Ambiotic Project is an American producer, you can find his music here
1. What do you do in the world of music?
Right now, I am building up a large library of completed works to seek eventual sync-licensing anywhere I can find it, because it’s more about production for me than it is about performance. The biggest challenge for me has been learning the art of mixing, and I believe I’ve come a long way since I started doing it in 2014 when I made the tracks shared on my Soundcloud profile.
2. Tell us about your history with synthesizers
From a very young age, I’ve been in love with electronic music. Some people believe that you can’t emulate the same depth of emotion from synths that you can with traditional acoustic instruments, but for me the inverse of that is true. I bought my first sample-based synth – a Roland XP-80 – in 1997, mainly because of the fact that it had a 16-track sequencer that allowed me to create songs. Though I was able to do this, I felt that it never gave me the control I needed to emulate the sounds I heard in my head, or to appropriately mix the individual tracks (and it also didn’t help that I had no idea how to approach mixing at the time). Life (marriage at 23, mortgage, bills, etc.) ended up winning over my love for music, which led me to take a long break from it until a little later in life. After a while, I discovered DAWs and VST synths, then got back into making music,- but still only had a vague idea of how to design the sounds I wanted. Syntorial was essential for me because it taught me the purpose of every section in the signal chain of a synth in a way that made perfect sense, and also how to use my ears to emulate the sounds I wanted to use. Eventually, this lead to purchase of a Korg MS-20 Mini and a Korg Minilogue. Currently, I’m going “all in” and saving up for the 16-voice Moog One.
3. Tell us about a project you worked on or a piece of music you created, in which you found the process particularly interesting.
On a recent song I worked on, I set out to create a somewhat realistic-sounding violin emulation using Sylenth1. The short description is that I used 3 single voice oscillators with retrigger turned off (a saw, triangle, and square pulse wave), and one single voice square pulse wave oscillator with retrigger turned on. I made adjustments to the amp and filter envelopes (low-pass filter), cutting back on the attack time and sustain level, with a slightly slower decay and release. I also added light reverb and delay (among some other adjustments), and ended up pretty happy with the results… without Syntorial, I would never have known how to approach it. It will eventually make its way to my Soundcloud profile.
4. How has Syntorial helped you in your sound design process?
Syntorial was essential for me because it taught me the purpose of every section in the signal chain of synths in general, in a way that made perfect sense to me. It also taught me how to use my ears to emulate the sounds I wanted to use.
5. Who have you been listening to lately?
I like all types of music, but lately I’ve been listening to a lot of retrowave/synthwave stuff from Power Glove, Mega Drive, Com Truise, Trevor Something, and other similar artists. Most recently, I’ve been overly obsessed with the song “Rasengan” by Turbo Knight – it plays on repeat a little too often, I guess, because my wife is ready to kill me, haha…
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