• RA Soundscapes

    Exploring Distant Sonic Frontiers

    with Ableton Live Science

  • The message

    ...

     

     

    "Walk. And Ye Shall Reach.

    Johnnie Walker"

     

    (c) RA

  • THE story

    7 years of my piano school ended in 1991 with me graduating with excellent marks. Having studied acoustic guitar and some bass on top of that, today I play a fantastic, custom-built Fender, engineered by my brother Alex (and still can't believe to play the instrument sounding that good!) I stepped into the "digital" domain somewhere in 2000 picking up CUBASE SX3 as a DAW - as it's been the only option I could find around at that time - and spent hundreds of hours reading and trying to apply all that tech to practice with no luck.

     

    I switched to Live 6 in 2007 and consider it one of the biggest decisions that influenced my "audio path still.

     

    Having purchased my first synth/groove-box the same year (Korg EMX1) I caught a hardware frenzy that lasted for 5 years or something. I've been battling all major Audio Holy Wars: "Windows vs Mac", "Hardware vs Software", etc. All that helped me to grab the concepts of synthesis, drum programming, arrangement but mixing, The Hardest Part, was still no success however hard I tried. Until one lucky day I decided to hire a tutor - Keith Mills from Quantize Courses (UK) turned out to be a perfect match (the only problem was the genre - I wanted to learn DNB while Keith's been teaching techy house things) Yet mixdown itself is genre-independent so this 6-week course turned out into another key decision that helped me to move on towards my sonic targets.

     

    In 2013 I successfully passed a Skype interview with 2 Ableton Engineers and was going to attend the Certification event in Berlin. Life got a different plan though so I had to put music aside for almost a year. But when I returned to the studio I kept on thinking to quit my office job, concentrating on music 100% as just I couldn't handle 2- full-time jobs any longer. And I took the risk. 2014 turned to be a payout bringing me the first students and qualification for the first game audio project (as a composer). In 2015 I delivered my first commercial mixes, held a couple of gigs as FOH-engineer, further improving my DNB production techniques in parallel as, sending the demos here and there.

     

    In December 2015, my "Pressure Point" track has been signed by OFFWORLD Recording (a DNB-label from London) and released in July 2016 as a part of their 50-th Anniversary Compilation. In 2016 I got more than a dozen of students, got my first commercial game audio sound design project, published a dozen of articles including a 5-part "MIXTECH" series for Abletunes.com and hit my record of 2400 Facebook shares. entered my setup turning into its centerpiece.

    At the end of 2016 exclusive Ableton distributor in Ukraine offered me an official Ableton Endorser position and I can't stand accepting it) At the same time Push 2 entered my setup becoming one of its cornerstones.

     

    To be continued..

     

    Andrey Romanenko [RA]

    Kiev, UKRAINE

  • SOUND PRODUCTION & DESIGN

    CINEBOOKS.com

    A unique, and extremely complex book-filming project.

    Audio Lead, OST/Sound Design/Foley, a horror novel, in progress.

     

    ARVAK GAMES (INDIE TEAM)

    Picture on the right is from the game in progress >>>

    2D desktop game, HOPA, Audio Lead, OST/SFX

     

    THE LAST OUTPOST (STFALCON.COM)

    Sound Design

    22000 Downloads on Play Market

    4.8 User Rating

    SOFTWARE: IMAGINANDO SYNTHESIS WIZARDS

    Nuno Santos & Rui Antunes are the masterminds behind IMAGINANDO products, with their flagship DRC synth picked up by Google as #1 synth on Android and included into TOP#10 audio devices on iOS in 2016. One of my favorite synths at present. And I'm really excited to get invited into the project - together with Artur Danielyan we got a chance to try ourselves as sound designers for DRC, and there is a sound bank in progress!

    SOFTWARE: MAX4LIVE GURUS

    I'm truly privileged to cooperate with Max4Live Audiovisual pioneers like Darren E Cowley and Ned Rush (ISOTONIK), Sebastian Stachel (ISOTONIK/CHAOS CULTURE) and Ernesto Cecco D'Ortona (STRANGELINES) who create M4L devices, expanding Live possibilities even further, not only audio but also visuals and I'm proud to get invited as a tester/feedback provider!

     

    My first review on STRANGELINES's Streakulator (for AudioModern) 

    More stuff is coming .

    ABLETON ONLINE EDUCATION

    When I got time I still do online sessions, provided you fit the enrollment requirements. Basically, I split it into the following major sections for you to choose from or ask me for extras:

     

    1. Studio Setup And Workflow.

    2. Multigenre Sound Production Formula

    3. Mixing Sequence

    4. Mastering And Referencing

    5. Live Setups

    ....

     

    Book a free 30min online session with me to learn more, please plan it a week in advance as a minimum. Pretty please)

    TECH WRITING (examples)

    PRODUCERSPOT

    Samplers vs Synths

     

    ABLETUNES

    The Ultimate Guide To Sidechain Compression

    Why Mixing Is A Worthy Tool To Master

     

    ABLETUNES / MIX TECH SERIES

    Part1: Levels & Panning

    Part2: Equalization

    Part3: Dynamics

    Parts 4 and 5 have been already delivered and should be published soon

     

    AUDIOMODERN

    Streakulator Review

  • Feedback

    It happened that two dozens of shout-outs posted here in 2016 are gone due to the page re-design I did mid-March... but I've asked peeps to re-post them and it's it's coming)

  • Contact