Ok, I'm trying to keep this as specific as I can.
I'm trying to write New Age-y music. Channels on YouTube like Yellow Brick Cinema (all their sounds) and Mike Rowland (his backing, not piano) and Aeoliah all have lovely, soft, background-y pad sounds - but I can't find where they get them from, all the 'pads' I have are FAR too 'lead-sound-in-trance'-y.
I know a "bit" about editing them - ADSR, Reverb, EQ etc. - but I can't find one sound that sounds as soft and warm as any of the above artists. I know it's not supposed to be a discussion here - could anyone chuck an idea of where they get their sounds from at me? They're all essentially similar so they could all be using the same library - but what (affordably!) I'm happy to have affordable near misses...
Current equipment. Sampletank Free, Esfera, P8, all the Korg Emulators (M1-Wavestation) Irish Acts Infinity, Orca, Rob Papen's Blue, Camel.... and others similar . I use a notation package cos I'm disabled, don't let that worry you, it just doesn't come with any of its own sounds so I have to do everything with downloads of some kind.)
If anyone goes 'AARGH!! They're sitting under his nose and he's not SEEING them!! then shove my head in a tutorial somewhere. I've probably just missed finding it!
Yellow Brick Cinema:
With Yellow Brick Cinema, their massive tracks are virtually all gorgeous pads - forget the lead sound like flute or anything - just the backing sounds, all the way through, for six hours - though I'm not expecting you to listen for that long!! Seriously, it's all of the backing sounds, not the backing sounds in any particular point. If it turns out those particular sounds cost a year's salary, I'd be happy with anything that 'does the same job', because you can stick a decent lead sound on top and it still sounds sorta cool.
Medwyn Goodall (the pad at the start and in the middle of the instruments):
With Medwyn Goodall, I chose this track on purpose. His pad - he nearly always uses the same one in everything - starts right at the very beginning before any other sound kicks in. When the other sounds kick in, it goes into the background where it's fine if it disappears sometimes but if there's nothing else much happening it's still there sounding nice.
Mike Rowland, Angel Delight:
Again, like the others above, no particular timing, all the sounds all the way through. Yes the high one's strings and the low one's partially cello - but there's a ton of other sounds I THINK going on there to get the fullness. They're ALL the way through, no particular point. I've got vaguely similar sounds but they're skinny compared to these even with no effects on them. Just pretend, any of you, someone was holding a gun to your head and yelling 'MAKE ME A PIECE LIKE THAT ONE!!' Where would you get the sounds from to make the piece with? If it's techniques like layering or whatever - I dunno - would you be able to tell me what they are/where the sounds come from he's doing it with/anything to help a noob out here?
I know it's up to me to write a decent piece with the sounds, but I'm feeling like a guy who wants to write flute music, doesn't realize it's a flute he's been listening to and only has a guitar right now anyway!
Yours respectfully,
Chris.
