Hi Alessandro, how were the sounds for DRONAR Metal and Glass derived?
I recorded a variety of raw sources including broken cymbals, Tibetan bowls, glass marbles, springs, oil bins, bottles, cans, chains, magnets, and more.
I tried to experiment with them to see if I could get some interesting sounds. For instance, using a cello bow on a cola can, and magnets on a metal plate. Check out the video below to see how some of these sounds were recorded.
How did you then process those sounds?
I experimented a lot with granular synthesis, time-stretching, resonant filters, pitch-shifters and many other effects. This included effects like delays, flangers, phasers, distortion, and reverbs. Basically, anything that came to mind!
How would you describe the resulting sounds?
The sounds range from pure and airy to dark and distorted. You get everything from relatively simple yet interesting textures to complex and chaotic soundscapes. The FX section is loaded with lots of strange sounds that scream to be layered and processed inside the DRONAR engine.
In which contexts and applications do you think DRONAR Metal and Glass would work well?
I think this module lends itself to soundtracks for thrillers, sci-fi, mystery, and anything else that requires quite abstract and paranormal sounds. Also, I think this module would be useful to add interesting texture to cinematic orchestral music and songs that cross the limits of a specific genre.
What sets this module apart from other releases in the DRONAR series?
It brings some new types of sounds that weren’t covered by the other modules. For this module, I aimed at creating something that didn’t have a large amount of processing. This would give more space for further manipulation and sonic exploration inside the DRONAR engine.
Are there any other DRONAR releases that Metal and Glass would work particularly well with?
I think it blends quite well with the Hybrid and Cinematic Atmospheres modules. Metal and Glass helps to extend their sonic possibilities in a pretty seamless way. Although there are definitely some sounds that will allow you to expand the sonic signatures of other instalments in the series.
What would be your Top Tip/s for anyone looking to get the most out of the sounds in Metal and Glass?
I think the convolution reverb brings out some interesting results. Other things I find very useful when I start to create my own presets are the Intensity and Filter parameters of the arp section. I tend to put the smooth knob at the maximum value, which then creates variable inner movement in the texture of a sound which makes it sound more interesting and alive.