To master sound design, no technology can top your own hearing. That’s the message from Francis Preve, who gave a gripping talk at Ableton Loop. Now we’ve got video – and more discussion. Nothing is sacred – not even the vaunted TB-303 filter.
It’s really easy to fall into the trap of trying to define specialization in the narrowest terms possible, chasing worth in whatever trend is generating it at the moment. But part of why I’ve been glad to know Fran over the years is, he has knowledge and experience that is deep and far-reaching, and that he adapts that ability to a range work. That is, if ever you worry about how to live off your love of music and machines, Fran is a great model: he’s built a skill set that can shift to new opportunities when times change.
So, essentially what he can do is understand sound, technology, and music, put them together, and apply that to diverse results. He’s quietly been a big part of sound design for clients from Dave Smith to KORG to Ableton. He teaches, and keeps up a huge workload of writing and editing. He’s run a label, been a producer, and made hit remixes. And now he has his own unique sound design products, Symplesound and his Scapes series, which act as a calling card for his ability to produce sounds and articulate their significance.
Francis isn’t shy about sharing his thought process. But as with his presets, that means you can learn that thinking method and then apply it to your own work. And that’s how we started at Ableton Loop, beginning with some listening.
Maybe most poetic: finding the same joy in teaching as you do in gardening.
About the 303…
There are a bunch of mini TED talk-style inspirational moments in there, but maybe the most quotable came in Francis’ take on resonance – and the TB-303.
— Ableton (@Ableton) November 11, 2017
But wait a minute – even if you love the 303, it’s worth listening to Francis’ analysis of why it sits at the edge between success and failure. (And actually, part of why I like the TB-303 personally is because I don’t feel obligated by anyone else that I have to like it.) Fran re-watched our talk and chose to elaborate for CDM:
To further explain my point, Nate Harrison’s Bassline Baseline is a wonderful historical analysis the whole 303 phenomena and why it was initially unsuccessful.
That said, I feel quite differently about the TB-03 and expressed this in my 2016 review for Electronic Musician. For starters, it expands greatly on the original’s synthesis parameters—adding distortion, delay, and reverb—which vastly broadens its tonal palette. These effects were also essential components of the “acid house” sound, as most 303 owners relied on them to beef up its thin, resonant flavor. The TB-03 also addressed the original 303’s absolutely opaque approach to sequencing, which resolves my other issue with the first unit (and the music it produced).
So, while I generally dislike the sound of envelope modulated resonant lowpass filters, I wanted to clarify my statements on the 303 and specifically the TB-03. It’s common knowledge that I’m a diehard Roland user and frankly, the TR-8S and System-8 are cornerstones of my current rig (as well as an original SH-101), but after 35 years, I still can’t find a way to enjoy the original 303.
https://www.emusician.com/gear/review-roland-tb-03-and-tr-09Francis’ TB-03, TR-09 review for EM
Here’s actually where Francis and I agree – and I’ve taken some flak for saying I thought the TB-03 improves on the original. But that little Boutique often finds its way into my luggage when I’m playing live for this very reason, and I know I’m not alone. (And I do like the original 303 and acid house and acid techno – and I love cilantro, too, as it happens!)
Get more of Fran’s brain (and sounds)
Francis has a regular masterclass series for Electronic Musician. Of particular interest: delve deep into Ableton’s new Wavetable in Live 10 and the latest Propellerhead Reason instruments, the phenomenal Europa and Grain.
And meanwhile, he’s continuing to teach sound design to college students including making Scapes part of the curriculum – which is timely, thanks to growing demand in augmented and virtual reality.
Since 2016, Francis has added sounds to:
– Ableton Live 10
– Korg Prologue
– Dave Smith REV2
– Korg Gadget
– Korg iMonoPoly
– Propellerhead Reason
– Xfer preset packs
– Various Symplesound products
(Other clients over the years: Propellerhead, Roland, iZotope)
And this year, so far:
DSI Prophet X
AAS Solids Chromaphone 2 Pack (arriving next week – rather keen for this one; physical modeling in Chromaphone is great!)
System-8 and Roland Cloud Synthwave pack (with Carma Studios)
Xfer Serum Toolkit Vol 3 (summer release)
Major multi-platform Symplesound release
More Scapes based on field recordings (Fran is roaming with a camper van now) – he says he’s “cracked the code for recreating fire in Ableton”
Live 10 (literally hundreds of presets, mostly Operator and quite a few wavetables)
Korg Prologue, Gadget, and iMonoPoly
Dave Smith REV2
Xfer Serum Toolkit Vol 2 expansion pack -https://www.xferrecords.com/preset_packs/serum_toolkit_2
Scapes – https://www.francispreve.com/scapes/ (or your piece)
But the big hit is perhaps the one we debuted here on CDM:
Stay tuned for whatever’s next.
The post Listening, the secret of sound design: Francis Preve at Loop appeared first on CDM Create Digital Music.