yeah, Just like so cut it up. And now that's too like so. So wait a minute. Oh, yeah. I mean, ah, colder. This the same as this one. So I think Bluish color. So now we have some low pared some atmosphere pads. Kinetic motion alchemy for the drone parts will test the strings or violence. Hi, Park. Plus a shimmering flutie can divide. I like that. Um perhaps some more movement here inside, we have some regulation on. Do you think I'm going to rule, which So it had more affordable movement on and some in expression, too. So we have, like, starting 100 perhaps going no, the opposite. Oops. Just to have some movement. Like so. So what's next? What's next? Um, I think that's a cool sections. Shall we just keep the key? I see if we are. Indeed, that changes up here, by the way, be that I'm not sure if we are. Are we in? I think we are in Major. Let's see O B flat major, because I What? What did I play with? The food type. Lied. Uh, where are we? There. So that's That's a major Yes, I play c and de here. All right. You can actually check this if you select everything and then quantifies the scales Will be that That show. Oh, no, Major. Like so what? Wait a minute. What do you do? You flat and then Oh, Oh, did I play us? I did something there, which is chromatic. Oh, well, let's leave it at that. I think I'm going to go with a really subtle texture for a rhythmic texture with Novo. Here, let's open it up and see. So if I can find if they can find some rhythmic texture, this is to load. Right? So where did where did you go? Here. We're gonna go with harmonies. So not the full. Try it even just two notes and altering you in between. Knocked to the higher perhaps. Where do you relax In the area? Over, like here. Or do, like here, Or perhaps even higher. I'm gonna fry in the middle here, - so if you check what I played, just played, um, in the B B flat major court. I just play harmonists here. Um, altering between the court notes what's make sure those sewer like that hopes so change there. Should I? Yeah. I'm gonna gonna keep this on this, like so let's see what we have And let's listen to it. Is it in the right range? Do you think that was pretty sweet so far? Going to think 29. Live Creation of Ambient Music Part 2: All right, So where to next? Let's, um let's think about this. Um, be fed. So this is the thing with ambient music and all these mawr simple, minimalistic music is that you need to have the courage to keep things things super simple , at least harmonic wise, rhythmic wise. The mounts off sounds and use the arrangement and so on. So you can have lots of things going on as long as they do is pretty much the same thing as these. Or basically, these is mainly B flat. That's the route. Some harmonists, but not really full chords, super long notes you can see. And um, yeah, very simple arrangement. So what we could do is to keep the fight going here, even though we start here with still 30 seconds and it's only be flat or we can try, it's changing it up. So let's let's do this sketch track here. So I think that's basically what I play, but super slow. Shall I go to like a major sticking up to keep it happy? Or should I? Just If I go down major second dull, let's see. But I think that sounds pretty. Let's increase the strings here. So I go after knock, take just brainstorming here. So down. Ah, major second. So we go to, uh, they were always a flat from beef. That Yeah, just ah, minor second down to a super super, like, all chromatic steps. It's really ominous from Major, too. I like that. It has a magical character, don't you think? Well, so let's do that. In fact, let's try. I just going to copy this. Um, let me think. What's the best way to do this? I'm thinking about since its it's been cope with this and then transported down, That s Well, I don't know if I'm gonna keep eight bars again. The same root note, but let's see, I'm gonna sketched at the same time now, so just keep this going, Missy. What? We're let's add marker there. I must keep this lower. Um, I'm not sure what they were our way. I ate everything can fry. What's the I'm gonna try to have something here with the breast pads. Were always okay, So let's go with something. No, no, no, no. Um, let's do this again. There are I'm not sure if I'm going to do change the area. Or if I'm go on be brave enough to keep it going. Let's see. That's just something with you know, that based one. Um I'm gonna go with this. Let's let's keep it going. Let's see what we have. We're always here. Cut it up. I want eyes quant ties. Ah, no Rips Qantas to corn oats and keep them Keep on Qantas like that Andan, I'm going to repeat that section. Oops. So? So we keep the on What is this? This is a then we could keep this to just wait. What is this? Now? This is actually moving a bit. So you know Oh, no, no. I would get the one of those stuck notes again for some reason. Novo, By the way, This is not noble, is it? Let's it's for so Oh, it's rename it. But as you can hear, just go to stuck note And I have no idea. Why does this? Uh, I'm playing ending using the panic button to release it doesn't work. If anyone has ah solution for this police let me know because I'm not sure what to do when it gets stuck with fixing impressing the sustain pedal If 30 stock it does, It's not sustainable. Just going. Have to deactivate it, reactivate it, see what it does that worked. At least You see, you know, then we go over to go to E. Perhaps, Um, just about made to see I'm feeling I wanted to change. The hormone is somewhere something is going to need to change. Perhaps going from a fat to sketch fact way have from beef basically those notes and then, uh, G perhaps d major. So we have a flats. Uh, but Major, a major, it's made you to make your about. It sounds Coleman is because of the half step down, right. So then we'll send on venture A. I think I'm gonna get to go with. Um was was a school a g flat five eso I'm going to go with to the G roots here. Um, I think I'm gonna cut it up here, basically like this. Remove those, then go to Christie Way then. But do no. If so, familiar. Yeah. Ah, let's let's play Teoh. So I'm going. Teoh have actually going to sketch it out right here. - Oops . All right, so I think I've got something with the transition here. Some. I'm gonna cut this art project that I cut this up. Uh, like So. So we're going to go to G here. Um, Wayment, how long is this for? What do all of those? Because those are basically route notes. Move them down too. G, what we have, we have this, you know? Oh, no. Breast. Why? While you do this to me always for so used to force damn it. All right, Uh, since this is a change, I'm going to add a marker here, Go from a and then to Yep. Like right here. No, Sorry. Wait a minute. Why? Why? For So why someone Please help me solve this with four. So it's driving me insane. I'm gonna shake. If it's meted shapes, sometimes it's Yeah, it's made a chase. Turn that off. I hate me to chase because I used to love it, but I realized it's super buggy. I think that might be it. So we're going hear from? Yeah. So let's do that. Uh, three full now. Right here. No, I'm gonna do that again. Three. Right there. And then you move that over and call this shop Major major. It's all the major about those chromatic steps than shifts Really make it super ominous. Let's see what we have. Um, gonna check this one. I'm actually going to first Kwan ties to, like, quarter notes and then make sure it's quotas to length. Great. And I'm gonna shake this. Be to allow this to be too loud. I don't want to know splitting at the same time. Looks good so that I couldn't cut that up, but here and move those over. And what do we have here? Well, we have Mark cool cycle and then down. Now the have step, half steps, The greatest thing. You want attention to see where all way I'm gonna Oh, sorry about that. What did I do? Go here at now. The markets. Things that make it when I make changes I used would you like to add a marker? Makes sense to me waste. We'll have that. Let's bring up this again going to a flat and then g it sounds ominous even though we are in G major. But I actually went to G um de with a flat five first that the results here. So I'm gonna Minnick that he earful. But first to see what? Where did I play this range? C five. Something here. Okay, so let's go from E appear now. I'm gonna coach fat five all. Cem, let's see what we have in the movement department. So what's like? So God roll something here again, but I but I put up. But but, uh, some movement. We need some movement. Did we have a some of expression? Know that up? Of course. You can recall those if you want to see. Did this mimic? What does this just do? Oh, it was a high, shimmering thing. Let's do that. Have a sort of toss. Still playing? Did these minutes each other? No, I don't remember. Ah. Oh, it was the on this very thin track. Well, if that's the case that I'm just gonna Teoh me, make it here, but move it up and booked a blacks. No, not on the track on the region on the region. Transpose because that then this will mimic this but an octave about. Let's listen to how it sounds then. Hello. We're going to go. Okay. So I couldn't It goes too high. Well, it's moving down again, then. Hello. Where are you? Is it still too high? I'm sure. How How high can this go See? Six. I'm gonna I'm gonna go into piano roll and have a look show to go pretty high. Oh, well, let's leave it at that. And then we had this, which was just like a shimmery track. That's that. That we're in a here. I think I can add some more movement with the notes in the scenery department that they again. Hello? Four. So you are bad again. So someone plays up missile, this four. So problem. I'm getting pretty annoyed with it, to be honest, not using in a sustained piddle. It's nothing, but still is bed. Wonder if it's when I connect the notes. No. All right, let's record this. No, no, no, no. Why? Why are you there? I'm going to record here. Damn it. - Let's see. What do we have here now? So it's contacts. Those? Um no. What is this? Um, this notice Wrong. So about that I quote iced to quarter notes. Obviously, that's insane. In this case, where are we? We can bring force it back again. I think we play, but you faster groups. I cannot do it like that. Bit to first. There. Yes. Well, see, with you know, I'm editing at the same time. It's a lesson, by the way. Sweet. Now we have Where we at on, By the way, this is I'm going. Assuming this is sent Perfect marks amount again or thes. They seem to be at least All right, so we are almost above a minute, and it's super simple. We're keeping it simple here in the ambient vibe. Um, So where to go next? Let's let's say this for now, so we don't lose it. 30. Live Creation of Ambient Music Part 3: I think I'm going to add something from key escape. Um, not please in this case, but something more like pluck. It's a key escape creative library. Um, loaded up this patch super soft, super gentle. And I want that magical, shimmering touch because of Well, because of this. Got to switch it over to the Shimmer Group. Let's see if we can add it here. Should I do like it overpaid you super high or video? I see. No, it takes away too much. Something like that. Threats? No, not that either. Uh, is this patch something but changes between something? Let's see. Well, it's quantities to you there to 16th. No serious aside, even more reverb. Oh, it's you out some hello, even more here in the presence thing. What does it sound like in context? As you can hear, one of the main things with ambient music is no sound should, like take over and being super focused like, for example, vocals in pop music leads in medium and so on. This is like a blanket. Everything is like a c ah were missed, But I'm going Teoh, see if I can, like, copy this section that's not used to spend content, connection and move it over here and have the flat again. And then this time, use this like so we're always so we're going from If Sean All right, then we're going to go back to B flat. Since now. Nice. Let's do that in octave higher effect. Um, and let's remove the breasts forces here, and I'm gonna have to introduce some more ambience instead, let's let's go with the drone er on. Gonna go with Let's go with this. You know why? Why is it can I can I know the Sometimes I find this peculiar that I cannot drag for on the track stack with the option copy down to the real track. It's super annoying. So then I need to do that. So what I want here is, um and you type of drone to introduce it. I'm going to use drone er from Gulf fake instruments, which looks like this on it Sounds like this. If it sounds at all, I think we need to go up. Perhaps there No, like so see? So the change here from taking us up the sound there perhaps a bit too much in fact, See, we can drop some of the No, not you. Hello, You. I want I want you there, like so on. Um, some of the highest us. Well, just one. Yeah, all right. A fact. I'm gonna go and do something like this to really boost the shimmer on this one here. No, which which one did it turns? What? That in fact, let's the boosters Sheiman on that too. But this is the guy I'm going to change. Like so. See how that sounds like No. Where are we five. Even more to see if I can go and act up even higher. Oh, yeah? Do you hear the magic? It's the tooth in focus. When I'm up in Octave, let's go down again. I think it wants sadly bitch to in focus there. So we're going to bring this home. Like what? What? What I won't end with. So we go from back here? No, I'm gonna go straight to have sharp again Content connection there. What did you do? What did you do? Atmosphere. Oh, it's not really Oh, it's not really Kwan test here. No, give it like so. Yeah, that I'm going to switch instrument here to this. Well, Tom, do I think, um, and see if that place well, where are we? No close Made us meatless for that soft. That's almost too soft. Infect this. Move this up a bit like so. So we go and show up, then defect. And again, it's hardly any harmonic or melodic movement at all. Or rhythms way just won't that this is basically the most rhythmic thing so far in this track. What is that? Could be noise. I'm going to check if I can get rid of that by and by the way, this is soft ing ing up the edges. So adding a, um, attack, there could be the filter. Yep. No. Why? Why do you click or something? Yes, in high pass, filter and see if it works better. What is going on? I am not sure why this is sounding. So Could it be the e que That's over? No, it's not that either. I'm getting you know it at this sound Not sure White clips like that that's uses super soft sitting. Am I even on the right track? What's going on here? It is this fact, but didn't even change. Let's move the help way, way, way high. Like so I had no idea I have no it. Let's use another one just because some match and try similar pulsing voices e bowed piano . Let's try that. Yeah, And then we go, Meteo, we need to extend this on that. But that way it shop. Where shall we go? Perhaps too. Just saying something and then let's let's try that. So we going from, Um we need another marker over here. So have seven. Go back two steps, then go back One step. Don't try to record so we or in no, Let's see, We're going from there. Back to be fat breath. So we have no right there sewing Going to speak that on then spend content collection so I can take this to Let's see, we are at They flipped. We have a flat before. No. When you went to a and here we finish it Be flat again going here. Kwan ties Teoh quarter notes select Also, we can contest Jesus. Well, Onda, we'll change that to like What is this to? That's right. So now we can actually use this track, but I'm gonna go with this first. Now, let's let's do it like this. This, this, this think those so good, like so replicate. But this is going to go to, like so And this is going to go back like so. Then I'm going to see if we can. Let's see where over yet the stage beef let and then we go to if Shaw So just cut that top there. Have shop number into a flat beef. Let replicate so a flat, then be flats. Where do we have it? Beef. Let. Why can't I see? Called the tracks their beef? Let if job what us even note names this Well, if sharp. If that beef it's ok, um and then I'm gonna take those. Actually, just look it over here so I can choose some of those notes or breast force and effect. Let's finish off with some string pass from Nova instead. See if that behaves better. Um, let's see what we have here. Yeah, let's finish off off off some, like super divine notes here. So But we're not going to use. So let's see if we can keep it like so Oh, man. Or you owe you the same Novo. Are you the same? I don't want to have too many notes at the same time. Yeah, that's again here. No boys. The same super super annoying. Ah, I feel like this is baggy. So let's actually reduce that by quite a lot on going here at some modulation as well. I think they have some modulation aspect, like so I think I'm gonna you see quite a bit more. And, of course, we're not going to use this up here on dumb. I do like that. Um, what's muted? Just it doesn't play. And then so should we. Does something with the something other playing the harmonies, perhaps some ambient voices. Um all miss fear how the us the sound, But, well, I Trump's come on. J t like to see. I'm not. I'm not sure about this town. Let's listen in context. No. Yeah. No, I'm not liking it. Safe illness for has something in which sound match her. It's women swells. That's better. Much better. Those swells and Alex are amazing at adding that movement that we really need for this. I think I can remove that fact now and let's see if we can do something on for town Do here or slow tossed or perhaps up here. In fact, let's use both. Why do you play? I forgot what we played here. Dammit! I'm gonna go back and see it wasn't a flat major. Okay, so let's leave that death for visual reference, and I'm going to play em one day since that. Okay? Okay, let's do it. No, run again. I'm not liking it. I'm not looking at to see if we can do something. Yeah, let's do that instead. Oh, no, no, no. Right. So it sounded super distorted in crazy there. I'm not going to use it. Um, I'm gonna try something else. Let's cooperate over here to the Celeste. Perhaps, but let's first Qantas it, Celeste. The very name sounds divine, I think. Okay, so it's it's way too well, but I'm gonna use this super big, massive epic river with ongoing defy. Mimic this with the protesters. Secrecy if it can play this What ISS The reverb on this made and four. And how did I sells? A bit too. Honey. Some reverb, More river. Some whole river, perhaps. See better. Let's see. Let's Ah, Copy that. A swell so we can get something. How? How high can display? Okay, not that high on. Why is this here? I need a tire and that to swell whips something like that. Like that. So then copy it over And breasts four. So you're not going to be here today? Let's see kids get creative. Should I just I'm not understanding why it sounds so distorted enough. Okay, so I did not overpaid you. Let's say soon out place. You can see the project. Where are we at? This is the final more great marker nine. Just adding wonder I'm gonna I'm gonna end the queue here. I think we be flat against going home. I'm probably actually going to end, but he only like food. Cord. No, no, no, no, no, no. Go shut up! Um, or perhaps even women. Let's see. What do we have, like ending home the cord right there? So I'm not going to do you like that was See how that sounds? No, we don't. You eight Wait a minute. What did you do? Oh, how do I How do I merge? Okay, so now where you merge now? Yeah, and then just go higher just to finish on on that. Okay, So what can't you sing higher than that? That I'm going to go with a crescendo for it as well. So we're starting here like we way like that, and then go down to see how that sounds. Wilson, even even more river. We like huge reverb on this kinds of tracks. Um, what's close? That screams that where we are now, where are we at? I'm gonna listen to the finishing point here. No, Tu Tu Wei Wei where it busts fade in. And perhaps it's also way too loud. No. Oh, man. Man, I hate that you cannot Ah, undo the mixer. So this is too loud firstly and going to reduce. So it's start really row, starting to crescendo. Nothing comes spec down. Um, like So let's listen to so it fades in here. Let's see here, Andi, I'm going, Teoh. Am I going to do something else? Let's see. No, I don't think so. I think I'm going to leave it that I might do some tweaks, but that east my ambient music composition that I basically created from scratch here on this video to hopefully inspire you and give you some ideas to create your own ambient and relaxing music like this. So I hope you will do some amazing music and I will see you in the next video, my friends. 31. Congratulations Your Next Step: congratulations. You have now learned the foundations, the sound palette and guidelines off ambient music composition, as well as got practical live examples and even a live composition for a true insight into how to make music in this show anger and style. Now it is time for you to take action and do your final assignment, which is, of course, to compose and produce your own complete ambient music composition from scratch to finished production. I recommend you to start by choosing a specific style and character off ambient music, then creating a sound palette to start with and finally dive in and composed and produced your track. It is only by composing Mawr music that you will truly evolve as a composer. So have fun, and I will see you next time, my friends.