Kylie - an artist so massively famous, that she doesn’t even need her surname anymore. If someone says ‘Kylie’, conjuring up a mental image of the pint-sized pop princess is almost pavlovian by now. With an artist who has reinvented her look and style several times throughout her career, there are many options for your imagination to paint, from a rich tapestry spanning three decades of chart success.

In the early 2000s, Kylie’s music took a turn towards an electronic club-focused influence, thanks to the tremendous success of 2001’s ‘Can’t Get You Out Of My Head’ relentlessly stomping its way across dance floors and firmly into our heads. Maintaining this ‘clubby’ feel while transitioning somewhere between electro-house and synth-pop, 2003 saw the release of Kylie’s all-time favourite song of hers; ‘Slow’.

‘Slow’ took centre stage as the lead single from Kylie’s ninth studio album ‘Body Language’ - the eagerly anticipated follow up to the phenomenally popular prior release ‘Fever’ in 2001. Now with a total of 14 studio albums under her belt and touring almost every year, Kylie isn’t showing any signs of slowing down anytime soon, which is fine by us!

Check out how to make the bass and arpeggio sounds from ‘Slow’ in DRC, and grab the project link to see them in action with the included MIDI clips.

Click here to download the Ableton project file

Especially for you,
Team Imaginando

latest news

How to make the bass and lead sounds from Luke Abbott - 'Brazil' with DRC...

Published on 23 Apr 2019

Luke Abbott’s music has a sort of freeness, refusing to conform to any particular genre tropes or trappings, it weaves its own atmospheric path, much to the delight of a solid fan base accumulated from ten years worth of Border Community releases. 2011’s ‘Brazil’ is no exception, with its ambient phasing pads masking a deceptively fast tempo, clocking in at 165 BPM. (Indeed a more house/dancefloor-friendly ‘slow-version’ of 128 BPM was also released.)The meandering pitch drift remains prominent throughout both mixes which serves to elongate and stretch out the chord progression, dragging itself along with a leisurely demeanor.The effortless precision with which Luke manages to create such emotive soundscapes could have something to do with his degree in ‘Electro-acoustic Composition’ from the University of East Anglia, in his home city of Norwich, England. In 2012, Luke’s talent and artistic potential attracted the attention of the Wysing Arts Centre, where he was bestowed the honour of becoming their first ever ‘musician in residence’.More recently Luke composed the original score for British film ‘The Goob’, releasing the work as his 2015 album ‘Music For A Flat Landscape’.In this week’s DRC Sound Design Tutorial, we take a look at the bass and lead sounds from ‘Brazil’ by Luke Abbott.Click here to download the Ableton project fileThe same great sound, anywhere in the world,Team Imaginando...

How to make the bass and pad sounds from Nathan Fake 'Outhouse' with DRC...

Published on 22 Mar 2019

Back in November of 2018 we took on the bass and keys sounds from Nathan Fake’s ‘The Sky Is Pink’, and today we’re going all the way back to his first ever release on the Border Community label, ‘Outhouse’.Released in 2003, Outhouse was championed by label boss James Holden and was heard across dance floors globally, before its November Border Community vinyl pressing. The ‘Main Mix’ is a generous ten and a half minutes long, with a couple of breakdowns offering creative flexibility when it comes to mixing it into sets. That’s a luxury you don’t get with modern day five minute EDM tracks!With space for each phase to breathe and develop, the overarching narrative of the track can be easily appreciated with minimum effort. The opening is quite tribal, rhythmic congas draw you in with their growing delay and a bassline with the stealth of ninja appears before you realise. The hypnotic whining and droning of the pads/synths LFOs are prevented from putting you in a completely sedative trance-like state by the drilling bass, pushing and prodding you forward. The interaction between these two opposing forces is what holds your interest throughout, just like a captivating story; the Jekyll and Hyde off techno.Learn how to create the bass and pad sounds from Nathan Fake - ‘Outhouse’ for yourself, with this week’s DRC Sound Design Tutorial video.Click here to download the Ableton project fileOut of one house, into another,Team Imaginando...

How to make the bass and FX sounds from Azazri & III 'Manic' with DRC...

Published on 15 Mar 2019

In the over-saturated market of electronic dance music, it's often the quirkier acts and artists that are the most memorable. Making music has never been easier, and now that anyone with a laptop can produce club-worthy tracks, the process of getting noticed is no longer just a case of letting your music speak for itself.'Image is everything'. Well, not quite everything, you still need to sound good, but for the Instagram generation, it's arguably just as important. It adds to the overall experience, and some artists even go so far as to create a whole narrative that surrounds everything they do, the futuristic robots of Daft Punk are probably the most famous example in house music.The artist behind this week's featured track was more flamboyant than futuristic, 'Azari & III' spent just five years together after first meeting at a Karaoke bar in their native Canada, in 2008.Today we're looking at their 2011 single 'Manic' which was released alongside the only studio album the band recorded together, before going their separate ways in 2013. Confirmation of the split was delivered in a suitably theatrical Facebook post by Alphonse Alixander Lanza III:‘Ladies and gentleman, boys and girls, the art project known as AZARI & III has done its work, run its course and is, for all intents and purposes, a momentary blip in time, now forever imprinted on the Universe. Our recent EP entitled “Extinction Event” was just that, an extinguishing of the flame and a bird into the fire of blissful, eternal oblivion.’Click here to download the Ableton project fileWe’re playing manic minor,Team Imaginando...

How to make the bass and lead sounds from Luke Abbott - 'Brazil' with DRC...

Published on 23 Apr 2019

Luke Abbott’s music has a sort of freeness, refusing to conform to any particular genre tropes or trappings, it weaves its own atmospheric path, much to the delight of a solid fan base accumulated from ten years worth of Border Community releases. 2011’s ‘Brazil’ is no exception, with its ambient phasing pads masking a deceptively fast tempo, clocking in at 165 BPM. (Indeed a more house/dancefloor-friendly ‘slow-version’ of 128 BPM was also released.)The meandering pitch drift remains prominent throughout both mixes which serves to elongate and stretch out the chord progression, dragging itself along with a leisurely demeanor.The effortless precision with which Luke manages to create such emotive soundscapes could have something to do with his degree in ‘Electro-acoustic Composition’ from the University of East Anglia, in his home city of Norwich, England. In 2012, Luke’s talent and artistic potential attracted the attention of the Wysing Arts Centre, where he was bestowed the honour of becoming their first ever ‘musician in residence’.More recently Luke composed the original score for British film ‘The Goob’, releasing the work as his 2015 album ‘Music For A Flat Landscape’.In this week’s DRC Sound Design Tutorial, we take a look at the bass and lead sounds from ‘Brazil’ by Luke Abbott.Click here to download the Ableton project fileThe same great sound, anywhere in the world,Team Imaginando...

How to make the bass and pad sounds from Nathan Fake 'Outhouse' with DRC...

Published on 22 Mar 2019

Back in November of 2018 we took on the bass and keys sounds from Nathan Fake’s ‘The Sky Is Pink’, and today we’re going all the way back to his first ever release on the Border Community label, ‘Outhouse’.Released in 2003, Outhouse was championed by label boss James Holden and was heard across dance floors globally, before its November Border Community vinyl pressing. The ‘Main Mix’ is a generous ten and a half minutes long, with a couple of breakdowns offering creative flexibility when it comes to mixing it into sets. That’s a luxury you don’t get with modern day five minute EDM tracks!With space for each phase to breathe and develop, the overarching narrative of the track can be easily appreciated with minimum effort. The opening is quite tribal, rhythmic congas draw you in with their growing delay and a bassline with the stealth of ninja appears before you realise. The hypnotic whining and droning of the pads/synths LFOs are prevented from putting you in a completely sedative trance-like state by the drilling bass, pushing and prodding you forward. The interaction between these two opposing forces is what holds your interest throughout, just like a captivating story; the Jekyll and Hyde off techno.Learn how to create the bass and pad sounds from Nathan Fake - ‘Outhouse’ for yourself, with this week’s DRC Sound Design Tutorial video.Click here to download the Ableton project fileOut of one house, into another,Team Imaginando...