Woulg's advice

a repost of woulg’s adivce that he shared on the old forums

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That’s an interesting read. I listened to a few things by the guy. I don’t remember them from the old forum(maybe while i was AFK for a while).

I’m curious, as you’re a personal FL user. I hear you repeat edison stuffs and it seems to be a VST. Worth $99 for random fuckery? Obviously, not a necessity but fun and intuitive to use, at least? It definitely doesn’t seem like just a sampler and could have some fun editing abilities. I don’t tend to use samplers in general. Maybe I’ll look into it more before a impulse it.

Curious on your feedback.

ALso, did you notepad this or do you have some sort of ransom situation on the old forum? :slight_smile:

i just copy pasta’d his post into notepad…and figured might as well share what he said, before i delete the info so that its not forgotten…he left his email too but i am not giving away his email address…to get in touch with him ppl are gonna have to find it through woulg’s bandcamp.

as for his post, for me the interesting takeaway from his post is to learn how to break the rules when designing sounds…

For me Edison just makes easier to bounce and freeze samples for resampling…as for the editing abilities I haven’t used a lot just eqing, the blur feature, the reverse option, and cutting and pasting sample section the other features of Edison I haven’t gotten deep with…for me it is a huge time saver for resampling and helps optimize cpu…also it’s just easier to access my organized choas of a self made sample library. But there is probably another equivalent out there…also you can simulate DJ scratches and do things like reverse a reverbed sample.

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There’s a lot of common sense coming from that guy. I also apply similar ways of sound design. Anyway, here are my two cents:

don’t bother with any general rules, like keeping plenty of headroom, loudness, and especially composition structure. Don’t be afraid to squash the shit out of sounds, in sound design stage don’t put too much of effort into mixing and most importantly don’t think too much in front how you’re going to implement all this mess you’ve just created in some session. Weird/cool stuff often comes out from things you’re not supposed to do too, you get inspired by something and things just start flowing naturally. Destroy transients with heavy compression, 9 layers of saturation, multiband comp with upward/downward setup, delay feedback loops, automate dry/wet… Such easy-to-deal-with digital workflow allows you do go crazy and there’s no limit (ok, maybe your CPU).

Also you can’t clip in Ableton Live if you work in 32 bit depth so red mean absolutely nothing.


In my attempts of experimentation for creating glitch idm music…i destroyed transients with a combination of automating volume envelope parameters and modulating the gain of a compressor1…in conjunction with another limiter /compressor2 modulating the attack and release but with a low ceiling and the gain turned all the way up…the second compressor balances the first compressor…so that you dont blow out ear drums…

The fast way to destroy transients is to create a wierd gate with maximus…playing around with the envelopes in maximus and the parameters, post, pre, threshold, ceiling…attack…release… release2…etc…eq… then sample and resquence…slicex fx such as looping, envelops, lfos, xy modding of various parameters such as different filters, etc…and applying various effects and using macros and other automations…

Layer that with samples of gross beat resamplings and weird side chains and timestretched granular modded samples that have shitloads of automation…use peak controller to get the samples to trigger for specific rhythm sequences…and maybe layer with sounds resampled with harmor or absynth or serum or whatever apply some spectral morphing…buffer override…etc…

Simple panning and layering of the various sounds create space…switching between and eqing the mono sounds and stereo sounds also does the same…when playing with the stereo field keep it simple because phase cancellation will screw up your mix.

And finally create a sequence that holistically combines all the dry wet samples together…

As far as creating glitchy idm sequences it is similar to some of the methods used to make both dubstep and breakcore…just combine them in conjunction with each other…that and careful sample editing of various selections and using looping features, gates, reverse, fade in, fade out…etc…that in conjunction with wierd sampling of different portions of the transients…overlapping them, editing the note velocities…env modding the one shots…etc

As For other genres the music production methods used are similar but used differently in conjunction with each other…

Sorry for the regurgitation but that is my twist on it being I’m sticking with stock plugins.