Recipe - Making a drone using some audio generators and effects

In this recipe, we’ll create a simple drone track using a few of the audio generators we’ve just discussed.

  1. Start by placing a Tree Tone audio generator on a track. I have chosen to ensure that the output is pitched and that it conforms to the C minor pentatonic scale. This will help integrate the sounds later.

The image shows the Tree Tone device, as described in the Audio Generator chapter.

  1. On another track, add a Harmonic Generator (from the Drone Lab pack). This is an instrument combining sine-wave drones oscillating at fixed pitches relative to the Root note. We can experiment later with this to see how changes to pitches or FM Ratio change the resulting sound, and maybe automate these via LFO, but for now, let’s keep the drone from this to be quite static.

The image shows the Harmonic Drone Generator device, as described in the Audio Generator chapter.

  1. Next let’s add a real odd-ball: the Cellular Degradation instrument by Dillon Bastan. As described in Tools - Audio Generators , this is a strange instrument with five stereo FM oscillators capable of making some very weird noises, which is exactly what we’re going to use it for. Normally you “draw” into the main panel to make cells “alive” and then the cellular birth and death process retains these or allows them to “die”. To automate that process we’re using another favourite by Dillon Bastan - the Strange Mod modulation device. We can then use its chaotic modulation processes to automate “drawing” the X and Y values. This should produce some very strange buzzy textures.

The image shows the Cellular Degradation and Strange Mod devices, as described in the Audio Generator chapter.

  1. At this point I added a simple bass root note drone (on C1) using the Drift instrument. This helps anchor our drone.

To balance the predictable with the unexpected, the bass drone and the Harmonic Generator will provide a stable “anchor” around which we can place Tree Tone (as a mildy chaotic process) and the Cellular Degradation as a VERY chaotic process.

  1. From here, feel free to add effects on Return channels (Reverb and Delay are good options) and / or apply resonant processing within the individual tracks - like adding the Resonator or Spectral Resonator effects. Experiment. See what works. I found that adding a Resonator to the Cellular Degradation track, tuned to notes from the C minor pentatonic scale, helped “tame” some of its inherent weirdness. Another decent option (in addition or instead) might be to drive the Cellular Degradation track using a Saturator or distortion.

The image shows the Cellular Degradation and Resonator devices.

  1. Sometimes, if using an audio generator it helps to add a compressor (occasionally a multiband compressor). This will reduce the peaks and can also bring up some of the quieter moments (if you increase the make up gain). If you’re using additional processing like a resonator, this is also helpful since it may “ping” the resonator with additional sounds, while avoiding very loud moments that can catch the listeners ear.

  2. Press play. Sit back and relax.

You can hear my version of this track here: https://soundcloud.com/mikeksmith/5_audio_generator_drone/s-Nw7nwUKDhTg

MikeKSmith · 5_Audio_Generator_drone