"Blonde" — 06.Skyline To

Guitar Tab:

https://drive.google.com/drive/folders/1D54JIzK4_RFl7Y9PRyxinqjZHdQAOMHw?usp=sharing

The key to the first sound is to modulate the different modules so that the frequency/volume/vibrato level of the sound wobbles as randomly as possible, and then add some spaciousness to it to create a sense of immanence to these changes.

First open OP-XA, here you only need a clean saw wave lead, turn off the other waveforms, then open Modulation, make a frequency wobble effect, select Osc1 freq, draw a floating fall in the 0.4 or so sine wave shape

Turn off sync to make modulation out of beat tempo, here use the actual time to control the frequency, the total len is adjusted to 0.28 or so.

The length value is not a percentage, so the envelope is not very easy to draw, you can use Matrix to control it with other parameters, and then adjust that parameter.

Then we do some random changes to Filter Freq and osc Level.

Come to the effector, use shapeBox2 to draw a random shape for the overall volume, in order to make it sound natural, the length of the volume change needs to be longer.

Then add a Radiator to add a little temperature to it, and a PanMan to make it go back and forth slowly in the left and right.

The reverb of this sound is natural, it does not need that kind of obvious long decay, so choose a room reverb, then use Bright room to make the soundstage clear and bright, and then lower the Mix until you can't hear the obvious decay effect, and then fine tune it.

The interesting thing about the drums in Skyline to is that they are loose and slow. 

Generally responsible for the low frequency area of the percussion in order to maintain clarity and strength, generally do not add reverb, but the Tom Drums in Skyline to not only add reverb, but also cut off the high and medium frequencies, making it sound very hazy. and there got a clap that is always slower than the rhythm. All the thing teeps the rhythm of the song loose and chill.

Here's the guitar Very full bass part, with the same melody line as the guitar, but I can't hear the exact tone.

Here I copied a track of the same guitar, and then made an extremely exaggerated reverb, blurring out the tone itself to fill the bass part.

The guitar of this song, especially the part after 57 seconds, has a very good mixing, you can hear the reverb low-frequency brought about by the accumulation, but it does not sound bloated at all, but very warm and comfortable, the right sound has the same melodic line with the left guitar, but I can not hear the specific tone is like, here I am a copy of the same guitar track, and then do a very exaggerated reverb, blurring out its own tone, to fill the bass part.

After 1:43, the two main sound are a bit like the 8-bits sound, but more modern.

The Lead tone here is basic. 

Short attack, long sustain, and a little Release. Turn on the pulse waveform option in oscilator1 to brighten up the sound a bit.

Freq to about 140, add a little reso, then turn on a little portamento and Vibrato.

Finally, add a high-decay hall reverb.

The other tone is a soft-sounding bass tone.

First cut the Freq to 60 and add some reso.

Turn on the second oscillator, and to make the sound more solid, and let the two oscillators choose different waveforms.

And turn on the SYNC option, make Two oscillators synced to each other. then raise the oscillators2 frequency part to increase 7 semitone, to fit in song pitch.

Then tap on unison detune, (a feature that triggers multiple voices with slight variations in tonality to play the same note when you press a key, used to create a thicker, denser sound) Here we just need a little bit of that.

We can copy this sound to play a higher octave melody, and then modify the number of Unison in the upper right corner of the setting to make some difference between the two voices.

Finally, in the mix section, we EQ the frequencies we don't need and then add a chamber reverb

After adding a decapitator and a radiator to make it sound warmer, this part is done!