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Mefjus - Particles Studio Insights: Amber with Skeptical

Matthew Vere
Matthew Vere

Drums

The kick drum is made in Serum, layered with two acoustic layers.


Mefjus separates the transient and body of the kick in Serum, using an Oscillator for each. One Sine-wave for the transient and another for the body - this makes mixing and phase alignment easier.


The snare has a similar approach. Multiple, around six layers of Serum, all  providing different tones and textures.


Acoustic Drums for an organic sound over the synthesised elements.


On this specific, he's using a tone note on the '1' of every other kick that's widened to provide stereo width.


Bass

The Bass is all made in Serum.


Sometimes when you're working on multiple instances of Serum creating a bass, you will pre-mix the sound but then realise at the end that the mids are lacking. Instead of sending each instant to a group bus and EQ'ing them all together, Mefjus will create a new instance of Serum, phase align it with the original patch and generate the sound needed to fill the gap.


Emphasise specific harmonics when layering multiple bass patches with EQ or harmonic distortion. This helps thicken the sound and provide added detail.


When layering a bass, he keeps all of the primary information the same on each instance of Serum, but goes into each plugin and changes a few parameters, like the distortion, or FM amount, etc. Then routes them all to a single bus for further processing.


Splits bass into top/mid-layer groups to process separately.


The sub and mid-bass are the same patch on Serum; the only differences are that they're low/high passed with different distortion settings on each.


The idea is to have a fundamental bass riff, double that instance, play around with it to create more variations in the movement and tonal content, add harmonics, and then experiment layering those together.


Extra

Uses Voxengo SPAN on a second monitor.


Uses foley layers, compressed hard with stereo widening tools applied to add additional textures and dimension to a song. Without the foley, the track sounds flat, and we're subconsciously hoping for more organic sounds to balance against the synthetic elements.


There's no copy and pasting in the arrangement; there's an edit every 16 bars to keep things interesting.


Uses the MFreqShifter plugin by Melda with feedback automated on the FX channel of the percussion.


Uses Valhalla Room Reverb.


Music ProductionSound Design