The song’s structure is simple, based on a 2-bar loop, but has multiple layers of different synths as the track progresses. Korg Polysix Fat Bass Line preset for the bass that comes in for the verse.Ī.N.A.1 for the main tremolo/glide synth. Korg Mono/Poly Spelunking preset for the main pluck synth that starts out. For the original beat of the track, Taylor used the following synths: Screw come from producer Blair Taylor, and Mike Dean later added the Juno pad and synth riser just before the chorus.
Screw, a tribute to the Houston hip-hop DJ, DJ Screw. Screw, Astrothunder and Sicko Mode, deconstruct the synth patches, and put them back together using software synths. Many of the sounds can be created in any suitable softsynth, and I’ll create all the sounds in this article using just u-he Repro and TAL U-NO-LX, as well as some sampled sounds that I’ll share as a free pack at the end of the article. In this article, I’ll concentrate on the synthesizer sounds on the tracks R.I.P.
Astroworld was recorded in Hawaii with a diverse set of collaborators, including Mike Dean, whose analog synth sounds feature prominently, Tame Impala’s Kevin Parker, who produced Skeletons, John Mayer, who played guitar on the album, James Blake, and even Stevie Wonder, who added his signature harmonica to Stop Trying to Be God. The album was hugely successful and cemented Travis Scott as one of the top hip-hop artists of the current era. Last year, Travis Scott released his third album, Astroworld, a continuation of his hip-hop sound pursued on earlier releases, but with a heavy trap and psychedelic influence.
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