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TEXTURAL TURMOIL IN THE DAW - Part 1: Punk Ethos to Synthetic Soundscapes with Bungalovv
🕑 Added 2023-11-16 19:00:06 +0000 UTC
TEXTURAL TURMOIL IN THE DAW
Part 1: Punk Ethos to Synthetic Soundscapes
with Bungalovv
In this Lux Cache article/tutorial series, we dive deep into the gritty underbelly of textural manipulation, guided by the punk ethos of Bungalovv. This first instalment takes us on a rebellious tour of textural sound design, breaking down the walls of conventional methods to let the raw, unfiltered energy flow. Bungalovv walks us through his unique approach in FL Studio, from manipulating the 'Pogo' knob to crafting cinematic atmospheres, all while keeping the DIY spirit alive. This series not only teaches you how to create sounds but also how to infuse them with character and attitude, challenging the norms of digital music production.
This tutorial is available as a Patreon text post and a preferred .pdf document format. We ask you kindly to not share Lux Cache content outside of the Patreon, our contributors rely on your donations.
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CONTENTS
- INTRODUCTION
- TIME STRETCHING AND POGO
- FRUITY ‘SQUEEZING
- CHOPPING TOOLS
- TOXIC BIOHAZARD
- STYRUS
- SAKURA
- CONCLUSION
INTRODUCTION
In this Lux Cache tutorial series, I'll be showcasing several tools I use in my FL Studio productions. I think it's somewhat necessary to briefly introduce my history as a user of this DAW.
Like many other producers I've heard from, FL Studio is often the software where they composed their first tracks. Its interface is straightforward, and I believe that as soon as you open it—without any prior knowledge related to music production—you begin to grasp the logic of a sequencer and the core concept of sampling.
Some may not know, but in addition to my career as a musician, I also work as a video post-producer and editor. I've spent years in front of the computer editing and creating VFX for films, commercials, and music videos. I've also worked as a VJ in Argentinian clubs, which essentially led me to start producing electronic music.
The arrange mode or playlist view in FL Studio reminds me a lot of a video editing timeline, like those in Final Cut or Premiere Pro; even the automation is similar. Thanks to this resemblance, I've always felt comfortable using it, and it remains my go-to software for composing music. I also think this background in video adds a "cinematic" flavor to my compositions.
Coming from a distinctly Argentinian punk scene, where I played electric guitar in various shoegaze, post-rock, hardcore, and punk rock bands, my approach to electronic music has always been very DIY and playful.
There are many technical aspects that I choose to overlook simply because they don't seem enjoyable to learn and could divert my attention from the creative process. There's a common notion that electronic music producers work solo and must know every technical detail related to sound. I don't subscribe to this idea, mainly because my background is more aligned with band formats, which naturally involve more people and diverse perspectives to enrich the project. I don't claim to know everything; that's why I enjoy collaborating and involving others in the mixing process. There are certain things I'd rather not know, as they can distract me from my creative flow.
With this brief introduction, I apologize in advance if some of my concepts are limited or if I'm not using the most accurate technical terms.
TIME STRETCHING AND POGO
Given that the sounds we'll be crafting in this tutorial series are inherently unpredictable, there's a heightened risk of encountering unexpected spikes in amplitude and high-frequency content. Such spikes can be potentially harmful to your hearing over time. To mitigate this risk, I strongly recommend placing a limiter on the master track of your DAW. This will help to catch any sudden increases in volume. Additionally, it's advisable to maintain a low monitoring volume during the sound creation process as an extra precaution to safeguard your hearing.
For those of you working on older or less powerful computers, be aware that some of the sound design methods we'll explore can be CPU-intensive. This may result in system slowdowns or even crashes if you're not careful. To mitigate this, consider increasing the buffer size in your DAW's audio settings. This will give your CPU more time to process the audio, reducing the likelihood of glitches or dropouts. Also, it's a good idea to close any unnecessary programs running in the background to free up system resources and prevent lag.
A quick but essential tip: always record your desktop audio when experimenting with these sound design methods. The nature of these techniques means that you never know when an intriguing or useful sound might emerge during your design process. Such serendipitous moments could easily get lost amidst the complex web of random modulations and tweaks you'll be making. Free software like Audacity is perfect for this purpose, allowing you to capture your audio output in real time so you can revisit and sample it later.
The technique I'm showcasing here involves stretching the audio file specifically to isolate its transients. Once I've done that, I apply some reverb to give it a more spacious feel. Then comes the fun part: I start experimenting with various knobs like 'Pogo,' 'Pitch,' and 'Stereo Delay' to discover interesting sonic textures that I can use in my projects.
Sample being manipulated within FL Studio, ‘Pogo’, ‘Time’ parameters highlighted.
In this particular example, I've decided to use both the first and the very last parts of the stretched and processed audio to continue building this demo track.
Next, I'll repeat the same process, but this time I'll use a different sound from my sample pack. The goal here is to create an atmospheric layer to add depth to the track. I'll also introduce 'Fruity Squeeze,' which is my go-to distortion tool in FL Studio.
I should note that I predominantly work within FL Studio using its native plugins and VSTs. This allows me to maintain a streamlined workflow while still achieving a wide range of sonic possibilities.
FRUITY ‘SQUEEZING’
One of my go-to techniques involves using the 'Squeeze' tool in FL Studio. Specifically, I like to automate the 'Amount' knob of this squarish distortion effect. This allows me to create unique sounds like beeps and speaker clips, which I often use to accentuate the initial impact of a kick bass hit. I achieve this by manipulating the filter side of the tool.
In addition to that, I've incorporated the beginning of another sample, as well as one of the Ukelele Strings samples that you can find in my Lux Cache Sample Pack. I've further tweaked these sounds using the precomputed knobs, as you can see in the second screenshot provided.
CHOPPING TOOLS
Next, I'd like to introduce another tool I frequently use to randomize samples and create new sequences. To access this feature, right-click on the clip's waveform options and select 'Chop.' This opens up a variety of presets that allow you to slice the audio file into smaller segments and rearrange them in different ways. I find myself using this technique quite often, usually selecting just a small portion of the chopped sequence for my final composition.
What's particularly intriguing is applying unconventional chopping presets—like those designed for Drum and Bass or Reggaeton—to samples that are inherently non-rhythmic, such as pads or field recordings. This can yield some fascinating results, transforming something that is initially arhythmic into a compelling beat.
In this specific example, I've chosen to work with a video game sample. After chopping it up, I use the 'Mute Tool' to silence the segments that don't fit into the vibe I'm aiming for.
TOXIC BIOHAZARD
Next up, I'd like to delve into a couple of the primary tools I use for generating melodies in the majority of my tracks. As mentioned earlier, I mostly stick to FL Studio's native instruments and effects. On occasion, I'll record melodies in Kontakt from Native Instruments via Ableton and then import those into FL Studio. I also frequently use a mobile synth app called Oval Synth, which I can't recommend enough. It's been a lifesaver for generating melodies during long airplane flights.
For crafting melodies and pads, my go-to plugins within FL Studio are Toxic Biohazard, Sakura, FLEX, and Sytrus.
In this particular example, I'll be showcasing Toxic Biohazard. I usually kick things off by selecting a preset. From there, I either disable the preset's sequencing by hitting the PLAY button to create a new sequence or simply use the preset as-is without sequencing. I'll then record some basic notes and continue to refine them within FL Studio's piano roll.
After that, I made some minor adjustments to the melody's effects, specifically focusing on the delay. I also created an automation channel for the LFO 1 Speed knob within the Toxic Biohazard synth to add some dynamic movement to the melody.
To give you an idea of how all these elements are coming together, you can listen to the current state of the track here:
STYRUS
Next, I wanted to add some depth and weight to the track by incorporating a robust bassline. To achieve this, I took the same melody I had just created in Toxic Biohazard and copied it into a new pattern. This time, however, I used Sytrus as the synthesizer. Sytrus is another one of FL Studio's native plugins that I find incredibly versatile, especially for crafting bass sounds.
What I specifically did was fully pitch down the melody within Sytrus. This technique is something I often employ to reinforce and complement existing melodic elements in a track. By pitching down the melody, I was able to transform it into a powerful bassline that not only adds a lower frequency layer but also harmonically aligns with the original melody. This creates a cohesive and full-bodied sound that really fills out the sonic spectrum of the track.
The beauty of using Sytrus for this is its extensive range of parameters that you can tweak to get the exact timbre and texture you want for your bass. Whether you're looking for something more subby or a bass sound with a bit of growl, Sytrus offers a wide array of options.
SAKURA
To wrap up this tutorial, I'd like to introduce you to another FL Studio instrument that's a staple in my toolkit: Sakura. The presets are not only incredibly pleasing but also highly customizable.
I laid down a fresh melody in a new pattern and then had some fun manipulating the 'Tune' knob throughout the track. You can listen to how it sounds here:
For the finishing touch, I automated the "amount" on a new instance of FL Squeeze that I linked to the freshly recorded synth. Simultaneously, I activated the built-in delay within Sakura and created an automation for the mix level of the delay modulation.
CONCLUSION
From the unpredictable magic of randomization to the rich textures of Sakura and Toxic Biohazard, these methods are the backbone of my creative process. I hope this tutorial series has not only demystified some of the tools I use but also inspired you to explore and experiment on your own. Remember, the best music often comes from breaking the rules and stepping outside your comfort zone.
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Bungalovv is an Argentinian producer based in Berlin. You can listen to Bungalovv’s music on their SoundCloud and Bandcamp pages.
You can follow them on Instagram: @bungalovv
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