Need Help Making A Decent Ambient/newage Album For My Mum

used to think I was the king at making ambient / chill music, that was a while ago and now I need to make somthing that my mum will enjoy listening to so nothing too harsh or dark

I want at least 8 tracks.

I said it would be done by christmas! I’ve not long to go and I now have some new cool vsti’s to play around with. I just wanna get talking on these points tho:

  1. Would it be good or bad to have chiche’ soundfx for a newage/ambient album like rainforest sounds, streams/brooks, thunder&rain, ticking clocks, ocean waves etc etc. This would be blatantly coping the style of the ‘Medwyn Goodall’ albums.

  2. Should I use an emigna-like-flute? the “Shakuhachi”? and if so how can it make it more original?

  3. I was going to do what richard d james did for ‘SAW 1’ which is to record all the tracks onto an old cassette tape then rip all that to CD again to get a muffled sound. worth it? and can I fake it with plugins?

  4. should I use beats or make it beatless? I don’t really know the RULES (if there are any) for ambient.
    4b: if so - should I use real drums sounds/breakbeats or maybe roland XOX drumcomputer sounds.

  5. wear can I download native american/asian chants and tribal sounds?

  6. can I make decent ambient music without reverbs or isn’t it that essential?


ool! thanks for that reply Bantai! much appreciated. LOL at your answer to question5 lol.

  1. imo, it doesn’t really matter… sure it adds to the ambience but is not necessarilly needed… it depends on how you use the textures, really! I would use some…

  2. I don’t think you should…

  3. if you like the sound, go for it… real or not is of no consequence…

  4. the birth of ambient music - history:

When Roxy Music keyboardist Brian Eno and King Crimson guitarist Robert Fripp first put together two Revox tape recorders in 1973, making it possible to build layer-upon-layer of sound, the result was a kind of music the likes of which had never been heard before. On the landmark recordings No Pussyfooting ('73) and Evening Star ('75) Fripp created a multitude of guitar loops over which he could then add improvisations, the result being something that was trance-inducing yet, at the same time, demanding of attention; music which could either stand at the forefront of the listener’s consciousness or become a kind of aural wallpaper, a backdrop which could ultimately become part of the listener’s overall environment.

Ultimately Fripp and Eno would diverge with this premise; Fripp, moving more and more into layers of sound he would first call Frippertronics and later Soundscapes; textures that could be used either on their own or as sonic backdrops for other more structured compositions. Eno, on the other hand, took the concept in a different direction, one that would, on one hand, appear more simplified while, on the other, actually have a foundation in concepts that would become increasingly complex. This direction was rooted in a circumstance where Eno, following a minor accident, found himself confined to bed rest with a rudimentary and not altogether-functioning stereo system playing a record of 18th Century harp music. The music, rather than dominating Eno’s consciousness, was more a part of the general ambience of the room; no more or less a part of the sounds that invaded Eno’s perception than drops of rain on a window pane. This experience gave Eno the idea which would ultimately become inarguably his most significant and enduring musical concept - Ambient Music; a style which would set the stage for many imitators in subsequent years but, with a purity of intent and execution, often copied but never imitated.
exerpt from: all about jazz
(Sorry for the extensive answer…) :P


  2. it’s not essential at all… but sure helps…

Good luck,