![]() This focus on timbre also makes ambient music a fruitful area of study for audio engineers. These tools provide a potent playground for sound design. This approach can be incredibly rewarding to explore in the box, where we have easy access to precision timbre shaping tools like virtual instruments, DAW automation and robust digital signal processing. ![]() Creators of this music usually rely heavily on the electronic tools and production techniques traditionally found in recording studios during the entire production process, including during composition. Since being labeled by Brian Eno as ambient music in the mid 1970s, this underground and nebulous genre has tantalized many listeners with its heightened focus on the timbral musical element and with some experimental approaches to composition. Consider this context as we continue on from here. Of course they didn’t have the incredible sound shaping tools we have today either. Granted, those musicians who came before us still had plenty of other musical parameters to think about, such as the selection of pitches and how to combine them with others into harmonies and melodies, all while developing rhythmic and formal designs. ![]() It’s safe to say that throughout most of musical history, the way a note sounded (timbre) was less considered, less controllable and less important to the music producers of the past than it is today.
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