well guys, would like tips to help me create an "invisible" ambience ... I've noticed that my pads are more perceptible than the songs I listen ... I'm currently only equalizing pads and adjusting the volume ... finally, my intention is to have a pad just to fill the bottom of the mix, I know that there are no foolproof recipes, but any hint would help. Thanks!

 

Low-pass filter? Yes, low-pass filter!

Also, layer with noises and atonal sounds (drones, fans, air conditioner, hum, buzzing, whatever)?

 

Sidechain or gate it a bit when kick + drums are playing ?

 

SLow attack, more (longer) reverb, post fader mode

 

This gets OVER-discussed on the www! :dancing:

READ @

Code:

http://www.gearslutz.com/board/electronic-music-instruments-electronic-music-production/836289-creating-airy-synth-pads.html

 

Good tips. I have a song with a really spacious and ethereal pad as sort of the main bed of the song. On the Bridge, I bring in this kind of 'wailing whistle' patch, and play the pitch bend wheel to wobble it slowly out of tune all over the place. When mixed low, it actually sounds pretty dramatic.

Never tried the sidechain/gate thing. I've never been a 'mix engineer'- always more of a songwriter/musician, but this makes a lot of sense to keep a pad from smothering all over a mix.

 

I usually cut the low using eq ... tried not to use a VST filter (always thought it was a simpler version of an eq) ...

 

If you want it more "invisible", Baxter is right, because the higher frequencies are more obvious for the human ear than the lower ones, so if you low-pass it will become smoother and will retreat a little backward in the mix. Cutting only the lows (as Hardwell said) that will actually turn the sound brighter and it will become more obvious in the mix.
What Huehueteotl said is just a mixing tip, but it has nothing to do with the sound design because it doesn't change the pad's sound design, only it's behaviour in the mix, ducking it when the kicks are playing.
You can layer a diverse bunch of pads then route them all to a bus and apply the low-pass there, so they all are affected simultaneously. You can also cut some lows so it doesn't interfere with the lower frequencies of the mix. You can also add a bit of saturation for the taste to make it warmer and fat, add some compression to glue them all together then set up a send FX for some subtle reverberation. Set a longer pre-delay because the pad will be ducked anyway when the kick hits so when the pad will actually come in then it's ambience will be more richer because the reverb tail is not on it's end, but actually on it's beginning. (if you understand what i mean , i'm not a native english speaker)

 

About pads presence (in fact, anything), you can cut the mids and keep some highs as "guideline".
Cutting some low-mids (not bass) can help removing presence, but without weakening sound.
You can add subtle low pass at high frequencies to equilibrate things.

On a general guideline, it is better to separate tracks : tracks for high pitched sounds, tracks for low rumble.
No more mids over-presence

 

Why should we route him on other adresses when we can actually help him here (if we're able to do it, of course). Aren't we on a pro music-related forum? Why should we re-direct him somewhere else? We don't have to set up a whole discussion here. Even only 1 post is enough if it contains exactly what that guy wanna know.

 

Or just maybe use a sound from another part, bring it down an octave or two and use that as a pad. It might remain unobtrusive yet fill in your gap.

 

Thanks guys, I will try to keep the lows istead the highs in my pads (don't know why but never thought of that before, ), probably that's where I'm going wrong...