Atmosphere is a key element of music that can evoke emotions, set a mood, and create a sense of space and depth. But how can you achieve a more atmospheric recording that captures your artistic vision and connects with your listeners? Here are some tips and techniques that you can apply to your music production and recording process.
The first step to creating a more atmospheric recording is to select the sounds that match your desired vibe and genre. Whether you use acoustic instruments, synths, samples, or a combination of them, you want to choose sounds that have rich textures, harmonics, and dynamics. You can also experiment with different tunings, scales, and modes to create more exotic and expressive sounds.
Learn how to translate words like atmospheric into music terminology. Which instruments, harmonies, rhythms, and sound effects, plug-ins or other engineering techniques are needed to create the atmosphere you’re looking for.
Ambient pedals and experiment with different sounds. I like to do vocal harmonies with reverb so it sounds like something I hear when I'm dreaming.
Space is a note It is just silent! Quincy Jones. The space that you grant in a music composition creates a bigger impact for the following parts/part. This is what they call dynamics. Playing a bunch of parts for the sake of showing off for your musician counterparts would be considered selfish. As a music producer/composer you have to have patience or discipline to understand these things. The biggest sign of a producer not knowing what they're doing is overproducing, not understanding space and not knowing the importance of dynamics. Instruments electronically or acoustically have a frequency that can cancel each other out. Knowing about spacing helps. I gave you an example with my first sentence in this article down to the paragraph.
For music, I think about placement of instruments and frequencies. Some plugins with certain effects like choruses, echoes, delays. I also think about the space I am recording in to begin with and what natural acoustics are like there. Or we can go full Dolby Surround.
I believe that thinking in three dimensions is the most important part of the equation. Whether you use recording techniques involving unique mic placements or multiple instruments in different recording spaces or use layering of digital and analog effects cascading to create the ultimate 3-D soundstage, I believe you want something your listener can truly get lost in and feel like they've been transported to another place when they hear that track.
Effects are essential tools to shape and enhance your sounds and create a more atmospheric recording. Reverb, delay, chorus, flanger, phaser, and other modulation effects can add depth, width, movement, and ambience to your tracks. You can also use distortion, saturation, compression, and EQ to add warmth, character, and contrast to your sounds. Don't be afraid to use effects creatively and try different combinations, settings, and automation to create unique and interesting soundscapes.
Effects such as reverb add depth to any sound and could enhance the atmospheric elements of the sound. Effects plus panning could be the perfect combination to create the right soundscape.
Try sending delays into reverbs with different feedbacks. Get creative with riding these textures up and down in your mix at the right times. Paint with sound.
Another technique to create a more atmospheric recording is to layer and blend your tracks to create a fuller and richer sound. You can layer different sounds that complement each other in terms of frequency, timbre, and rhythm, and use panning, volume, and EQ to balance them in the mix. You can also blend your tracks with ambient noises, field recordings, sound effects, or vocal samples to add more realism and dimension to your recording.
It's all about contrast.. Rhythmic, color, pitch (timbre), and yes, "ambient noises." You can create rhythmic variation in a single track - but why not in multiple ie: long tones in the horns, but a driving bass underneath.. perhaps the bass suddenly stops - but the horns finish the lick - and then everyone back in at once.. Color contrast is necessary - or everything starts sounding like mush. I used to do a lot of work with a single synth -- had to eq the tar out of it or everything just sound too similar. So choose thin vs thick, or similarly, dark vs bright. Pitch contrast (high vs low) can be a blend of both, or a sudden pop - a horn stab, or guitar fall - or suddenly shift from a high phrase to low answer (call and response).
Multiple layers making one sound can be the secret. Complication made simple. Many combinations might be tried until you strike the perfect match. Sonic soulmates.
Spatial techniques are methods that manipulate the perception of space and distance in your recording. By using these techniques, you can create a more atmospheric recording with a sense of depth, width, height, and movement in your soundstage. Examples include capturing the natural sound of the room or environment with stereo microphones or multiple microphones, adjusting the balance between the center and the sides of your stereo image with mid-side processing, creating a more immersive and realistic listening experience with binaural or 3D audio techniques, and using panning, reverb, delay, and EQ to create a sense of distance and perspective for each sound source.
It all depends on the scene or vibe you are trying to create and then picking the right sounds and layering them properly utilizing reverb and other effects to enhance the sounds. Focus on using more ambient sounds not too many computer generated sounds. Dead space may not seem like a sound but it adds texture to what may already have in my opinion.
Overall, the use of spatial techniques enhances our understanding of the world around us and helps us address complex challenges by providing a spatial context to data and information. 1. **Stereo recording**: Stereo recording involves using two microphones to capture sound from different directions. By panning the audio signals of these microphones left and right during mixing, a stereo image is created that simulates the placement of sound sources in the stereo field. 2. **Surround sound**: Surround sound recording utilizes multiple audio channels (such as 5.1 or 7.1) to create a more immersive audio experience. This technique is commonly used in film and gaming to place sound sources around the listener, providing a realistic sound.
Cool pops and twinkles panned on the outside edges. They can pop in and out - but you can also pan them right to left (move 'em)! Same thing with a guitar run -- start on one side and pan it across the soundstage... Think contrast. And often less is best. Too much = muddy mix. Don't be afraid to make mistakes -- they cost you nothing! If you like the way it sounds - go with it! If the client (or boss) doesn't - then adjust. But trust your ears and have fun!
The final tip to create a more atmospheric recording is to be consistent and coherent with your sound choices, effects, and spatial techniques. You want to create a cohesive and harmonious sound that supports your musical theme, mood, and message. You also want to avoid overdoing it and cluttering your mix with too many sounds and effects that can distract or confuse your listeners. Remember that less is more and that atmosphere is not only about adding sounds, but also about leaving space and silence.
I think of what a live audience would hear if they were listening in a performance, and then I try to recreate that with panning placement. I never put any 2 things in the same panning position in a mix. Example, if the hi-hats are 35% stage left (right side from audience perspective), then I will place those 35% panned right. If it's a stereo source that may be an exception --such as a piano-- then I'll mix that panned L/R, but again, never putting it in the same panned location as anything else in the mix.
When working up the arrangement - ensure that each frequency range contains elements working to compliment each other, rather than compete. When mixing synths, you can create depth by utilizing panning envelopes, layering parts and having them individually sweep between L&R so they are never static but also not calling too much attention at any place in the track. Once you have your foundation - placing any lead components outside of that frequency range will have them sitting on or under a cloud of atmosphere - and from there you can play with widening the lead sound, adding delays, choruses, verbs, EQ, etc. until you've captured your desired result. Keep any lead components minimal to preserve the nature (and purpose) of the track.
Record in bigger rooms. Use more room microphones. Recording drums in huge spaces, it is common to have multiple sets of microphones. Ranging from being close to the drums or really far back in the room. Another example would be Orchestra recordings, where mics are positioned strategically to capture the sound of the orchestra and the ambiance of the location. When recording drums, I used to throw a few mics in uncommon places in the room - this always gives you a wide variety of sound combinations.
Always have in mind, the image you are trying to project. If the client wants "relaxing" - and you try to cram all your tricks and ideas into it - it's not going to work. Trust your ears, and don't over-think things. Go with your gut. If you have to track to film cues - you must consider what was happening "then," and what's "going to happen." Make sure you reflect every visual as much as possible but still make sensible "music." Sometimes music becomes a showstopping "effect." That is fine too. Don't be too careful -- go out of the box and create something really special - that really enhances the film or song. LISTEN to the client BEFORE you start and KNOW clearly what they're shooting for. Cheers!
Leave the studio window open so you can add the atmospheric sounds of the street to your mix. In NYC between the sirens, horns and screams in the night, things can get pretty interesting.