SAWLIN’s CAN

parrotcan_Cover-SAWLIN

SAWLIN wanted to have a library of production ready sounds for a long time. The parrots joined him to create this high-end CAN. You will meet these sounds in his future releases for sure!

$19 / £19 / 19€

Content

  • 16 playable sounds
  • 6  drum kits

INSTALLATION GUIDE

Formats

  • Ableton LIVE (0.9 GB)
  • Apple Logic X** (1 GB)
  • Bitwig Studio (0.8 GB)
  • NI Kontakt** (full version) (1 GB)
  • NI Maschine* & Battery* (28 MB)

(* drum kits only)

(** direct access to sample audio files)

No other sounds were used for this demo!

ABOUT

Sawlin is one of the founding fathers of the legendary berlin imprint VAULT SERIES. He’s an international player out on Delsin Records, Ann Aimee, ARTS, 10Label and Technorama to name a few. His work as head of Precision Berlin Mastering can be heard on releases of Henning Baer, Savas Pascalidis, Robert Hood, Mark Broom and many more. His fine mixture of dub, house and techno has been reviewed as  unique and delicate.    

INTERVIEW

What is the most impressive thing you’ve ever seen?
My Boy, just when he was Born.

Do one or more sounds of your package  root from a piece of music that you have released  or you will release in the future?
Having a production-ready library of sounds had been an objective for quite some time. I will make use of SAWLIN’S CAN in my own productions on a regular basis in the future. I am quite happy with the result of my recordings and of course with the parrots’ can-magic. I usually create long effects chains when I am designing sounds. During composition, I want to have these precisely sculpted sources at my fingertips within one click. This is why the CAN fits perfectly in my workflow and helps me to focus on the overall picture of my creative work without thinking too much.

What is your most favorite private object and why?
This constantly varies. At the moment it’s a tiny bottle filled with sand and shells I got from the Polish Baltic coast. It’s a tiny imagination-trigger reminding me of good times at the sea with my family. It helps me coming down from everyday life. A relaxed mind is the best assist for the creative process.

What inspires you?
Questions to myself – people who mastered a craft, especially in music – bringing gear to the limits until they reveal their true nature – treating dubious sources with outboard gear and long effects chains until I discover a “wow” element.

What is important for you when recording sound  sources from an artistic/engineering point of view? 
Is it different enough? The sound has to trigger something inside of me. Often that’s enough but it’s always challenging to stay with the sound as it is. Often I catch myself designing my sounds until they are dead – I subtract parts I think I don’t need and listen to the sound soloed until its totally missing its original character. The best advice I can give: If you have created a strange sound that you really like – keep it without bending it too much from the point you liked it most.

Do you have basic workflow when composing/ recording music? 
Mostly I start with a kick drum without sub bass. From there it is easy for me to develop a story and keep space for the protagonist(s). Often I add the sub part of the kick drum after recording the bass instruments and correlate it with the bass part. This can drastically change the groove and add magic.
The second part is an extensive recording session where I try to put my ideas into effect and listen to them in the real world. I do longer recordings (20-30 minutes) mainly with my modular rack and the Dave Smith Evolver which is kind of modular as well and then reduce everything to the desired track length of my project.

Can you name/explain challenges while  composing/ recording/ arranging/ finishing music? 
Arrangement has always been the most awful part of my work but I am getting better with it;).
The longer I work on a track the more likely I end up optimising every single part until it loses its soul. Thus I have some strategies that help me preventing that:
Don’t stick too long with one sound. Make a pause after focusing for a longer time on one element (more than 30 minutes). Save a copy of your original sound (project file and audio) as backup to be able to get back and relate to it.

I developed many creative skills, so being productive is daily routine. The challenge lies within getting rid of disturbances like upheaval of society, cultural disregard, the batlle for survival in the music industry. This raises the question for me what music can express just by itself nowadays.

System requirements

  • Kontakt v5
  • Ableton Live v10
  • Logic X v10
  • Bitwig Studio v3
  • Maschine v2
  • Battery v4