Producer Tier: Tutorial (March)
Added 2021-03-30 19:13:26 +0000 UTCHello Person,
This month; Nik a.k.a. Sleepnet takes us through the 'Angel Blade' project, which was made in Bitwig. He goes into some music theory - mainly to point out that the Aeolian scale sounds like aioli.
Enjoy!
Comments
That'd be so sick I've been obsessed with that song sonically
LM
2025-07-13 00:12:12 +0000 UTCThank you for the honesty in the end <3 and i would love if we could get a breakdown of Finality and Lapse these are my favourites. The basses are so goddamn clean and i think we could learn so much from them. Much love in advance and i hope you doing okay <3
Heaven Break
2024-10-01 13:57:44 +0000 UTCWell that was great. I liked the personal notes. What Iβm hearing is you telling us doubt and insecurity are part of the path when creating, and to embrace them as natural rather than signs you should quit. A very human message.
CORRUPTA
2024-04-13 05:34:20 +0000 UTCFantastische tutorial, erg interessant om te horen dat Jon Hopkins een inspiratie is, ook voor mij! Please more Bitwig and Sleepnet, I love it!!
Erwin
2023-09-17 17:43:36 +0000 UTCI love all the music theory ideas. Also, at 49:22, although sonically it's a pretty basic reese, the creation of it was really clever. Instead of detuning to get the second harmonic to alternate volume with the fundamental, because the phase of the "Harmonic Series" and "Basic Shapes" are opposite, by LFO'ing the volume of the Harmonic Series you simultaneously get a ducking of the fundamental with a rise in the first harmonic. That's really cool because it's a nice way to get a faster pulsing/reese effect without the required detuning to get there, which obviously you didn't want here as melody, tuning, and harmony were the priority for that part.
Bob Gibson
2023-09-01 19:11:02 +0000 UTCEpic intro by the way
Ryan Bowkett
2023-04-20 07:46:05 +0000 UTCThis was amazing! Thank you! <3
Ckek26
2023-03-24 13:56:21 +0000 UTCas someone who's very familiar with music theory, is a really strange feeling to know more about something in music than Nik
ryan
2022-07-28 23:51:58 +0000 UTCHey Nik, very enlightening. Would love to hear you go through the sound design of the track,
Ryan Bowkett
2022-01-14 21:38:02 +0000 UTCHahaha I love how you sound like them two dudes in Cloud Atlas when they compose the Cloud Atlas Sextet while youre describing your own composition.
Tom
2022-01-13 01:23:46 +0000 UTCLoved the personal note at the end :) thanks for that reminder <3
Davide Bronder
2021-10-11 22:14:37 +0000 UTCSomething I think is worth pointing out: The harmony in this track is very similar to the harmony used in Spanish music like Paso Doble. G Mixolydian b9 b13 (5th mode C harmonic minor) and G Phrygian (3rd mode Eb major) are the two modes used. From a classical point of view, it's modulating between the key of Eb major and its relative minor C, but classical theory can be a bit silly.
Andrew Isdale
2021-09-26 11:03:50 +0000 UTC"yes, this is getting technical, I apologise" made me laugh as you explain music theory that to me is quite simple in comparison to the crazy sound design you're always doing.
Andrew Isdale
2021-09-26 10:50:50 +0000 UTCThanks so much! This is awsome! True legend!
DongLung
2021-07-01 19:34:01 +0000 UTCdefinitely interested in more bitwig. some requests: 1 - would love some insight about your techniques to create stereo width, especially in basses (they are often so multilayered sounding). 2 - in your basses and especially reeses there is always this lower note//layer that's humming and moving along the higher notes - is that a layer or some sort of lower harmonic that's coming from the distortion type? 3 - insight on different techniques to pitchbend and how you do it mostly (like the chord bass pitch up at note start in angel blade here - is that just an LFO in serum or is it from LFO tool?) thanks for the words in the end and I wish you all the best with your future projects!
Malte Beyer
2021-06-22 18:59:14 +0000 UTCThanks for the "personal note" at the end.
Reverend D.
2021-05-08 19:29:20 +0000 UTCLoved hearing you talk theory and Bitwig! Really inspired to mess with epic chords, distortion and The Grid. Sleepnet rules! Can't wait to hear more!
Santino
2021-04-27 01:02:00 +0000 UTCEpic video Nik. Thanks for the super in-depth tutorial and for taking a deep dive into modes. Its so easy to feel overwhelmed by all the crazy music theory shit so watching your approach of playing by ear and figuring the technicalities out later really reminded me to stay in the moment and experiment instead of feeling frustrated. Love everything from the Sleepnet project so far and am pumped to hear more!!
DRKST DWN
2021-04-17 20:54:03 +0000 UTCLoved this one! I'd love to see more stuff about bitwig :)
Skyler Goodman
2021-04-17 05:10:03 +0000 UTCreally needed to hear those words in the outro dude - thanks :)
clum
2021-04-15 21:29:14 +0000 UTCGreaaat video ! I studied music theory for a long time now and one of the most important things to remember is that if it sounds good it is good. There are many ways to achieve a special kind of sound and vibe for sure. If you want to sound classic for example follow the kadenz learn the ways of Basso continuo etc.. If you want to sound like 2012 dubstep use only major chords with no correlation to each other and use your ear to figure out what works and what dont. For me music theory is a tool to achieve something specific which has been done before. Only following those rules can not create something new or exciting.
Xantorias Lor
2021-04-12 14:38:55 +0000 UTCThanks for the insight into music theory. A lot of that was over my head but it's definitely made me think about how to be less obvious and more experimental with chord progressions etc. Sleepnet tracks are next level. Bigups once again!
Exposure A R Records
2021-04-10 15:33:50 +0000 UTCThe synth sound design blow my mind ... Thank you for this
Simon Dolliana
2021-04-09 15:12:42 +0000 UTCthat's a very cool idea, thanks! N
VISION
2021-04-06 06:44:24 +0000 UTCI love this and would love to see more bitwig and more theory and more sleepnet. Hell ya!
5EPHRO5_patron
2021-04-03 07:22:07 +0000 UTCAs a way to explore modes and scales, try the following: write down a scale in midi over an octave. Each note one bar and form chords around that (in ANA 2 its simple with the chord memory device, but anything will go). In cubase you can now name those bars according to their scale degree (tonic, mediant, dominant blabla) in the arranger track. When you now slap an arpegiator over it and experiment with the arranger track you can explore how changing the scale degrees within a scale will turn out in terms of tebsion/release and aesthetic very easily.
Gabriel Friedli
2021-04-02 06:38:21 +0000 UTCReally loved this tutorial. Everytime a new one goes up I'm so excited to catch a glimpse of your vision and this one was especially inspiring. Sending lots of good vibes and love your way!
Azaleh
2021-04-01 18:50:25 +0000 UTCThankyou so much for this Awesome tutorial, i'm on the patreon almost 100% for these and they are so worth it. Very much loved the note at the end and Obsolutely can relate, when i become slightly better, i start to set my own bar slighty higher, and i cant imagine what its like having done the work of Noisia and then start something new! I would love to see those synth drums in more detail! (also would love more on melda's Waveshaper, which i've been LOVING since the reese tutorial )
Douglas Mcleod
2021-04-01 12:33:43 +0000 UTCI really enjoyed this tutorial! Thank you for the note at the end. Being a producer can feel like living in a bubble and thinking everyone else has got shit figured out or is above you but we're all in our own paths and that's what it's important to remember. Much love
polyfawn
2021-04-01 03:06:35 +0000 UTCI really enjoyed you discussing the concept for your release as well as the advice at the end regarding "there are no ascended masters". All of your non-technical advice is extremely insightful, helpful, and inspiring! It would be great to hear more about what lessons you have learned and other advice you may have from your experience so far.
Akuro (James)
2021-04-01 02:35:59 +0000 UTCas always thank you so much for these
NOTOK
2021-03-31 23:19:48 +0000 UTCThank you so much for your final words Nik. This meant so much to me because i often have to tell myself that I am not the only one suffering while making the thing I love. "There are no ascended masters", i will defenitly use and remember that quote. <3 <3 <3
Spinform
2021-03-31 17:23:06 +0000 UTCNik, the philosophical end note was the best and this is a topic that cannot be touched enough. The Imposter syndrome for example is a common thing across all ages. Harmonys Schmarmonies ... i had a slight headache listening to that rant - thank you. LOL
Georgie
2021-03-31 13:53:34 +0000 UTCBrilliant track! Ps fun fact, FΓΌr Elise has a similar minor/major relationship.
Jahfed Wismans
2021-03-31 08:48:12 +0000 UTCWell, I'd lie if I didn't say this one went quite a bit over my head haha, but thanks for the knowledge as always, I'll come back to this one later for sure.
Kamil Michalski
2021-03-31 07:32:57 +0000 UTCWow beautiful song... It's 5.30 in the morning for me, sitting in the studio and that track hit me really hard, Didn't check it out yet. Thanks! And thank you for another great tutorial! <3
Joachim B
2021-03-31 04:38:58 +0000 UTCangel blade... such a good track thanks for doing a walkthrough on it in every video I see techniques of treat sound that honestly I never can imagine I would even think of using, some more complicated some less but specially while writting a song for example here how to treat the lead/bass with the kick and clap as shown, impressive and wondering if that is something you feel/hear on your head before and know how to do it or if it is part of an experimentation moment through the production process looking for something more "satisfying" and indeed you end up liking it more, but then where to stop?. Anyway very good tutorial, a really inspirational watch.
Tidmey
2021-03-31 02:09:25 +0000 UTCI second that!
NoOne
2021-03-30 22:32:36 +0000 UTCCool video Nik. I was wondering, that maybe the reason your hybrid key signature works so well is because of the perfect fifth between the notes of C and G. Meaning that those keys would sit better heard along side one another, than say if you were to combine 2 key signatures that were a fourth or a second apart (in the root notes). If that makes any sense at all?!
Kieran Unsworth
2021-03-30 22:32:01 +0000 UTCgreat walk through, thank you! i enjoy hearing about music theory just as much as sound design or any other topic. and it's interesting to hear how harmony related ideas inspired your process here. nice note on the end also. Sleepnet logo is dope btw!
dw
2021-03-30 22:23:43 +0000 UTCloved it! so much info on these. Love No More could be the next. U're the best man
Rafael Salvador
2021-03-30 21:35:31 +0000 UTCwell this teaches me not to check my mail before bed. goodbye sleep, hello blue light!
Bob Gibson
2021-03-30 20:40:29 +0000 UTCThank you for sharing your wisdom Nik!Sleepnet is everything I want going forward from Noisia. So much respect for you.
Counterpxrts
2021-03-30 20:24:51 +0000 UTCwhen's the tea tutorial coming? π
steko
2021-03-30 20:22:04 +0000 UTCHey Nik ! I'm really glad to have the making of this absolute masterpiece ! Do you considere about uploading the alternative version/old version for Patreon ? As a Composer, it's very intersting to see the progression of this music from the beginning to the actual final version, would be great !
Wolfykh
2021-03-30 19:33:27 +0000 UTC
