[LAU] A journey to a new world

Louigi Verona louigi.verona at gmail.com
Wed Aug 17 12:44:34 UTC 2016

Hey Ffanci!

The good thing about project "droning" is that all tunes are designed in
such a way so as to not require you to listen through *all* of the tune.
You can start and stop at any point in the tune.

I would say that I focus more on structure, then sound design. But at the
same time sound design is central. Sounds like a contradiction, but let me
give you an analogy.

Imagine someone making figures out of clay. They focus on how their figures
look, what kind of emotions they convey, but they don't think too much
about clay. But at the same time clay is at the basis of it, and they
actually do have to care a lot about the quality of the clay, how it is
handled, etc. But it is such a basic part of the process that they don't
already pay much attention to clay itself.

So, same with me. Sound design is such a basic integral part of electronic
music, that you are engaged in it without focusing on it anymore. Sound is
your clay.

I don't use automation too much. I might be using automation in FL Studio
if I need a very complicated process to generate interesting sound. In
Linux working with automation is difficult, although sometimes I used seq24
for some automation.

But generally I either use my pd patches
<http://louigiverona.com/?page=projects&s=software&t=puredata>, or I play
it live. I also use kluppe <http://kluppe.klingt.org/> a lot, might use
paulstretch <http://hypermammut.sourceforge.net/paulstretch/> for some
sounds sometimes (although generally paulstretch doesn't work well with
most sounds, so I use it very rarely).

You can see that a piece like 270 actually consists of a lot of separate
pieces. How they come together is a challenge. The better I approach this
challenge, the better the track sounds.

The most difficult thing, though, is cleaning up. When you are working with
pads and strings and longish sounds, resonating frequencies could be a huge
problem. Half of the time you are playing around with equalizers and
multiband compressors to remove offending frequencies, this is sometimes
very tough work.

Hope that answers your questions! Ask more if you want to know anything

On Tue, Aug 16, 2016 at 10:11 PM, Ffanci Silvain <silvain at freeshell.de>

> Louigi Verona, Aug 16 2016:
> ...
>> My latest release, droning270. Currently out only on Bandcamp, you can
>> stream and you can even support me by buying it.
> Hey hey Louigi,
> it's been a long time since I listened to one of your dronings, but I
> quite like this one, although I may lack the patience or mindset to listen
> to it for the whole 45 minutes.
> Still I wonder how you approach such a composition. I found it rich, very
> atmospheric and image provoking. It touched something. So I wondered: do
> ytou focus most on sound design? How do you approach the progressions and
> points of interest? Algorithmically, through automations or through clever
> use of intrisic capabilities of your synth engine, like LFOs, envelopes and
> other control modules. I was really fascinated by this piece.
> ...
> Ta-ta,
> ----
> Ffanci
> * Homepage: https://freeshell.de/~silvain
> * Twitter:  http://twitter.com/ffanci_silvain
> * GitHub:   https://github.com/fsilvain

Louigi Verona
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