Tyler Wynn
Flume, the Australian electronic music producer, is renowned for his unique soundscapes, blending experimental beats, lush textures, and innovative production techniques. To sound like Flume, aspiring producers should focus on mastering a few key elements: first, experiment with unconventional sound design, using granular synthesis, heavy processing, and found sounds to create distinct, organic textures. Second, prioritize intricate, glitchy rhythms and off-kilter beats, often achieved through precise editing and creative use of percussion samples. Third, layer melodies and harmonies with a mix of analog and digital instruments, adding warmth and depth through saturation and reverb. Finally, pay attention to dynamic mixing and mastering, ensuring each element sits perfectly in the mix while maintaining clarity and impact. By combining these techniques with a willingness to push boundaries, producers can begin to capture the essence of Flume’s signature style.
| Characteristics | Values |
|---|---|
| Genre | Electronic, Future Bass, Chillwave, Experimental |
| Tempo | 80-110 BPM (commonly around 95-105 BPM) |
| Sound Design | Heavy use of organic textures, foley sounds, and unconventional samples |
| Synths | Soft, lush pads, FM synthesis, and detuned leads |
| Drums | Crisp, layered snares, tight kicks, and intricate percussion patterns |
| Reverb & Delay | Generous use of reverb and delay for spaciousness |
| Chopped Vocals | Pitch-shifted, chopped, and processed vocal samples |
| Basslines | Subtle, gliding basslines with saturation and modulation |
| Mixing | Clean, wide stereo image with attention to frequency balance |
| Mastering | Loudness optimized for streaming platforms while retaining dynamic range |
| Production Tools | Ableton Live, Serum, Massive, and custom sample packs |
| Key Signatures | Minor keys for emotional depth |
| Chord Progressions | Simple, emotive progressions often with suspended or added chords |
| Automation | Extensive use of automation for movement and evolution in tracks |
| Sampling | Creative use of field recordings and unconventional sources |
| Aesthetic | Atmospheric, emotional, and cinematic with a focus on texture |
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What You'll Learn
- Use Reverb and Delay: Create spacious, ethereal textures with long reverb tails and syncopated delays
- Layered Percussion: Combine organic and synthetic sounds, emphasizing unique textures and rhythmic complexity
- Chopped Vocals: Slice and manipulate vocal samples, pitching and processing for signature melodic hooks
- Synth Design: Focus on evolving pads, FM synthesis, and unconventional sound design techniques
- Mixing Techniques: Prioritize sidechain compression, wide stereo imaging, and precise frequency carving
Use Reverb and Delay: Create spacious, ethereal textures with long reverb tails and syncopated delays
Reverb and delay are the secret weapons in Flume's arsenal, transforming simple sounds into lush, otherworldly landscapes. To emulate his signature style, start by selecting a reverb plugin with a long decay time—think 3 to 5 seconds—to create those expansive, tail-heavy textures. Pair this with a delay effect, but instead of straight quarter or eighth notes, experiment with syncopated rhythms. For instance, set your delay to dotted eighth notes or triplet patterns to introduce a subtle, off-kilter groove that feels both organic and futuristic. This combination not only adds depth but also imbues your tracks with the ethereal quality that defines Flume's sound.
Consider the interplay between reverb and delay as a dance—each effect must complement, not overpower, the other. Begin by applying reverb to pads, ambient synths, or vocal chops to create a sense of space. Then, layer in delay on percussive elements or melodic lines, ensuring the timing aligns with your track's tempo. For example, if your project is at 100 BPM, try setting your delay time to 600 milliseconds for a syncopated feel. Be mindful of the wet/dry mix; too much reverb can muddy your mix, while excessive delay can clutter it. Aim for a balance where the effects enhance, not dominate, the original sound.
A practical tip for achieving Flume's spaciousness is to use convolution reverbs with large hall or plate presets, which mimic the acoustics of vast spaces. Combine this with a ping-pong delay to create a wide stereo image, making your mix feel expansive. For instance, on a plucky synth, apply a hall reverb with a 4-second decay and a ping-pong delay with a 500-millisecond time, panned hard left and right. This technique not only adds dimension but also creates movement, a hallmark of Flume's production style.
Finally, don’t overlook the creative potential of automating reverb and delay parameters. Flume often uses automation to evolve his textures, making them dynamic and engaging. Try automating the reverb mix to swell during breakdowns or the delay feedback to build tension before a drop. For example, gradually increase the reverb mix from 20% to 80% over a 16-bar section, or ramp up the delay feedback from 30% to 70% to create a sense of progression. These subtle changes can turn a static track into a living, breathing composition that captures the essence of Flume's innovative sound design.
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Layered Percussion: Combine organic and synthetic sounds, emphasizing unique textures and rhythmic complexity
Flume's signature sound often hinges on the intricate interplay of layered percussion, blending organic warmth with synthetic precision. To emulate this, start by selecting a foundational organic sound—a live drum hit, a hand clap, or a shaker recording. Pair it with a synthetic counterpart, such as a crisp 808 sub kick or a processed metallic ping, ensuring they occupy distinct frequency ranges to avoid muddiness. For instance, layer a deep, rounded tom sample with a sharp, high-pitched digital snap to create contrast and depth. This combination not only adds richness but also establishes a dynamic rhythmic foundation.
Next, introduce rhythmic complexity by staggering these layers across the beat grid. Experiment with polyrhythms or off-beat placements to mimic Flume’s unpredictable yet cohesive style. For example, place the organic shaker on the offbeats while the synthetic ping syncopates in triplets. Use velocity variations to humanize the synthetic elements, making them feel less mechanical. A practical tip: automate subtle pitch shifts on the synthetic layer to create movement without overwhelming the mix. This technique ensures each layer contributes uniquely while maintaining a unified groove.
Texture is key to achieving Flume’s distinctive sound. Process your layers with effects like granular synthesis, reverb, or distortion to create ethereal or gritty textures. For instance, run a field recording of rain through a granular processor and layer it under a crisp snare to add an ambient, organic undertone. Conversely, distort a synthetic tom to introduce a harsh, industrial edge. The goal is to make each layer feel intentional, contributing to the overall atmosphere without cluttering the mix.
Finally, balance is critical. Avoid overloading the percussion by muting layers in certain sections to highlight others. For example, strip back the synthetic elements during a breakdown to let the organic sounds breathe, then reintroduce them gradually for impact. Use a sidechain compressor to glue the layers together, ensuring they respond dynamically to the kick drum. This approach not only honors Flume’s layered percussion style but also creates a mix that feels alive and multidimensional.
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Chopped Vocals: Slice and manipulate vocal samples, pitching and processing for signature melodic hooks
Vocal chopping is a cornerstone of Flume's signature sound, transforming static acapellas into dynamic, melodic instruments. By slicing, pitching, and processing vocal samples, he creates hooks that are both familiar and alien, blending the human voice with electronic textures. This technique isn’t just about cutting up a vocal—it’s about reimagining its potential, turning a single phrase into a kaleidoscope of sound.
To achieve this effect, start by isolating short vocal snippets (1-2 syllables work best) and loading them into a sampler like Serum or Kontakt. Experiment with extreme pitch modulation, shifting the sample up or down by octaves to uncover hidden melodic possibilities. Flume often layers these pitched fragments, creating harmonies or counterpoints that evolve over time. For instance, a high-pitched "ah" can become a shimmering lead when paired with a detuned, lower-pitched version of the same sample.
Processing is where the magic happens. Apply heavy reverb and delay to create a sense of space, but balance it with distortion or saturation to add grit. A touch of granular synthesis can further fragment the vocal, turning it into a textural element rather than a recognizable voice. Flume frequently uses sidechain compression to sync these chopped vocals with the kick drum, ensuring they cut through the mix without clashing.
One of Flume’s masterstrokes is the way he manipulates timing. Stretch or compress the vocal slices to sync with the track’s tempo, then offset them slightly for a glitchy, off-kilter feel. Tools like Ableton’s Warp function or iZotope’s RX suite can help refine these timing adjustments. The goal is to make the vocal feel alive, as if it’s reacting to the rhythm in real-time.
Finally, don’t overlook the power of simplicity. Flume often builds entire sections around a single chopped vocal, letting repetition and subtle variation create tension and release. Pair these processed vocals with minimal instrumentation—a soft pad, a pulsing bassline—to let the hook breathe. The result? A sound that’s unmistakably Flume: organic yet futuristic, intimate yet otherworldly.
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Synth Design: Focus on evolving pads, FM synthesis, and unconventional sound design techniques
Flume's signature sound often hinges on lush, evolving pads that create a sense of movement and depth. To replicate this, start by selecting a synth capable of complex modulation. Evolving pads thrive on parameter automation: experiment with slowly shifting the filter cutoff, LFO rates, and envelope decay times. For instance, in Serum, assign an LFO to control both the pitch of an oscillator and the reverb send, creating a dual sense of expansion. Pair this with a low-pass filter modulated by an envelope to add a soft, breathing quality. The key is subtlety—small, continuous changes over time rather than abrupt shifts.
FM synthesis is another cornerstone of Flume’s palette, offering metallic, bell-like tones that cut through mixes. Dive into FM synths like FM8 or Dexed, and focus on operator interactions. Start with a simple 2-operator setup, where Operator B modulates Operator A. Gradually increase the modulation index to introduce harmonic complexity. For a Flume-esque twist, automate the modulation index to create a rising or falling effect, then layer this with a detuned saw wave for warmth. Add a touch of chorus and a short reverb to blend it into the mix without losing its sharpness.
Unconventional sound design is where Flume truly shines, often blending organic and synthetic elements. One technique is to process field recordings through a synth’s filter and envelope. Load a recording of rain or footsteps into a sampler, then trigger it with a MIDI pad. Route this through a synth’s filter and apply heavy modulation to transform the sound into something otherworldly. Another approach is granular synthesis—tools like Granulizer 2 can break audio into tiny grains and manipulate them in real-time. Apply this to a simple sine wave or vocal snippet, then automate the grain size and position for unpredictable textures.
Layering is critical to achieving Flume’s dense, immersive soundscapes. Combine evolving pads, FM-synthesized leads, and processed organic sounds, ensuring each layer occupies a distinct frequency range. Use EQ to carve out space—for example, roll off the lows on your FM patch to make room for a sub-bass. Add a unifying effect like a long reverb or delay to tie everything together. Finally, automate the mix levels of each layer to create dynamic shifts, mimicking Flume’s tendency to build and release tension.
To elevate your sound design, embrace experimentation. Flume’s tracks often feature sounds that defy categorization, born from happy accidents or unconventional techniques. Try resampling your patches and processing them further—pitch-shift a pad down two octaves, add distortion, and layer it back with the original. Or, route a synth through a guitar amp simulator for added grit. The goal isn’t to replicate Flume’s sounds exactly but to capture the spirit of innovation and playfulness that defines his work.
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Mixing Techniques: Prioritize sidechain compression, wide stereo imaging, and precise frequency carving
Sidechain compression is the heartbeat of Flume's signature sound, creating that pulsating, rhythmic interaction between the kick drum and the bass. To replicate this, set your compressor’s threshold so the kick triggers a 3-6 dB reduction in the bass every time it hits. Use a fast attack (1-5 ms) to ensure the pump effect is sharp, and a release time of 50-100 ms for a snappy, dancefloor-ready groove. Pro tip: experiment with parallel compression on the bass to retain its low-end weight while still achieving the sidechain effect.
Wide stereo imaging transforms a flat mix into a sprawling, immersive soundscape—a Flume hallmark. Use mid-side EQ to carve out the low end (below 100 Hz) in the sides, keeping the sub-bass mono to avoid phase issues. For pads and synths, apply stereo widening plugins with a max width of 80-90% to avoid artificial-sounding edges. Caution: over-widening can muddy the mix, so always A/B with a mono reference to ensure clarity.
Precise frequency carving is the scalpel that separates Flume’s mixes from the amateur. Identify clashing frequencies between instruments using a spectrum analyzer, then surgically cut or boost in narrow bands (Q 6-12). For instance, dip the bass at 250-500 Hz to make room for the kick’s punch, and notch out 3-4 kHz in the synths to reduce harshness. Takeaway: less is more—subtle adjustments create a cleaner, more professional mix.
Combining these techniques requires balance. Start with sidechain compression as the foundation, then widen elements strategically to create space. Finally, frequency carving refines the mix, ensuring every element sits perfectly. Example: Flume’s track "Never Be Like You" showcases this interplay—the sidechained bass drives the rhythm, the widened vocals and synths create depth, and meticulous frequency carving keeps the mix pristine. Master these techniques, and you’ll edge closer to capturing Flume’s distinctive sonic identity.
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Frequently asked questions
Flume uses a combination of hardware and software, including Ableton Live, a Novation Launchpad, and various synthesizers like the Roland Juno-106 and Moog Sub Phatty. He also relies on unique samples and custom-built plugins.
Focus on layering and processing. Use FM synthesis for sharp, metallic bass tones, and layer organic percussion samples with synthetic hits. Apply heavy sidechain compression and distortion for added grit.
Flume often uses granular synthesis, reverb, and delay to create lush textures. He also manipulates vocal chops and field recordings, layering them with ambient pads and subtle noise elements.
Sound design is crucial. Flume spends a lot of time crafting unique sounds by processing samples, using unconventional synthesis techniques, and experimenting with effects like pitch shifting, filtering, and saturation.
