Finding Your Musical Style – What I Did

I think some artists struggle with the question, “What is my style?” If that’s not you, then don’t read this, but if so, then maybe what I did could help you too.

The Problem – My problem, explained.

I was making a lot of music but of all different types and whatever interested me at the time. It ranged from ambient to piano to guitar to electronic and everything in between. It was unfocused. It felt good to make but I thought I need to hone in on one style before I can move to something different. Plus I could get a lot better if I was more focused on one style.

I had to get moving and do something to get to the root of what I wanted my musical style to be.

So I did.

First I assembled a list of musicians that make music that I naturally gravitate toward and like to listen to. This was difficult. I like a lot of different types of music. I had to really find out what I not only enjoyed but which made an impact on my feelings of it.

I found that the piano was central to the music, which really resonated deeply with me.

Plus the music that I liked had to be something that I could potentially make myself so I had to put it into context of my capabilities and my desire to make it.

This was tough, but I did it.

Almost all of the piano-based music I like is without singing or vocals of any kind. There are some exceptions, but as far as piano music goes, I like to hear the instrument and what the player can make it do. So all of these below are primarily instrumental artists. At least, the music I like of theirs is instrumental.

I can make piano music and like doing so. Piano music then became my focus for this exercise in finding my style.

Artists

I assembled this list below of artists that use piano and make piano-based music that I like.

Neil Cowley
Ben Lukas Boysen
Robert Haigh
Matthew Bourne
Alessandro Simonetto
Henrik Lindstrand
Okonski
Tord Gustavsen
The Necks
Gwylim Simcock
Malcolm Pardon
Akira Rabelais
Rafael Barrera
Oliver Patrice Weder
The Cinematic Orchestra

The Self-Survey

I listened to these artists’ music to determine what I liked about each and what was similar between them that I liked.

Piano – I definitely like piano in whatever form, but upright, I like a bit more than the others.
Electric Piano – I found I like this. This was a surprise to me.
Satie – I knew I liked the compositions of Erik Satie but did not know that I would gravitate toward this sound. I found this by listening to Robert Haigh’s music, which is not expressly Satie but sounds very similar to the compositional elements of Satie. So it does not need to be the classical scores of Satie, but only similar. Interesting.
Drum and bass – I like simple drums, and a bassline plucked out by a bass cello.

To refine it, I changed the order of what I find important from top to bottom in the list of artists in the table below or left to right across the top in the table below. Here are some things I noticed.

Piano – top of the essential elements. Upright a bit better-liked. Felt piano or treated some way are pianos that I like too. I know that from my own playing of them.
Electric Piano – new to me, but a sound I love.
Classical composition, Satie – I really like this. Alessandro Simonetto plays almost exclusively Satie. Robert Haigh compositions sound like Satie.
Granular – many artists use granular processing in various forms, and while not great if it is the centerpiece, if used sparingly, I like how it enhances the sounds, especially the sounds of the piano(s).
Deep and Intimate Reverb – this is right in there with granular and often blurring the lines between the two. I like the great depth but at the same time the intimacy of pianos. Reverb can be of two types at the same time in a piano – close where you can hear the piano mechanisms and reverberations through the wood of the piano and across the strings, and far with tails of the reverberation resounding at length with a granular feel to them or within a great hall or space (literally space) that may or may not exist in reality. Expanding on this, I like a convolution reverb a bit better than algorithmic types when it comes to pianos.
Bass, Cello, and Violin – The deeper strings of bass, cello, and the low-range of a violin (possibly a viola de gamba) are among my favorite sounds of stringed instruments.
Brass is not so important to me.
Synths are good if used correctly, but not one of my priorities. However, my top favorites seem to use synths somewhat, however, sparingly.
Vocals are definitely not necessary for my liking.

Summarizing, Separating, and Finding More

If I look at the table above, here are a few other things I see:

Left are most-liked.
Top are more-liked.
Electric piano is most-needed (unexpectedly).
Satie-like compositions enhance my experience.

Distilling from that and the above:

Piano-based neo-classical genre
- Neil Cowley, Ben Lukas Boysen – combined use of piano, synth, granular and deep reverb techniques, with electric piano being a key part of the sound too.
  - with elements of …
  - Malcolm Pardon,
  - Matthew Bourne, recordings capturing the room ambiance, nature-connected, compositions
  - Henrik Lindstrand, upright, connection to nature themes, room ambiance
  - Robert Haigh, Satie-like piano sound recording method
  - Alessandro Simonetto, plays Satie on piano
Piano and bass ambient-jazz genre
- The Necks, Okonski – piano with percussion and plucked bass as a jazz-like trio but with ambient elements of granular and deep reverb sounds.
  - with elements of…
  - Rafael Barrera, intricate piano playing, faster beat is not so liked
  - Tord Gustavsen, excellent recordings capturing the room tone ambiance, bass
  - Nicholas Krolak (not on my list), a bass cello player that I like
  - Julia Kent (not on my list), a cello player that I like
  - Angelo Badalamenti (not on my list), piano and bass with percussion

I found more items that I like based on other music I have listened to and while I was listening to those on my list above, I often said things like “that sounds a lot like that track by Angelo Badalamenti that I like” or “Julia Kent plays cello like that and I love her style” or “that bass is like Nicholas Krolak’s kind of music.” I found that I was adding onto my list in a way that was these elements of other musicians that I liked.

Further Refining – A statement of style.

Distilling further, I can find the types of music I want to make and can make a general statement for my defining style:

“Piano (upright/grand, felt, electric) music in the compositional theme of Erik Satie with jazz-like percussion with a groove incorporating bass and cello (cello sparingly) and enhanced with granular and deep reverb processing recorded so it captures the intimacy of the piano and the ambiance of the surroundings (room tone or field recordings of outdoor or indoor themes).”

The How – How can I make this music?

Breaking this down into a list to incorporate in my music, I have this listing of how to do it:

Piano (upright/grand, felt, electric), create a bassline out of the piano if appropriate
Capture the room tone and intimacy or field/room sounds, but keep the piano in focus and intimately recorded to capture the player and the piano both in great detail.
- Use granular processing sparingly to enhance the reverb and ambient sound
Composition with Erik Satie type of chords and notes. Use dyads and unusual but interesting chord changes and progressions. Incorporate my own style here.
Percussion with a groove, doesn’t have to be jazz like, maybe make it more boom bap like or old hip hop or lofi type. Incorporate field recordings of various things into the percussion to evoke a feeling in a the listener.
Bass cello if appropriate for the track. Use cello to create an ambient base that the piano can play over and weave into.

Check In – Are my statements aligned with the tracks I like?

Next I checked my list and style statement above to see if it resonated with some of my favorite tracks from my musician list.

I found that the tracks below are the ones that are representative of the style of music that aligns with my statement above and my personal tastes. So now I can listen to these whenever I am tempted to go outside of my style boundaries and also so I can get inspired.

I found these tracks, sometimes contrary to my listed and tabulated evaluations, incorporate almost all of the elements I want to use in my music.

Setting Myself Apart

I don’t want to be exactly the same as any of them (the artists I admire) so I need to know what will set my music apart from theirs. Mine will also include these elements in the list below that I personally like from other genres and other music.

Boom bap beats with lofi crunch
Percussion from found sounds
Chord progressions and changes unique to my style
Stuttering or glitch-like effects sometimes – similar to Argeopontes Lyre of Akira Rabelais but maybe not so strong.

The What – What can I use to make this music?

So from this now I can put my instrument lists and effects together so I know what kind of toolkit I should draw from.

Pianos from Pianoteq, Heavyocity, Cinematique Instruments, Fracture Sounds, The Crow Hill Company, XLN Audio, and Native Instruments.
Beats from XLN Audio XO and Life, Sonic Charge Microtonic. Create from Audialab. Modify with Rast Sound Naturaliser, Goodhertz Vulf Compressor and other effects from Goodhertz.
Glitch-like and spatial effects from Cableguys, Soundhack, INA GRM Tools, Goodhertz.
Granular effects and instruments from those built-in and separate from Sugar Bytes, Heavyocity Vast and other effects, Strymon, others.
Room tones and outdoor ambient sounds from my own field recordings and others.
Chords and notes from FL Studio built-in helpers and Xfer Records Cthulhu. My own playing and composing in short loop style where a single motif is repeated and then changed slightly or evolved over time. Experiment with some detuning to A=432 Hz, for example, or others. Experiment with microtuning. Use well temperament in Pianoteq.
Create groove by quantizing the notes to the beat, using delays to get ghost note hits, and using the swing level on both the piano roll and in the drum machines (make both the same usually).
Reverbs from Heavyocity Vast, Eventide, Goodhertz, Strymon, and others.
Cello and other instruments for accompaniment from Cinematique Instruments, Heavyocity.
Synths from many different sources including Arturia, U-he, and others.

I’ll continue to refine this so I can hone in on a style that suits me so this list will continue to evolve over time.

By focusing on only a few instruments and effects, I can get better at them in contrast to if I was unfocused. So I think this is going to work out, but we’ll see. I read in an interview that Geir Jenssen (Biosphere) doesn’t do shows much any more because he could use that time to focus on learning an instrument.

“No, I kind of stopped doing as many commissioned works and not so many live concerts, because the problem I’ve had until now—because I’ve been playing one gig, almost every month, sometimes more—is that it’s always kind of disturbing. Because I know that next Friday I have to go to the airport, pack my stuff and prepare the live set, and I would really like to have a period without that stress where I can just—let’s say if I have a few new keyboards then I would really like to learn them deeply. It’s good if I don’t have any deadlines so I can concentrate 100% on learning these instruments. If I have a live concert then I don’t have time to do that.” – Geir Jenssen (source)

Addendum – More Than One Style

I can be an artist of more than one style. I also like ambient music and that kind of goes along with piano music somewhat. So I decided I would also do this same sort of exercise for ambient music production.

Below is my outcome. I did something similar to what I laid out above, but a bit different by using summaries after some of the key artists I admire and then bolding the statements that really resonated with me and synthesizing an artist statement out of them (to the right in the image below). You can right-click on the image below, open in a new window, zoom in, and get a better view of it.

I refined this further to understand that I like the music of Biosphere a lot and that music has influenced my style a bit. I also like Boards of Canada and Aphex Twin music a lot and that has similarly had a great influence. Although, with BoC and Aphex Twin, it is only a few tracks that really give me great influence.

With Aphex Twin, it is mainly Quoth’s Bikepump… and SAW II tracks like Stone in Focus. But also some other tracks.

With BoC it is the interstitial music at the ends of their tracks. So that is another element to include.

Also with BoC, it is Olson, Echus, and Tears From The Compound Eye that are all similar to drones and tones like Aphex Twin’s SAW II Stone in Focus while also being similar to Stars of the Lid’s music (Requiem for…, etc.). So this is a combined element to use and describe.

So it seems I should make music in these styles, combined:

Biosphere elements:
- Modular-sounding synths – I like the sound of the synths he uses
  - Arturia Synths sound most like his: Minifreak, ARP 2600, Modular, and others
- Delay and reverb – I like the width, depth, and ping-pong effects he uses
  - Arturia Effects sound most realistic: Delay Brigade, Rev Plate 140, Chorus Dimension D
- Looped Samples – he took snippets of orchestral recordings and made loops that evolved through the tracks with filters and effects for his Shenzhou recording, so I want to do the same and will use orchestral loops in some cases. He used Pierre Boulez’s Debussy and I like Boulez’s directing, so I will probably gravitate toward using that.
  - Serato Sample
- Found sounds and field recordings – He uses a lot of ambient sounds that he records himself. I like to do that too.

Aphex Twin elements:
- Drums occasionally from drum machines.
  - I like XLN Audio XO, Life and
  - Sonic Charge
- SAW II-like (afxamber below), upbeat
- Quoth-like (afxwaltz below), upbeat
- Synths like Afx/Aphex Twin
  - Arturia Synths: FM8, Prophets, Acid
  - HY RPE sequencer (and others)
  - Effects like Cableguys Shaperbox, FiltershaperXL, HY Filter 4, Goodhertz Tupe Wow, Arturia effects (various)
- Delay and Reverb like Afx/Aphex Twin
  - Savant Quantum Room Simulator, Goodhertz Megaverb, Arturia reverbs and delays

BoC elements:

Drums like Buckie High, Left Side Drive, 1969.
Synths like any of their music. Mainly like Echus, Tears from…, Olson.
- Arturia Synths: CZ-V, 101, etc.
- TAL Sampler, Serato Sample
Interstitial, small snippets of tracks, at the end of regular tracks.

Stars of the Lid and A Winged Victory for the Sullen elements:

Synths – I like how they turn synths into drones
- U-he ACE
- Arturia ARP 2600
Orchestral
- Julia Kent played cello for them, and I like that sound, so cellos will be a part of mine.
  - Kontakt, Cinematique Instruments among others
- They used Hungarian orchestras, so I will use orchestral elements in addition to the cellos.
  - Kontakt, Cinematique Instruments vertigo series, Westwood, Fracture Sounds, Crow Hill, Spitfire Audio
  - INA GRM Tools
Field recordings and sounds – I like to use these too.

Orbital elements:

Synths – I like the sound of the synths they use.
- Arturia Prophet
Upbeat – I like that their music is upbeat and happy-sounding

Fila Brazillia, Odd Nosdam, Jel, and Thievery Corporation elements:

I also found that I listen to a lot of Fila Brazillia, Odd Nosdam, Jel, and Thievery Corporation and am making music sometimes that sounds like them, combined. So this would be another aspect of my music.

Samples – I like the use of samples, loops, etc. Note how this ties back to Biosphere who also uses samples, looped.
- Serato Sample, TAL Sampler
Drums with a groove – they almost have an “island vibe” to them.
- XO, Life

Distilling from this, the tools I should use, I came up with this matrix below. This is not exclusive, but it helps me to focus on a smaller set of tools to use and therefore maybe get good at using these tools as opposed to using a variety of them and not being too good at them.

Further refining my statement, I would go with something more like this one:

A description of what my music will sound like:

This music creates an ethereal and atmospheric experience, seamlessly fusing nature-inspired textures with delicate rhythms and melodic piano fragments. Certain tracks evoke a sense of melancholic vastness, artfully merging electronic and acoustic sounds while incorporating jazz and classical loops alongside boom-bap beats, all set against a backdrop of field recordings that enhance the immersive experience. Other compositions feature soothing drones, deep and vibrant in their tranquility, inviting listeners into a space of introspection and reflection. Each track is enriched by vintage synthesizers and effects, alongside the nostalgic charm of old recording techniques like reel-to-reel tape, which imbue the music with a warm, timeless quality reminiscent of a bygone era.

A list of what will be incorporated into my music:

Ethereal and atmospheric soundscapes
Nature-inspired textures intertwined with subtle rhythms
Melodic piano fragments enhancing emotional depth
Some tracks evoke a melancholic vastness
Fusion of electronic and acoustic sounds
Incorporation of jazz and classical loops
Boom-bap beats complementing field recordings
Soothing drones that are deep and vibrant
Tracks promote a sense of reflection and calmness
Use of vintage synthesizers and effects throughout
Old recording techniques like reel-to-reel tape for a nostalgic feel

Ethereal and atmospheric, this genre of music captivates listeners by intricately blending nature-inspired textures with delicate rhythms and melodic piano fragments. Each track transports the audience into a soundscape where melancholic vastness reigns, seamlessly merging electronic and acoustic elements. The incorporation of jazz and classical loops alongside boom-bap beats, all set against a backdrop of field recordings, creates a rich auditory experience that invites deep contemplation and emotional resonance.

Some compositions within this genre are characterized by soothing drones that resonate with a deep vibrancy, fostering an environment of calmness and reflection. These soundscapes allow listeners to escape into their thoughts, encouraging a meditative state that can be both uplifting and introspective. The use of vintage synthesizers and effects adds a layer of warmth and nostalgia, enhancing the overall experience and drawing listeners into a world that feels both timeless and serene.

Furthermore, the presence of old recording techniques, such as reel-to-reel tape effects, imbues each track with a nostalgic charm, reminiscent of music from a bygone era. This intentional use of vintage sound elements not only enriches the texture of the music but also evokes a sense of familiarity and comfort. As listeners delve into these compositions, they are invited to explore the intricate interplay between modernity and tradition, ultimately finding solace in the harmonious blend of sounds that resonate with the depths of human emotion.

Overall Sound
The resulting music from this combination would likely be atmospheric and introspective, featuring lush, layered synths, organic textures, and a mix of rhythmic and non-rhythmic elements. It would appeal to listeners seeking both relaxation and emotional resonance, often serving as a backdrop for contemplation or creative work. The interplay of nostalgia, nature, and emotional depth creates a rich listening experience that is both engaging and soothing.

Here is what each artist contributes as key elements:

Artist	Key Elements
Boards of Canada	Known for nostalgic melodies, organic sounds, and a warm, analog feel. Their music often evokes a sense of childhood and nature, utilizing field recordings and intricate sampling techniques.
Biosphere	Focuses on minimalism and atmospheric soundscapes, often incorporating environmental sounds and a sense of space. His work is characterized by deep drones and subtle textures that create immersive experiences.
Aphex Twin	Blends complex rhythms with ambient elements, often using unconventional structures and playful sound design. His tracks can range from serene to chaotic, showcasing a wide emotional range.
Stars of the Lid	Emphasizes long, evolving drone compositions with a cinematic quality. Their music is often soft and melancholic, featuring lush string arrangements and minimalistic piano.

How will my music differ?

To differentiate their music from artists like Aphex Twin and Boards of Canada, an artist can explore various techniques and approaches:

Experiment with Diverse Genres

Incorporate Various Styles: Embrace a wide range of genres such as jazz, classical, folk, acid, and ambient. This open-mindedness can lead to unique soundscapes that diverge from the typical electronic music framework 1.

Unique Sound Design

Custom Sound Creation: Instead of relying on presets, artists should focus on building their own sounds using synthesizers and samplers. This can involve manipulating field recordings or creating original samples to add a personal touch 3 4.
Layering Techniques: Use multiple layers of sound, combining different textures and frequencies. For instance, blending deep bass with higher tones can create a distinctive sonic palette 3.

Innovative Production Techniques

Field Recordings: Incorporate ambient sounds from the environment, such as rain or urban noise, to add depth and context to the music. This can help fill frequency gaps and create a more immersive experience 3.
Live Instrumentation: Integrate live instruments, such as guitars or strings, to add organic elements that contrast with electronic sounds. This approach can create a richer, more dynamic sound 3.

Embrace Improvisation

Improvisational Elements: Allow for spontaneous creation during the music-making process. This can lead to unexpected results and a more authentic sound 3.

Focus on Emotional Themes

Conceptual Depth: Explore themes that resonate on a personal or emotional level, moving beyond the abstract or nostalgic themes often found in ambient music. This can help establish a unique identity 5.

By implementing these strategies, an artist can carve out their own niche while still drawing inspiration from established figures in the electronic music scene.

Still Going…

I still had some work to do. What if I am just copying everyone’s style and not actually doing my own thing? I thought this, so I stopped trying to copy anything consciously and just worked on what I truly loved to make.

It turns out I like to make music that evokes a nostalgic vibe, but I like to make albums that encompass and represent certain places and times. For example, I like the ocean so I made a whole album focused on the ocean. Same for the wilderness. Same for vacation trips like Hawaii, Aruba, etc.

So my purpose seems to be to make albums of music that have a theme of the places I love but with a feel for the nostalgic.

The piano is also a focus point for me because whenever I want to make some music I naturally just pick a piano to start with. This is important. I seem to naturally incorporate keys into everything I make.

I am still progressing down this path of refining my sound.

Further Refinement of My “Sound”

I found that I like music by some artists in only a few of their works, and I would like to combine and incorporate those sounds and techniques into my own.

Music created in the style of Tetsu Inoue’s “World Receiver,” Boards of Canada‘s “Trans Canada Highway” and “The Campfire Headphase,” William Basinski‘s “Lamentations,” Pinkcourtesyphone‘s “Arise in Sinking Feelings,” and Stars of the Lid‘s “Carte-De-Visite” would likely feature a blend of ambient, drone, and experimental soundscapes characterized by the following elements, and this would be the sound that I am after:

Characteristics

Textural Layers: Expect rich, layered textures that create a sense of depth and space, often using field recordings and synthesized sounds to evoke natural environments.
Melodic Minimalism: Melodies would be sparse and repetitive, focusing on subtle variations over time, creating a meditative quality.
Emotional Resonance: The music would convey a sense of nostalgia or introspection, often utilizing slow, evolving harmonies that evoke emotional responses.

Techniques

Field Recordings: Incorporating ambient sounds from nature or urban environments to ground the music in a specific context.
Tape Manipulation: Techniques like looping and tape delay, as seen in Basinski’s work, would be essential for creating evolving soundscapes.
Layering and Processing: Using software or hardware to layer multiple sound sources, applying effects such as reverb and delay to enhance the spatial quality of the music.
Drone Elements: Sustained tones or drones would provide a foundation, allowing for melodic elements to emerge organically over time.

This combination of characteristics and techniques would result in a cohesive sound that is immersive, reflective, and rich in atmosphere, appealing to listeners who appreciate ambient and experimental music.

The combination of musical styles from Tetsu Inoue’s World Receiver, Boards of Canada’s Trans Canada Highway and The Campfire Headphase, William Basinski’s Lamentations, Pinkcourtesyphone’s Arise in Sinking Feelings, and Stars of the Lid’s Carte-De-Visite would yield a rich, immersive soundscape characterized by ambient textures, emotional depth, and intricate sound manipulation. Below is a detailed exploration of the characteristics, techniques, and potential sound outcomes of such a fusion.

tl;dr

The combined music style would feature lush ambient textures, field recordings, and emotional resonance, utilizing techniques such as tape looping, granular synthesis, and layered soundscapes. The result would be a deeply atmospheric and evocative listening experience.

Characteristics of the Combined Music Style

Ambient Textures: The music would predominantly feature ambient soundscapes characterized by long, sustained tones and minimalistic structures akin to Inoue’s and Stars of the Lid’s works.
Emotional Depth: Each artist brings a unique emotional resonance, with Basinski’s work often evoking themes of loss and nostalgia, while Pinkcourtesyphone explores feelings of longing and disenchantment.
Field Recordings: Incorporating environmental sounds, as seen in Inoue’s and Boards of Canada’s albums, would create a sense of place and context, grounding the listener in a specific atmosphere.
Layered Soundscapes: The music would likely feature multiple layers of sound, blending synthesized elements with organic recordings, creating a rich tapestry of auditory experiences.

Techniques Required to Create This Music

Technique	Description	Relevant Artists
Tape Looping	Utilizing tape loops to create repetitive motifs, as seen in Basinski’s work, to evoke nostalgia.	William Basinski
Granular Synthesis	Breaking down sounds into small grains and reassembling them to create complex textures.	Tetsu Inoue, Stars of the Lid
Field Recording	Capturing sounds from the environment to incorporate into the music, enhancing realism and depth.	Boards of Canada, Tetsu Inoue
Layering and Processing	Combining multiple sound layers and applying effects like reverb and delay to create spaciousness.	All artists
Analog and Digital Synthesis	Using both analog synthesizers and digital tools to create a diverse sonic palette.	Boards of Canada, Pinkcourtesyphone

Potential Sound Outcomes

Atmospheric Soundscapes: The resulting music would likely be expansive and immersive, creating a sense of space and depth reminiscent of the vast landscapes in Inoue’s and Stars of the Lid’s works.
Emotional Narratives: Each piece could tell a story or evoke a specific emotional response, drawing from Basinski’s poignant themes of memory and loss, as well as Pinkcourtesyphone’s exploration of personal feelings.
Dynamic Range: The music would likely feature a wide dynamic range, oscillating between quiet, introspective moments and more intense, layered sections, reflecting the emotional highs and lows in the source materials.

Conclusion

The fusion of these distinct musical styles would create a unique auditory experience that is both deeply immersive and emotionally resonant. By employing a variety of techniques such as tape looping, granular synthesis, and field recordings, the resulting compositions would reflect the intricate soundscapes and emotional depth characteristic of each artist’s work. This combination would not only celebrate the individual styles but also create a new, cohesive sound that invites listeners into a rich, atmospheric world.

Continuing, I Refined Even Further…

Going further, the combination of music styles from Tetsu Inoue’s “World Receiver,” Boards of Canada’s “Trans Canada Highway” and “The Campfire Headphase,” William Basinski’s “Lamentations,” Pinkcourtesyphone’s “Arise in Sinking Feelings,” Stars of the Lid’s “Carte-De-Visite,” and Biosphere’s “Substrata” would create a rich, immersive soundscape characterized by deep emotional resonance, intricate textures, and a blend of organic and electronic elements.

Characteristics of the Combined Sound

Atmospheric Textures: The music would feature lush, layered soundscapes that evoke a sense of space and depth. This is a hallmark of ambient music, where the focus is on creating an immersive listening experience rather than traditional song structures.
Field Recordings and Natural Sounds: Incorporating field recordings, as seen in Inoue’s work and Biosphere’s “Substrata,” would add an organic quality to the music. These sounds could include environmental noises, such as water, wind, and urban sounds, which would enhance the sense of place and context.
Melodic Minimalism: Drawing from Boards of Canada and Stars of the Lid, the music would likely employ simple, repetitive melodies that evoke nostalgia and emotional depth. The melodies would be subtle, often layered with harmonies that create a sense of warmth and familiarity.
Emotional Weight: Basinski’s “Lamentations” introduces themes of loss and reflection, which would permeate the combined sound. The music would likely explore complex emotional landscapes, using slow, evolving structures that allow listeners to engage deeply with the sound.
Cinematic Quality: The combination would have a cinematic feel, akin to Pinkcourtesyphone’s work, which often blends music with narrative elements. This could involve the use of spoken word samples or narrative-driven soundscapes that invite listeners to immerse themselves in a story or mood.

Techniques Required to Create This Music

Layering and Texturing: Producers would need to master the art of layering sounds, using multiple tracks to build rich textures. This involves careful balancing of frequencies to ensure clarity while maintaining a dense sound.
Use of Tape Loops and Analog Equipment: Emulating Basinski’s techniques, artists could utilize tape loops and analog synthesizers to create evolving soundscapes that change over time. This method allows for the organic evolution of sound, adding a unique character to the music.
Field Recording Integration: Artists should gather field recordings from various environments, blending these with synthesized sounds to create a cohesive sound world. This technique enhances the organic feel of the music and grounds it in reality.
Sound Design and Synthesis: Utilizing granular synthesis and other sound design techniques would be essential for creating the intricate textures found in these works. This includes manipulating samples and synthesizing sounds that evoke specific emotions or atmospheres.
Dynamic Range and Volume Control: The music would benefit from a wide dynamic range, allowing for quiet, introspective moments alongside more intense passages. This requires careful mixing and mastering to ensure that the emotional peaks and valleys are effectively communicated.

Conclusion

The fusion of these diverse musical styles would yield a complex, emotionally rich soundscape that invites deep listening and reflection. By employing techniques such as layering, field recording, and analog synthesis, artists can create a unique auditory experience that resonates with the listener on multiple levels. This combination not only highlights the strengths of each individual artist but also creates a new, cohesive sound that is both innovative and deeply rooted in the ambient tradition.

Going Even Further – Innovations

To distinguish themselves in the ambient music genre, artists can adopt a variety of innovative techniques and approaches that emphasize uniqueness and creativity. Here are several strategies that can help an artist carve out a distinct identity within the ambient music landscape.

Unique Techniques in Ambient Music

Sound Synthesis and Manipulation:

Artists can explore advanced sound synthesis techniques such as granular synthesis, time stretching, and reversing audio to create unique textures and soundscapes. For instance, granular synthesis allows for manipulating sound at a microscopic level, creating complex, evolving sounds that can feel organic and immersive.
Utilizing field recordings can also add a personal touch. Incorporating sounds from nature or urban environments can create a sense of place and atmosphere that resonates with listeners.

Layering and Texturing:

Effective layering of sounds is crucial. Artists can combine sound sources, such as soft synth pads, natural sounds, and processed samples, to build rich, immersive textures. This technique not only enhances depth but also allows for the creation of a unique sonic palette.
Experimenting with dynamic layering—where sounds evolve over time—can enhance the listening experience. For example, gradually introducing new layers or altering existing ones can create a sense of movement and progression within a track.

Spatialization Techniques:

Employing advanced spatialization techniques, such as binaural panning and surround sound mixing, can create an immersive listening experience. This approach allows sounds to move across the stereo field, simulating real-world auditory experiences and drawing listeners more profoundly into the soundscape.

Innovative Approaches by Ambient Artists

Cross-Genre Fusion:

Artists can blend ambient music with elements from other genres, such as ambient techno, ambient pop, or even ambient metal. This fusion can attract diverse audiences and create a fresh sound that stands out in the ambient scene.
For example, artists like Floating Points and Tim Hecker have successfully integrated electronic and experimental elements into their ambient works, resulting in unique soundscapes that defy traditional genre boundaries.

Emotional and Conceptual Themes:

Developing a strong emotional or conceptual theme can set an artist apart.
- By focusing on specific narratives or feelings, artists can create music that resonates deeper. This could involve exploring themes of nature, technology, or personal experiences, which can be reflected in sound design and composition.
For instance, William Basinski is known for his poignant explorations of memory and time, often using tape loops to evoke nostalgia and reflection.

Generative Music Techniques:

Utilizing generative music techniques, where algorithms or software create music in real time, can lead to unique and unpredictable compositions. This approach allows for spontaneity and variation to keep listeners engaged and intrigued.

Key Takeaways

Experiment with Sound Synthesis: Use granular synthesis, time stretching, and field recordings to create unique textures.
Layering is Essential: Combine various sound sources and dynamically evolve layers to enhance depth and immersion.
Spatialization Matters: Implement binaural panning and surround sound techniques for an immersive experience.
Cross-Genre Exploration: Blend ambient with other genres to attract diverse audiences.
Emotional Themes: Focus on strong narratives or feelings to create deeper connections with listeners.
Generative Techniques: Explore real-time music generation for spontaneity and uniqueness.

By implementing these strategies, artists can not only differentiate themselves in the ambient music genre but also contribute to its evolution, pushing the boundaries of what ambient music can be.

Additionally, evolving items in the music production can enhance the experience:

Changing the amount of an effect applied during the track, such as Shaperbox effects and the like, varying throughout a track.
Changing the tempo over the length of the track for dramatic effect or to speed or slow down the pace of a track.
Changing the mono or side amount to give a spatial variance that can be interesting.
- The same could be done with LCR panning of instruments.
Altering the amount of reverb or delay during a track to give interest.
- The Tuss did this with some of their tracks.

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