Hello! When I used Kontakt libraries, audio was recorded and then I processed it, because some libraries are well over $400 and it would be unfair to expect you to have them.
For pads and atmospheres I used Heavyocity Evolve and Evolve Mutations I that comes with NI Komplete package, as well as Heavyocity Gravity (which is amazing). For the drop, and some bassline mid-layers that are in audio, I used various cuts from samples from Heavyocity Evolve and Evolve Mutations I.
From Slate Digital, the most used is Virtual Mix Rack (basically on every track). Virtual Tape Machines is also almost on every track, and Virtual Buss Compressors, namely FG-Grey, which is an emulation of SSL G-series compressor (the legendary glue compressor) was used on some percussions and almost all busses. I also think there's one FG-Red on the Synths buss (they're all part of Virtual Buss Compressors).
James, thanks for your answer.
I have Heavyocity Gravity , Heavyocity Evolve and Evolve Mutations because i like cinematic sounds.
My last question before buying :
if i buy your template, can you send me project with Kontakt libraries channels as original midi channels and layers ? (not audio channel)
They're not in the project anymore as I didn't just load up a patch and play it (except for Gravity pad which are layered in the drop playing the same chords like others that are in softsynths in the project, it's also rendered but I think it's from the Ethereal folder in Gravity).
For basslines, I would load a patch from Evolve or Mutations, find sounds that I like, record them, process them further with distortions etc, and then arrange them to get the rhythm I wanted. I think there were even some sounds from Output Signal.
Since all those libraries are, well, libraries, they suck up RAM and having them in just to play 1 note, which would then go through heavy processing and into a buss made no sense to me during the production process. I made the drop quite some time before the breakdown and the finished track. So I just froze them, arranged it all into 1 audio track, then slapped reverb and glue compression on it to make it all sit together nicely.
All in all it's a pretty big project and the way it is, it's borderline killing my CPU to run in realtime. Had I have not rendered that, I don't think I would ever have finished it
Also, I forgot, a lot of risers are from Native Instruments' Rise n Hit library, and some impacts are also from Gravity.
Of all the frozen ones, only two layers in the breakdown don't have it as they were processed through an external distortion unit. The rest (atmospherics and gritty bassliny stuff in the drop, as well as one layer of the main roll which is named according to the preset in Output Signal) have all their processing after the initial audio or "glue". Here's a screenshot of the main mishmash track from the drop open: http://imgur.com/a/nAm2I
Basslines were done either with Evolve for the midrange edgy stuff, or with softsynths for the blaring saws and mid rolls (with the exception of one from Signal). However, there's always a separate layer of a Sub Bass playing those low frequencies, and it's rolling the intro/drop and a decaying one in the breakdown (sine or saw, then filtered and ran through Virtual Tape machines without detune is my starting point and I usually leave it at that.
Edit : ok i opened it sorry.
Can i ask a question?
CAN YOU RE-ADD ALL FREEZEN CHANNELS AS MIDI CHANNEL AGAIN (KONTAKT AND ALL OTHERS ? ) , i dont have cpu problem.
It would be great to have all channels as original midi channels and seeing kontakt libraries, basslines..
Uh, yeah, I see how that confused you, I'm sorry. They're rendered. Ableton is pretty bad at freezing as it doesn't allow you to edit the audio after freezing, without hard flatten which makes you lose all instrument and effect data (unless you duplicate and turn off, but that kills the point of it, which is reducing CPU and RAM usage, and Ableton doesn't disable and purge instruments and effects that are disabled, at least not properly).
So they're gone, hard flattened. I know you can unfreeze, and if it were that way, I would've told you from the start as I know what you're asking (you want all the stuff that I did as I did it, with Kontakt libraries open and accessible). Hence why I went to lengths to explain my thought process as to why they aren't there anymore.
I'm really sorry about it, but Ableton is really bad for some advanced production techniques, hence why I switched to Reaper a year ago (it has multi-layer freezing and unfreezing, and it doesn't hinder CPU - you can freeze as many times as you wish, do whatever you want with audio, then copy it or do whatever, and go back all the way to the beginning, and it saves all instruments and effects - think of it like a mini-load.
I would have gladly done it in Reaper, but not many people who are learning use it (as it's more of an advanced software and can be really confusing unless you already know what's what in a DAW), and it wouldn't sell at all, which then beats the entire point of all this.
I hope that's not a deal breaker for you, as what you want to know is simply what sounds from libraries I picked. The Signal ones are named like the presets in Signal (No Gloves, for example), and the rest were, like I wrote above, all kinds of sounds, then mashed and layered together. Some are even playing the way they are in the library, it's just a matter of finding them.
Those are great libraries and there are infinite possibilities with them, it's just a question of creativity (I did a couple more mashes like that in a new project I'm working on right now), but I think there's a lot more to learn from here than "which sounds did I pick".
If you have anymore questions, shoot
Sorry for the delayed reply, I didn't receive the notification.
The main rolling one is, except one layer, which you can find in Output Signal. If I recall, I simply recorded it out of Signal and then put processing on it, which you can see in the project. There's another one in the breakdown which is also from Output Signal (tweaked a lot, but if you go through Signal you'll recognize it).
Heavy saws in the part before the breakdown are in MIDI.
In the drop after the breakdown, a lot of them are in audio because of the way they were made and put together, like I said in previous replies.
Please shoot me an email with any more questions that you have in addition to posting here, and I'll respond very quickly (within a few hours max), since I'm not getting notifications here.