/prod/ - Music Production

Theory is less important in the creative pursuit of music and most important to communicate your ideas to other people.

sludgy i like

i would boost some of the mid-high freq in the vox and cut those same frequencies in the guitars to help the vocals cut thru more. sidechain the bass to the kick too

yo dawg i have no idea what any of that means but ill get on that homie

can you tell me why they are garbo

would you suggest I just just a full size keyboard?

yes for me at least 61 key or I would hate it

apply theory to practice but not performance. performance should be you channeling a feeling through muscle memory. practice is encoding the pallette of feelings you can channel into that muscle memory. if you're thinking while you perform you need to practice more

get the komplete kontrol m32 or a49

At what point do you transition from making covers to finally creating your own original work?

Attached: くぱぁ.jpg (634x630, 43K)

immediately

Immediately. Whenever. It doesn't matter.

I'd say do it gradually.
Maybe in the beginning start with 90% covers and 10% originals, and tilt the ratio as you get better, until your music is good and you're only making original stuff.

Also, what do you mean by covers? Like, playing them on an instrument or recreating them in a DAW with production and everything?

these Varien videos are lame as fuck y'all all suck

I disagree. you have to write dozens of songs before you start writing good songs. the more time and effort you put into it the quicker and better your return will be. writing original material is way harder than learning covers. if you try to transition out of covers gradually you WILL end up going back to covers, then you end up being the guy trying to shoehorn his shitty originals into a cover set

based and redpilled.

>Like, playing them on an instrument or recreating them in a DAW with production and everything?
Both.
I am afraid of this but I feel it is the easiest way to learn basics of the production side.

I’ve never made a cover of a song, only ever made my own songs. Granted I have limited knowledge on music theory, but I’ve noticed my skills improving very quickly just from having to figure everything out myself.

I agree that quantity is a requirement for quality, but I also think that internalizing the compositions of great music by copying them and memorizing them into your internal "library" is very helpful for developing your sense of music and an ear that tells you if something sounds good or not (since that ear would have been trained by the hours of work spent on covers).
It's the same reason why you can almost always tell when a producer can't play an instrument.
It's not the skill of physically playing the instrument that improves your musicianship, but it's the hours spent immersed in other people's great music.
If you just go in without studying the great music that's guaranteed good sounding, you'll develop your skills in an unpredictable way.
By setting the ratio of study/practice in a gradient you can have most of the study in the beginning when you need it the most and gradually reduce it as you need it less and less.

As discussed in the past threads, ALL the greats in ALL forms of art studied what came before them before working on their own stuff.

Yes, practicing a lot is good, but the practice of someone who knows what he's doing is a million times more effective than that of someone who doesn't.

>if you try to transition out of covers gradually you WILL end up going back to covers, then you end up being the guy trying to shoehorn his shitty originals into a cover set
Unless you simply decide not to?
How is this a problem?
When you see you're only doing covers, start working on originals.
How is this even a problem?
Do you not have free will?

Doesn't matter.
Watch them all anyway and pay attention.
Especially those about chords and melodies.
You absolutely need them (I'm assuming you're Demarcus).

Old Drums: clyp.it/fbdcehxh
New: clyp.it/ut1lkxec

I just started using a new drum library and i think it sounds great but I cant get it to sit right, any tips? for some reason it just sounds a little out of place/loud/etc.

I went from doing full remakes of songs in fl to doing remixes and then from there jumped into original songwriting once I knew my software well enough. In the remix phase you can enter a remix contest or two hosted by "influencers" and maybe win some shit. Thats how I got most of my premium vst library.

this site hosts a lot of remix contests
metapop.com/competitions?p=1&status=live&type=all

>In the remix phase you can enter a remix contest or two hosted by "influencers" and maybe win some shit. Thats how I got most of my premium vst library.
That's awesome. I'm aiming for rock and not electronic music though so I don't think there are any, uh, cover competitions in the future for me.

everyone already has an ear. everyone already absorbs things. only by writing can you practice sounding like yourself. I'm not saying never learn covers, I'm saying don't start by learning a shitload of covers then try to transition gradually because 1) you won't have a unique voice, your originals will sound like shittier versions of the songs you cover 2) writing good originals takes a lot of time and energy and is a wholly different process from learning covers, w covers there's no editing and 3) if you're used to the relative ease of learning covers then it makes the probability that you'll give up on the learning curve of writing originals higher.

wanna learn how songs work? play as a sideman in bands. wanna play covers? fine but don't pretend it's the same as writing. wanna write original music? the only way to do it is to do it. if writing songs is important to you that's what you should focus on.

1) Not if you cover a bunch of different styles to learn how the artists did things. After doing that you know have an easier access to that vocabulary of sound.
2) I completely agree with you.
3) I somewhat agree with you.
I'm not the guy you're replying to, but the one who started this...
To me, it's not just about writing but learning the whole process (including recording and mixing) and removing the writing part from the equation will allow focus on the production aspect.

limit yourself

>everyone already has an ear. everyone already absorbs things.
Yes, and you absorb a lot of shit that doesn't necessarily make for a good ear.
Engaging with great music makes you see it from the inside, making you internalize it much better than simply listening to it.
Especially since you can think attentively about the parts in isolation.

>only by writing can you practice sounding like yourself.
Yes, and you can do that after you've studied.
Did I say you should ONLY do covers?
No.
I just said they're helpful in the beginning to "kickstart" your skills, and then you can focus on grinding on writing original stuff.
It's not EITHER/OR. it's BOTH at their respective right time.

>you won't have a unique voice, your originals will sound like shittier versions of the songs you cover
Source: Your ass.
All the greatest musicians did this.
Who are the great unique musicians who didn't study other people's music?
This is how it works in all of art, not just music.

>writing good originals takes a lot of time and energy and is a wholly different process from learning covers, w covers there's no editing
Yes, and?
You do them for two different reasons.
I'm not saying you should do covers to get the same benefits you'd get from originals.
I'm saying do covers for the benefits of covers, and do the originals for the benefit of originals.

>if you're used to the relative ease of learning covers then it makes the probability that you'll give up on the learning curve of writing originals higher.
If you have such little work ethic you'll never make it anyway.
What kind of problem is "don't do something easy because you get used to it and become lazy"?
We're not all like Demarcus dude.

>wanna learn how songs work? play as a sideman in bands. wanna play covers? fine but don't pretend it's the same as writing
I explicitly said they're not.
Don't strawman me.

1/2

if you want to learn recording and mixing without writing originals do it for other people doing originals an extension of being a sideman. at least then you get a portfolio out of it and learn how to collaborate sonically.

re: 1) imo you are better served learning fundamentals of music (theory, ear training) bc it will allow you to mentally deconstruct songs as you hear them and give you a contextual framework within which to place the things about other music that influences you.

I remember a while back ago foo fighters did a cover competition and gave away a shitload of gear but I dont really remember where or how they hosted it. Im sure there must be some somewhere but either way it really helped my creativity because I wasnt starting from square one.

>wanna write original music? the only way to do it is to do it. if writing songs is important to you that's what you should focus on.
I'm not denying that you need to write.
I'm just saying it helps to ALSO do other things (such as studying great music, playing/composing covers, playing instruments, learning theory, etc) that directly or indirectly help you in your writing.

This mentality of "if you want to learn X, only do X" is completely retarded and nobody who's actually good at anything thinks like that.
People who paint originals don't just paint but also study past painters, copy a shitton of stuff, study anatomy, lighting, do hand exercises, etc.
People who box spend a ton of time jumping the rope, running, doing a shitton of other coordination exercises, etc.
People who write books also spend time reading other books and studying the language and writing techniques that others developed (lmao can you imagine a write who doesn't read other books?).
Researchers don't just research but also learn programming to do their tests more effectively and analyze the data.
Soldiers don't just spend all day shooting, but also do physical and mental training.
I can go on for days.

Just because something isn't exactly the activity you aim to do, doesn't mean it can't be extremely beneficial.

2/2

Once you have 2-3 covers down, you should be able to do your own

but yeah getting free cool stuff is also a really huge motivator

>clyp.it/ut1lkxec
try boosting the lows of the guitars? the guitar melodies sound really really good

Maybe, for some reason to me it just sounds like the first mix feels a little more together you know what I mean.

yeah that's a fair point I guess. I'm really just trying to caution against like putting too much time into covers early on

It's up to each person to decide.
Some people don't need covers at all and can make amazing music from day one, and some people need a decade of studying to stop making stupid mistakes that make music sound bad.
IMO a beginner should start with both study and pactice, and as they see how their original music turns out, they can increase or decrease the amount of study accordingly, but doing alone without studying prevents you from getting the important benefits of practicing while you know what you're doing.

>learning fundamentals of music (theory, ear training) bc it will allow you to mentally deconstruct songs as you hear them
Either I'm not that smart or the songs I'm trying to learn/make are too complicated for that real time analysis (I'm classically trained and had to take theory tests each year that included listening portions). I think part of learning covers is that it helps develop your ear (sorry, I forgot to specify that I'm not going to be using already made tabs/sheet music).

BUMP

I hate niggers

Shits trash my nigga

BASED
AND
REDPILLED

Daniel San said the same thing about Miyagi making him clean and paint shit, because he didn't understand the usefulness of it since he was too inexperienced to know any better, but by listening to the guy who did know better he ended up learning.

Right now your opinion doesn't matter. Just trust us and do what we tell you to do.

Hey guys what do you think about this jam?
It is very rough at this stage.
clyp.it/lp1mqty1

/prod/lets who spent 6 years doing covers and remakes eternally BTFO
If you wanna be successful listen to THIS guy and not everybody else projecting their failure and insecurities onto you

Nigga fuck you
Kill yourself

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Are you pretending to be a samefag or you actually are one?

pretty cool imho. Drums sound live, but that's maybe ok for you.
It's nice to hear bands here too!

Glad you like it!
What do you mean by drums sound live?

seething.

They don't sound professional, you can hear the reverb of the room they were recorded in. That might be ok though, also don't take my opinion too seriously

instaud.io/3sRH

is the long distorted note too loud?
also is the glass sample too much?

seriously though we need to gas all the nigger trap posters

desu I don't like trap producers here too. But I guess it's human nature to jump on bandwagons so there is hardly a way there won't be a genre which the majority here tries to replicate with shitty results. I've been guilty if that

I'm trying to export a dnb track that intentionally clips a lot. I'm using fl studio, and whenever I export it, the audio file doesn't play. Is there a way to get past this without limiting the master, defeating the purpose?

Why would that prevent the file from playing?
Also I'm assuming you already know about mastering with a clipper lol

This. Limitations force you to make decisions and think creatively. In time you’ll learn to relax. Also check out Effortless Mastery by Kenny Werner, there’s a lot of bullshit spiritual crap but ignore that and focus on the parts where he talks about creativity

I honestly have no idea. Whenever I export anything that clips, the file doesn't play. Either that, or it exports a 0 second audio file.

Ok so I finally got around to tweaking and fixing a few things
I don't know how to sidechain but I think I fixed the vocal issue

clyp.it/ssxqypnd

weird, put a clipper on the master, I know fruity has one

Any idea on how Dälek mix vocals? How to get that wide, distorted dreamy vocals without making them very hard to understand?

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Sounds ok, but the part where it does roughly the same thing for a minute and forty seconds is a bit too long, I've made whole pieces shorter than that.

Dank, almost to the point where I'd rock it in my car along with Buttery Biscuit Bass.

clyp.it/1zhiippy

>Guitar & Bass
>Mellow vibe, uptempo
>Writing the rest, but this is what's recorded

Anyone knows if there's a way to get my pedal MIDI data (?) directly into my computer/DAW without plugin it into my digital piano?

My digital piano is a PX150 and it makes my pedal act as an on/off switch because Casio wants you to buy their expensive as fuck three pedal unit. I'm not sure but some Amazon reviews on my pedal say it has continuous detection. Is there any way to circumvent this problem?

What kind of plug does your pedal have? If it's MIDI you should be able to just plug it into a midi/usb interface.

Is there anything like ducking in Garageband in Ableton? That is to say the ability to make all the other tracks quiet to better hear a particular track without actually changing the volumes?

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sidechain compression?

Automate the volume control.

It's the kind that looks like a 1/4" jack plug, sadly.

So far only idea I have is getting a smaller MIDI controller with a pedal jack that supports continuous detection and combine the midi data from keyboard2pedal with keyboard1keys, but is there any other way?

clyp.it/nhookrsx

any feedback would be appreciated thanks

>clyp.it/nhookrsx
more variation in the tone of the gunsots?

How do I extract all audio files in a .gig or .sfz sample file? I especially need the audio files contained in the .gig.

What would you call this?
drive.google.com/open?id=1BUe_Pyygm6mm18TAn-s_MGUUjKmJm4ne

I just tried my friend's sapphire 6i6 on my pc and I can't raise the latency beyond 20ms and that causes problems with our projects because they are very cpu intensive. Now I know that we should bounce to audio anyway but I never had this problem with my shitty lexicon alpha because I can raise the latency to obscene levels, is there a way to bypass this limitation on the sapphire? We both use ableton on windows 10

Industrial trap, duh
You're good but I'm thinking it's kind of all over the place... excessively "jumpy."
Just imo.

You can freeze shit...
For monitoring vocals and instruments? Is there no direct monitoring on the sapphire?

>clyp.it/nhookrsx

Cool, now add some actual notes

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freezing is mandatory I guess, we don't need to monitor instruments because everything is itb, I just find it weird that a crappy interface can give better performance in this case

If you know the bit depth and sample rate you could try opening them in an audio editor in raw format, there's a possibility the audio will be using standard PCM-encoding.

In Wavelab you'd change the filter to view all files in the File>Open dialog box, then you'd get a box prompting you to choose bit depth and sample rate when you select an unknown file type.

interesting

anything that doesn't involve porn or shitposting hurts my brain, how do i get my brain back lads?

quit watching porn

You're using the Focusrite ASIO driver/Mix Control panel to set buffer size then, yeah? If you're using that and getting no joy you could try ASIO4All and see if you get any better result.

that's it? cmon man there has to be something else

no but it would most likely help the jews use porn as a weapon against you

...sigh

clyp.it/ho5agg1w

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I need some new headphones since my DT 770s died a few days ago. I've heard some good and some not so good stuff about the AKG K702s, and some great stuff about the Sennheiser HD 58X. I'm also not sure whether to get open back ones or stick with closed back ones, since I'm very used to how the DT 770s sound.
Any AKG/Sennheiser users here who can share their experiences? Or maybe people who are familiar with both/all three? Other headphone recs are also very welcome, since I'm still very unsure about what to get...

the drum beat is hard tho

feelin lazy/unmotivated as fuck lads what do

stop masturbating

reminds me of cut hands

is it really
idk

Can we maybe put some better theory channels in the pastebin? All you have there is 12 Tone and Michael New. The former isn't even really pedagogical and most of the theory Michael New covers is very very basic and also involves a lot of things like naming conventions for chords which is not something you really need to worry about as a producer. Rick Beato, JjayBerthume, Alan Belkin, the list goes on. I'd be happy to provide that list in its entirety if someone agreed to change it.

nigga u dumb

incorrect

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(I made it)
Yeah name some channels
I was hesitant to add too much to what existed already out of concern that most anons will just completely ignore what's already there. Also I get that it's basic but most people who look at these resources need the basic stuff

can I get some feedback on this? what sort of music would you say it is?
drive.google.com/file/d/1L6coxNu1YmaRJrVfUC81iNH55npc4QUu/view

youtube.com/channel/UCUQ0TcIbY_VEk_KC406pRpg/playlists
youtube.com/user/pegzch/playlists
youtube.com/user/JJBerthume/playlists
youtube.com/watch?v=F8JJncSUdUU&list=PLReW5Mv77OKDMfbhJlOJHfA37id6t1BoL
youtube.com/user/artofcounterpoint
youtube.com/watch?v=vTQDo8_Oa_s
youtube.com/user/dtrane6/videos

That ought to cover it.

if you had a name and opinion/description of each that would be nice :)

bump

clyp.it/dsdejymp

Same drum pattern, but is this any better?

(for next op)

New to producing? Check the FAQ:
pastebin.com/B683ANRS

Still got questions? Please be specific with what you're trying to do, the better you explain the better people will be able to help you.

Post works in progress to instaud.io/ or clyp (which requires registration). Anything with your artist name should be posted in the soundcloud or bandcamp threads.

previously on /prod/:

>demarcus ignoring me again

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put notes between your chords my nigga

How? I'm sorry.

Okay.

u don't have to but it makes your stuff sound less basic IMO. up to you vro

I didn't mean to sound like I was dismissing you, that was an "Oh yeah that makes sense I'll try that out" okay.

I don't sing often, like at all. This was my first attempt at anything like this. Can I get some feedback/constructive criticism on this track?
instaud.io/3tbO

im looking for a cheap stereo battery powered mixer, I only really need 1/4 inch in/out but rca out would be nice.

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am i flat?
instaud.io/3tbX

if anybody told you yes you wouldn't believe them

enough with this meme, stop it

your pitch is off, yes

how much

a lot

Some parts are good some parts are pretty off. With this type of acoustic music I guess your vocals needs to be very precise. In any case, you sound like a better singer than myself.

Again please can anybody give me some constructive criticism on this it would be very appreciated...

instaud.io/3tbO

which parts are pretty off?
i think your vocals are ok

Look up mindfulness meditation.
It's basically gym for your mind and emotions, and it's extremely effective.

To see if you're singing in tune, record yourself singing while you listen to the instrumental on your headphones (so the recording ONLY has your voice in it) and load the file into Melodyne.
You can find it here:
audioz.download/

Otherwise just use a tuner VST if you want real time feedback.
Ircam Snail is the best I know of. Also available on AudioZ.

why do you make music?

sometimes sharp, sometimes spot-on, and mostly flat

for good feels, money and attention

because I enjoy it

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Any way I can make this better?

clyp.it/w22xkjda

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Thank you for this, dude. Most of the music theory I know I learned through musictheory.net, Wikipedia and Rick Beato. I honestly can't grasp most of his advanced videos, but found his 'everything a working musician must know' really helpful. Hopefully I'll find something more at an intermediate level and in a different format on this channels.

Why is trying to draw automation levels in FL Studio so terrible?

>Beato

>here's why this song's so great
>see here? they used an A
>now isn't that something
>and here? they used a B
>just fantastic
>join me next time when I say obvious shit about another song

Neat idea, but I think the vocals are a little too subdued. I have a really hard time hearing what you're saying, which is a nice effect for some of the track, but I'd like to know what's up at some point.
Also I think this would benefit from being sung as a duet with a female singer as well.

I use it as, like, a vehicle, you know? to, like, express myself. i just have all these ideas and feelings just bursting out of me, you know?

So that one day I may.

Attached: my spirit animal.webm (1118x838, 1.25M)

Money.
After I'm set up for life from selling out, I'll start making the music I'll like just for fun, but until then I'll just think about the money.

how tio have ideas and feelings?

just, like, be a totally pretentious asshat, you know?

Fuck dude you aurally blueballed me HARD.

yeah but how to focus that, I feel if I started tryna force it I'd just end up doing some Bono shit and writing gayass songs about aids and whales and africa.

Here's a quick list of the top song subjects to get you started

1. Girl, u so fine, girl
2. TIME EXISTS
3. WE LIVE IN A SOCIETY
4. ppl are mean 2 me sometimes :'(
5. depression lmao
6. drugs lmao
7. Dude partyhardy we yung lol

Holy shit I could be the next Chainsmokers.

oh my god you're right. i hate those whiny faggot hacks even more now.

Favorite free effects?

Fabfilter Bundle.

Attached: pirate.png (717x474, 24K)

on your next project forget fucking everything and just make a fat bassline, or a riff or anything that's a simple 1 instrument hook. that's it.
it sounds like you're trying to make an entire song before you have a foundation.
trying building around a hook instead of towards one.

Not demarcus but I don't get this

>trying building around a hook instead of towards one.

So just make a hook right off the bat?

Not him but yes.
Or perhaps make the hook later but whatever you do before has to be made with the hook in mind.

This applies to genres where the hook/drop is the most important part of the song. In genres where it's not, ignore this "rule".

is the arturia cmi v even a good sampler?

I know it's purposely dated for nostalgic reason but this library it comes with is just straight trash

clyp.it/zecue5b2

I don't even fucking care anymore I'm gonna eat a pear and commit suicide

huh.

Attached: 2wqans.jpg (1000x982, 269K)

much better than the last one
this could actually work as a rap beat
is that what you're going for? your music doesn't quite stand on its own but it could work as a rap beat

Demarcus have you watched the Varien videos?
Are you this guy [ ]?

Stand by for "sigh".

>is that what you're going for? your music doesn't quite stand on its own but it could work as a rap beat
Everything I make is supposed to be a rap beat.

I watched like one and a half and yeah that was me. I really am never gonna make it.

The frist videos are boring because they have to go through the basics, but it gets more interesting later on.
Please force yourself to watch them.

To my ear, not saying much, your pitch wavers during parts where you sustain a single note and it's definitely not vibrato. You can carry a song for sure.

It feels like they'd all be kind of redundant. I skimmed through the Intervals, Chords, and Chord Progression videos. Nothing new or valuable. The note lengths video... okay? Then I started the song structure one, I might've fell asleep while watching it, but isn't song structure dependent on the genre and general feeling of a song? There's intro, verse, chorus, prechorus, bridge and outro and you can pick and choose if they're present or not and where they would go. The Melody, Basic Harmony, and Buildups videos might be helpful but I got a feeling it's just gonna be the same basic shit. And then the rest of it is just breakdowns for songs I don't care about.

And he does everything with a keyboard so it's not like I'm getting a helpful visual either. In the three videos I watched he was just playing within a VST when I do everything by clicking into the piano roll.

Of course it's all basic stuff, bust since you suk at doing that and you keep making those basic mistakes, you need to get good at the basics.
Do you really expect us to give you advanced tutorials when you can barely grasp the foundations?

Skimming through them is not the same as watching them, and I guarantee you that you'll have a more solid grasp on the topics, even if you think you already know them.

He has a keyboard visible on the Kontakt plugin so you can see what he's doing.
It's not hard to mentally translate that to the piano roll.

If you watch them I'll give you another channel that teaches more advanced stuff in the piano roll, but please start by watching those.

Also, did you read this?
rbt.asia/mu/thread/86058616/#86059944

>bust since you suk at doing that and you keep making those basic mistakes, you need to get good at the basics.
>Do you really expect us to give you advanced tutorials when you can barely grasp the foundations?
Do you really expect me to listen to you when you say shit like this to me?
>It's not hard to mentally translate that to the piano roll.
Lol.

Dude I've been helping you more than anyone else here.
I've spent maybe 10 total hours constantly giving you advice despite you never listening and responding rudely almost every time.
I'm not insulting you. It's just the truth. The guy who said your music sounds like music made by someone who's tone deaf is right. You're not good yet. You need to accept this fact before you can improve.
Don't get offended at shit like this. It's all in your own interest.

Do you think I (or we) enjoy trying to make you improve?
Do you think all this time that we spend on you instead of on literally anything else is fun for us?
No. It's frustrating and very tiresome, but we do it for you.

I'm not even asking you to be grateful.
I'm just asking you to listen to us instead of getting offended when we judge your music for what it is and refusing to accept help, because that only hurts you, not us.

Actually, I'm sure I've spent 10+ hours helping you in the past couple of months alone.

clyp.it/5w0gz52r

hi /prod/

made this over the weekend. pretty sparse but i'm happy with it. i like how the mastering on the vocals came out.

I wouldn't be offended if it weren't condescending. Being told vaguely that I don't do anything right or that I'm tone deaf isn't my idea of help or constructive criticism.

production is good but the song itself is super gay

learn to rap

>Being told vaguely that I don't do anything right or that I'm tone deaf isn't my idea of help or constructive criticism.
ESPECIALLY with music being as subjective as it is. I don't like a lot of the stuff I make but being told that there's objective problems when there's no objective rules to music is something I can't take seriously.

it's all supposed to be intentionally very saccharine and a bit vapid, a pastiche of stupid pop music but in a sort of sincere way. anyways thanks.

what do you mean
why

you make rap beats without any rapping in them
do you not see the problem here?

I don't want to rap over the type of stuff I make.

then why are you making it?

Sorry if it was offensive. I didn't mean to be rude, but English isn't my first language and I don't know how else to say it.
Take the information you get for its value, because if you get offended at HOW the information is given (especially here on Yea Forums where everyone is an asshole by default) you just end up disregarding a significant portion of the help you receive.

>Being told vaguely that I don't do anything right or that I'm tone deaf isn't my idea of help or constructive criticism.
You don't have so much help that you can afford to pick and choose how you get helped. Be grateful we're helping you at all, because if you dismiss us you'll end up with very little help (and you already don't get a lot of it).

Music is NOT 100% subjective.
There is good sounding music and there is bad sounding music.
You do make stylistic choices that I don't agree with, but I ignore those because the disagreement pertains our difference in taste, therefore I'm not talking about those.
I'm specifically talking about those mistakes/decisions that all musicians will agree soound bad because they do.
Particularly things outlined in this post:
rbt.asia/mu/thread/86058616/#86059944

>there's no objective rules to music
No, but there are guidelines to follow in order to sound good, and you're going way out of those guidelines, which is why I'm constantly telling you to master the basics because your music sounds like that of a very new beginner, and if you need to sound like a good/pro musician you need to start following those conventions.

Don't start dismissing people telling you your music is bad as "opinions", because it's complete bullshit.
If you go to music school thay're not gonna tell you that your music is good no matter what and that it's all subjective lmao, that's ridiculous.

good sjit user, i can barely type from laughing

The drumbeat is fine but the rest of the song is garbage. Playing out of key for "artistic expression" makes you look like a fuckwad and makes my ears bleed. It sounds like circus music too, like early ICP stuff. Fuck sake, man.

do you need it to be spelled out for you?

rotate the keyboard 90 degrees counterclockwise and when a note is pressed imagine it being drawn on a grid of note vs time

we all do so much to try to help you. if you don’t want to help yourself, there’s not much anyone can do for you

This.
Also, you just need to learn the distance between the key, and that applies to the piano exactly like it does to the piano roll.
It literally makes no difference unless you're trying to memorize how it looks, which isn't helpful at all even if you're watching a piano roll video.

any of yall know the definition of integrity? is anyone who posts in here spiritually sincere or have they all been driven away?

anyways i just got of my ass and figured out ducking, what parameters should i duck, eqs/reverb/volume are all really fun but i want to experiment more

what do you mean? as in are there any non sellouts who make music they personally enjoy?

Because trap is easy and also "for money", but nobody wants to buy my shit.
I also have no idea how to actually make the type of stuff I want to rap over.

>but English isn't my first language and I don't know how else to say it.
See that would be a valid excuse if you didn't say shit like
>Be grateful we're helping you at all, because if you dismiss us you'll end up with very little help (and you already don't get a lot of it).
Your grasp on English is too good, I don't believe your not being a dick on purpose.
>No, but there are guidelines to follow in order to sound good, and you're going way out of those guidelines, which is why I'm constantly telling you to master the basics
How am I going way out of those guidelines? What basics do I need to master and how? Can you be more specific in what I'm doing wrong because watching 30 videos of random assholes explaining what chords are isn't fucking helpful, I know what a fucking chord is. Stop linking me shit for fucking preschoolers by people who don't explain anything.
>rbt.asia/mu/thread/86058616/#86059944
Explains more than any video I've been linked to in the past 9 months.

I never even realized that visually the piano roll was just the piano turned sideways.

>you just need to learn the distance between the key,
What do you mean?
>It literally makes no difference unless you're trying to memorize how it looks, which isn't helpful at all even if you're watching a piano roll video.
People learn things differently from one another, don't be a bitch.

If it makes you feel any better, I didn't try.
>Playing out of key for "artistic expression"
I just thought it sounded better. O f course it sounded betterer before I added the chords and other melodies though.

>Because trap is easy and also "for money"
>nobody wants to buy my shit
because you and every other asshole is doing the exact same thing
the market is oversaturated with shitty trap
focus on what you want to make or throw in the towel

>Your grasp on English is too good, I don't believe your not being a dick on purpose.
that's... not very complex dude.
i'm an esl too and that's pretty easy stuff for anyone who's studied the language

By distance between key they mean intervals I would imagine. An example would be a jump of 7 notes / semitones. That would be a perfect fifth. Think: Superman theme or Star Wars theme This sort of thing. Once you get an ear for the various intervals, you can use them as your sort of 'vocabulary' when writing melodies. Up a fourth here, down a fifth, up a second. Etc.

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I didn't mean to be so harsh. Just keep practicing and watching "how to's" until you get where you want to be.

>because you and every other asshole is doing the exact same thing
>the market is oversaturated with shitty trap
Yeah I know which is why I don't put much effort into posting my stuff and making beats anymore
>focus on what you want to make or throw in the towel
I'm trying to but I
1. Don't know what I want to make
2. Don't know how to make it
I don't have consistent feelings or ideas so in the span of a week I'll go from "I want to make something like SOPHIE" to "I want to make music like Grimes" then KKB, Talking Heads, Tyler the Creator, Earl Sweatshirt, Pharell, MF Doom, Kanye, Akiko Yano, etc. It's hard to pinpoint a specific sound to go for and how to implement those influences.

You weren't harsh it's okay.

Oh. It's the distance between notes vertically and not horizontally. I watched that Varien video on intervals the other day and I was like "what the fuck is he talking about everybody knows how many notes to go over when making chords" but intervals would be more like the distance between the chords, right? Not that they need to be chords. But just like how far one note is from the other.
>Superman theme or Star Wars theme
I'm blanking for some reason I can only think of Indiana Jones and Harry Potter themes. John fucking Williams man

same thing tho yea? vertical, horizontal , same information. Black Keys, White Keys, Piano roll, keyboard.

what on god’s earth did you think the piano roll was

yeah thats true
there's a song I'm thinking of specifically of an example of intervals I wnated to link to make sure I get it but I can't remember if it's by Marina & The Diamonds or Charli XCX... or neither
but it's basically used to describe the drop or rise between the notes, right? and it could be gradual or sudden and sharp?

a piano roll

Its just a way to describe the distance between the notes, numerically. Certain intervals have a certain sound to them that is recognizable. So you can break a chord down into a this or that intervals combined as well. Like a minor second, literally two notes being hit next to eachother on the keyboard or piano roll (Think: JAWS). Sounds dissonant and spooky. Major Second- Think "Happy Birthday". A perfect 4th - Think "Harry Potter" that part with the horns"- o A jump of a perfect 5th is something you hear in a lot of epic music, its a big ass leap in distance.
Certain jumps by certain note distances will also sort of outline what chords you might end up using, based on what sounds good.

earmaster.com/products/free-tools/interval-song-chart-generator.html

Just pinpoint the one thing that makes you like each artist, is it the sounds they're using in particular. If so, learn sound design. Is it the percussion samples? Is it the drum pattern? The arrangement? What is that you like from those artists?

Also, you should watch the "laerning music with ray" series on youtube. I didn't know any of this shit either, and he takes it slow and explains stuff well. The video on intervals is required viewing before the other shit.

youtube.com/watch?v=tqzklxiPgeg

Cool. Thank you. I see how that could be helpful.

What if it's all of it? Or most of it? Again, I find it really hard to pinpoint. With Tyler and Kanye the sound is definitely a part of it, but also because of their personality and I find it relatable. I think someone told me that both Tyler and stuff by The Beach Boys uses a lot of 7th chords so that was kind of useful but I'm generally not sure. I don't want to sound like a faggot but I seem to listen to a pretty wide range of stuff.

Thanks.

There is nothing wrong with learning by emulating your favorite artists. Its a natural way to learn.

There's just a lot to emulate and I don't know how to. If I had to try to narrow things down at the moment I'd probably say I'm thinking of the sound design of SOPHIE and Kero Kero Bonito, with drums like Pharrell/MF DOOM, and melodies/flow like Kero Kero Bonito and like, Kate Bush? Maybe. I've been listening to this song a lot recently.

youtube.com/watch?v=oRhZdDyKWeE

Can someone redpill me on modular? Part of me wants to drop a few thousand dollars on a filling a eurorack. But at the same time I've watched a ton of videos over the years of some modular improvs and nothing is really convincing, cheesy sequence jams, subpar drones and unintresting sound sources is all I'm coming across. I'm sure the patching is fun and all but is modular capable of incorporating in music that can stand the test in time or am I better off getting a Moog

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>Your grasp on English is too good, I don't believe your not being a dick on purpose.
My English is decent yes (I literally started learning it in school before you were even born), but I learned it on the Internet so I have a hard time knowing how my choice of words is going to be understood by someone else, so my tone can some times be slightly different than what I intend to have.
In this particular case I'm trying to be "strict" and "blunt" but you took it as me being condescending.
Native speakers don't have this problem because they grow up absorbing cues subconsciously and associating the context and vocal intonation of the speaker with the words being used, so they have an easier time choosing the right way of articulating the concept for the situation.
For people who learn a language without actually immersing themselves in a place with native speakers this problem is very common.

>I don't believe your not being a dick on purpose
Do you honestly think I'm spending hours upon hours helping you every day, just so I can sneak some "you're a beginner and your music isn't good yet" once in a while?

>How am I going way out of those guidelines? What basics do I need to master and how?
I told you the other day when I linked you the rbt.asia post for the first time. In short, music is supposed to evoke some kind of emotion or feeling/vibe. yours often doesn't do that and it just sounds like a sequence of chords and melodies.
I'm trying to help you overcoming this problem by approaching it from the basics (and I specifically told you I'll give you increasingly advanced videos as you complete the ones I'm giving you) but you don't trust me and just dismiss them.
Don't be like Daniel San. Just listen to me and go through the basic tutorials I gave you. Without the song breakdowns and the "FL Studio basics" video they only go for about 2 hours.

1/2

>Explains more than any video I've been linked to in the past 9 months.
Thanks.
Maybe if you stopped dismissing my advice for one of a number of reasons, I could get to teach you some more advanced and useful stuff like that, but until you have a good grasp on the basics you won't get much use of anything we can give you.

>I never even realized that visually the piano roll was just the piano turned sideways.
Are you serious?

>People learn things differently from one another, don't be a bitch.
Unless you have eidetic memory (which you don't), you're not gonna memorize things that way not even if you try your hardest.
And even if you have a preference of learning method, you shouldn't dismiss other resources because they're not your favourite method, because they can still be very useful.

>don't be a bitch.
That's not very nice.

2/2

Hello?
Yes it is me, Mr. Silversteinmanberg

I've come to steal all your music

Shoo, Jew! Shoo!

What's a mixtape exactly?
Is it like an album, but not important to be called an actual album?

I would only do this If you are already very competent with soft synths, and know them inside and out. To the point where modular represents some horizon that you have not quite conquered. Not because its particularly hard- its the same concepts that you will learn in soft synths- but because there are thousands of motherfuckers that just end up dumping all their money into a blip bloop system to no end. Stick your foot in the door with VCV rack and Reaktor Blocks in the short term and see how much you enjoy it. If you want an intermediate halfway point, look at bazille.

A large collection of drum samples from different eras, primarily drum machine type sounds, coupled with a decent synth or two on which to design samples (a good subtractive synth- and potentially an FM synth if you enjoy the 80s aesthetic- listen to DX7 demos and compare with NI FM8), and perhaps a good piano or other real instrument sampler libraries is all you need to get this sort of sound. That, and the asian on vocals.

For MF Doom: Become a sampled break fanatic. Do you enjoy ripping samples of drums and instrumental stabs from 60s and 70s funk, soul records? Its not too late to start. Sample them, chop them, re-arrange them towards this sound.

SOPHIE: The most sound design-centric of all the artists you mentioned. You will absolutely have to achieve a degree of effects, processing and a familiarity with synthesis, filtering, samplers in general.

Kate Bush: Only listened to 30s of a few songs, was unfamiliar. Similar requirement of drum machine single hit samples as the first one i mentioned. SYNTHS. Shitty 80s synths, potentially? Think: 80s style Synths strings preset from whatever the fuck, DX7 patches, blah blah. If you knew synthesis, you could replicate these sounds. You can do all that with software. One of the songs I heard had a lot of violins and such. Your best bet for delivering this sort of instrumentation short of literally hiring an orchestra or playing these instruments is to look into sophisticated kontakt (a advanced sampler) libraries. It currently has the monopoly on sophisticated orchestral instruments, pianos etc.

Pharrell: Similar trajectory with regard to the drum machine samples, but more likely to blend them with recorded drum kits. Short of doing that, you can get the sound of a real recorded drum kit that you can mix yourself in software such as superior drummer or BFD 3. Aforementioned KONTAKT will come in handy for the instruments, as he sounds bigger on playing instruments than he is on sampling.

Anyone know where I can find acapellas?

Acapellas4u is a broken mess that has a download limit and there's no preview either, so not there.

remixpacks.ru/

Good suggestion but I was thinking something more with older acapellas that aren't remix competitions for newer songs

This isn't just for remix competitions.
There are plenty of older songs too, but I think this site only has real stems, while other sites also have bootleg inverted/extracted acapellas (which can be anything from amazing to unusable garbage), so on remixpacks.ru you'll find a smaller selection, but the songs that are present tend to be of a pretty high quality.

Part of me has wanted to drop thousands of dollars on modulars for a long time, but another (thankfully larger) part of me also just wants to save the money and just continue to make music for free.

I read that as "I just got my ass fingered and figured out ducking" lol.
Anyway you could try "ducking" filters, pitch shifters, freq shifters, use the SC signal as a positive value for delays or distortions, really anything.

>steal
How about we make a deal?
70/30, yours the larger of course as I'd be helplessly out of my depth navigating the music business on my own.

I don't know if there are any featured specifically defining an "official" mixtape.
From the heritage of the term I'd expect it to be an EP length compilation from either two or more different artists or albums, but I think it's used pretty informally to just mean EP these days.
If you're trying to make one go for nerd points and limit your total time to the length of a tape cassette.

Aren't most mixtapes nowadays as long as a full album?
I don't think length has anything to do with it (at least in recent times).

Like I said, I dunno man.
I guess it could just be a cooler more "urban", "underground" sounding stand in for LP.

That's what it seems to me.

This is the most bland, boring, outstandingly unmusical and weird piece of music I've had the pain of sitting through, yet still not weird enough to have a weird vibe on its own. It's beyond muzak. It's hopeless. It sounds like a bunch of digital niggers went out on the digital streets and started rhythmically kicking grape soda cans around the hood. Please delete this.

instaud.io/3tid?fbclid=IwAR09ECpafMU9VoJKlAcMAeKP0Vkrjux0XOs0JB5MNkpmX7L1KQYROYiVg2I

is this shit any good
>emo trap
>peep copycat

I'm just getting into production. I'm gonna be the Best producer. Like George Martin and Nigel Godrich. Don't worry, bros, I'll still browse Yea Forums when I get successful every now and then. Don't worry.

Curses upon the user that wants to bring Demarcus off the path of dungeon synth. He will never make it in the trap scene but in dungeon synth he might actually have a chance.

This behavior pattern exists within literally all creative mediums. It's actually fascinating. Music artists, 2D artists, 3D artists, aspiring filmmakers, aspiring bookwriters, even shit like tailors and bookbinders.

In every single one there's people who get too bogged down with the theory aspect of things (overthinking) that they forget how to be creative and intuitive. Then it wears them down because in their minds they make themselves out to be the next big prodigy, and all they can think about is that they're not living up to that ideal. Wish I had a solution to this bullshit.

You need to relearn how to just play. i listened to some music that reminded me music is about the feeling first and foremost. Two chords, ten chords, whatever it takes to achieve the feeling you want. I was really hung up on the fact that I used the same intervals every time when I was in, say, minor. Then I was studying other songwriters and realized they do those same things all the time and rarely DONT use them. Then I realized you can spice up chord progressions by just going to different keys and fucking around there and coming back. Then I remembered you don't have to start on the root. Then I remembered I could put my hand wherever I felt like. Then I remembered there's songs I like with like 2 chords. Then I remembered that EVERYONE uses the same intervals, it's just everything is extremely dependent on PRESENTATION, TIMBRE, AND AESTHETIC. That's why some songs are cheesy and others are great. Most of the time anyway. It's just about feeling, mostly. If you can add a little theory in there too you take it to new heights and can really make some exquisite stuff.

I don't know if this is anyone's area of expertise here but what would be the best (most musically accurate way) to execute a glissandi in Ableton? Should I actually move the notes around or should I automate the tempo or a combination of the two? Thanks.

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>implying that's all he does

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Don Beato sends his regards

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> automating tempo for gliss
wat

do you mean a discrete gliss where each of the individual notes between the source and target notes are struck, or a continuous portamento, where there's a smooth glide between source and target? in the first case, your best bet is just plugging the intermediate notes in by hand and fussing with articulation to get the desired effect. in the second case, it's largely dependent on the instrument being used, and its internal parameters. (e.g., if it's a mono synth, it's extremely simple. if it's a sampled sound being used as a mono instrument in Sampler/Simpler, also easy. if it's a poly instrument, then it becomes more difficult, but still possible. one option in that case might be to just duplicate it to a new track and make that track mono.)

I mean how its typically done in romantic music interpretation where they take the first couple notes slower and then pick up speed. Also there is a LOT of automation in classical midi. Go import a chopin piece or something into your DAW. Its actually pretty intimidating.

I totally believe there's a lot of automation in MIDI interpretations of classical pieces. If it's a solo piece, then I can see using tempo automation to achieve your desired effect, but in the more general case where, e.g., you want a single player in an ensemble to execute a gliss, automating the tempo will basically have the effect of a short global rubato, which I don't think is what you're after.

>One of the Ableton presets is called Cheap Electronic Piano
>Ableton knows the presets are shite

Fuckin' Jews

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I don't think I've ever used a single Ableton preset in my life. For that matter I don't think I've ever used any preset in my life.

I decided to grab a random midi piece and look at the tempo automation. How the fuck does anyone even figure this shit out?

Attached: Jesus_Fuckin_Christ.png (1145x342, 42K)

you use a cc controller sync'd to the tempo ranges and record it in real time like a conductor would. and if you're transcribing the piece off of actual sheet music you'll have tempo indications on the score itself so it's just following the composer's directions.
this is basic classical programming 101. that automation clip is not done by hand ffs

I think there's probably a selection bias in that the sort of people who would notate a classical piece in MIDI also happen to be the sort of people who have intense autism.

soundcloud.com/user-693834663/urban-chirp

Can I get some feedback?

A modular is the most versatile electronic instrument available. With the right circuits and proper patching, nearly any electronic sound can be made, save for the most expensive in terms of logistics and cost, such as anything to do with playing chords. If you want your modular to sound like a classic Moog, for example, then all you would need is a couple of sawtooth-core VCOs, a CP3-inspired mixer for pre and post filter saturation/overdrive/feedback, and a Moog ladder filter, all hopefully through-hole designs like the originals. The same pattern applies to any other sound you might want to create. The sky is the limit. Important to keep in mind that many eurorack enthusiasts couldn't care less about achieving a vintage tone, hence the predominance of digital sound sources, which highly color the overall sound you often hear in these demos.

>clyp.it/ioah1nf0
like it but found it a bit repetitive. is that your voice or a sample?

> all hopefully through-hole designs like the originals

I love modulars, but this post is pure fucking comedic gold. Great job user.

>clyp.it/2ccgbc2b
good shit user and I don't even like any rap

I did say hopefully. About most things, I don't think there's a huge audible difference between SMT and through-hole circuits, but if you're laying out that much cash for something, might as well get the real deal.

>bday a few months ago
>mummy would have brought me a roland sh-101 boutique that was onsale
>sister decides to have a panic attack and reees at everyone
>no sh-101 for me
>she constantly tries to give me advice for me songs/beats like i care about her opinion now

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I seriously believed that your post was a 10/10 bait pointing out some of the absurdities that modular fans believe in and use to justify an otherwise pretty ridiculous hobby. I guess you were being serious.

>most versatile electronic instrument available
>reaktor
>serum
>software in general
Fuckin lol

That's what I thought too because of ^^^
I don't give a fuck that people like using hardware because it looks fun but don't bullshit everybody that it's because it's the only route to some secret sound or some shit

No, I was being completely serious. And yes, they are ridiculous for some, but for others, they can be great instruments/tools.

>but don't bullshit everybody that it's because it's the only route to some secret sound or some shit
I wasn't attempting to bullshit anyone. I was only pointing out to that original poster that a modular doesn't have an inherent sound and can sound like almost anything, and that's also part of its appeal.

I'm not saying they're not great instruments or tools. They're great instruments/tools for literally anybody, I don't think there's any denying that. The ridiculousness comes from the incredible evangelization and dogma that comes from some modular people in order to justify their hobby sometimes, and their subsequent failure to realize that they're evangelizing and being dogmatic.

You've never tweaked one?

Your right, you can't do this without being able to play. I figured it out. You turn 'warp' off and then you automate until the notes land on the beats indicated by the score. Fuck my life.

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Nah, maybe for shits or for learning a new form of synthesis (relied on it a lot when I got my DX7), but never on anything I've actually released. I typically have a particular sound in mind when I'm writing, and after patching synths for years and years, finding that sound typically comes pretty naturally. Presets will never capture those particular sounds for me. Also I think it's more fun to patch synths yourself.

I play piano and guitar and I'm going to be getting a synth soon for screwing around (I do not want to use a software synth).

First question is what skill level I should get to in my instruments before looking into production. Second question is about non-computer production workflows, any cheap options if I know how to solder? I know tape is expensive so I'd like to avoid that.

how do I get out of loop-rut?

I'm proficient in multiple instruments, daws, and ok w/ sound design, but everything I make is just a loop, I can't figure out what to do to create a song around it.

Maybe I need to study composition or something

how did you learn? by experimenting? reading books?

bruh don't make this harder than you have to. the score indicates the basic "piano roll" notes - an eighth note is still an eighth note, bar 19 is still bar 19, etc. When you plug those notes in you'll have a very shit sounding boring af piece that is missing the crucial part of the transcription - the performance.
so you have to listen to some actual trained players playing pieces like what you're doing before you can get a feel for how you should interpret the composer's markings. then you simply practice conducting the piece with your cc knob or whatever and then record the automation in a couple of takes as the track plays back.
ableton makes this super simple.
it's also common practice to do this stuff now live, btw, with programs like Notion taking a lot of gigs from players in musicals/theaters since the conductor can just 'conduct' synthesizers like that to keep them lined up with the stage performers

any tutorials on learning this?

reference tracks

Experimenting for a long time, generally. An intuitive understanding (no need for anything super technical really) of signal processing and the relationship between time and frequency domains is very useful when trying to grok synthesis. Reading is helpful for basic, general understanding, and in some cases, such as with FM synthesis, absolutely mandatory. In general though, once you understand how a regime of synthesis "works" at a systems level, the only way to make writing patches feel natural and come easily is by developing an intuition. The only way to do that is by fucking around and making a lot of patches.

how y'all feela bout dis:
>bytenoise.co.uk/Electronomicon

Particularly:
>Each band or alias you create should be about one particular topic or philosophy. For examples, see Devo (commenting on the regression of American society), Kraftwerk (both celebrating and warning about modern technology), and Marilyn Manson (acting as a scapegoat for the media). Note that these bands don't merely comment upon, but actually personify the issues they raise. The topic you settle upon should be unfulfilled by other contemporary bands (although it's fine if historical ones had previously covered it). Find your niche, your purpose. Your band will become synonymous with this topic, and even symbolise it. The idea is even more important than the music, to a certain extent. Your songs, in particular the emotions they conjure, their lyrics, their instrumentation, and their general style, are the medium through which your ideas are expressed in a form that people can identify with and rally behind. Your theme is also expressed in your general presentation and showmanship, including live performances, videos, cover artwork, liner notes, interviews and press releases.

I think you can extend the same line of reasoning to bands without vocals, like Boards of Canada focusing primarily on one emotion - nostalgia for something you can't quite define and never really experienced either.

Personally, I tend to agree. I think separate aliases should exist for separate genres, messages and/or emotions.

not really. learning to play a classical instrument is probably the most helpful as this is a 'feel it out' kind of thing. even if you use a reference track, you're just mimicking the performer's interpretation, not using your own.

if you don't want to put in that kind of time look up a dictionary of musical terms or just google each expression/tempo marking that you don't know to find a rough guide of the bpm and what it sounds like it, then go from there.

example: passage marked "presto con fuoco"
direct translation: very fast, in a fiery manner
presto tempo ranges- usually 160s–200 bpm
a 'fiery manner' - probably a little more weighted on downbeats, possibly rushing the end of phrases, playing a little less "cleanly" you know. fiery.

so you play with the tempo there around 160-200 to see what you like, and then program/adjust notes to give it the 'fiery' impact. this is 100% taste and after a lot of playing it comes more naturally. hence... no real tutorials. good luck

Have no idea what the fuck this is. I ended up watching a youtube poop for whatever reason and there was a part that looped that seemed exploitable for a song.

instaud.io/private/eb48c8b4dddb6be7f0d987b8e4d13c2e3bc020cb

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Well I have a good grounding in the theory and I know the Italian but I can't play anything. I'm all thumbs on the keyboard.

What synth(?) would I use to start trying to make rubber sounds?

>2019
>buying a synth

thats pretty much what i was going for thanks

can you make good music without music theory
asking for a friend

Yes, you just need a good ear. But that will take some time to develop as well. There is no getting around doing boring stuff if you want to make good music. Why should there be?

clyp.it/u42h5gb0
r8

Depends on the type of music

If you want more strongly melodic and long songs, then yeah

but if you want to go for something that focuses more on feel than melody, then you should try just the basics, really

sounds pretty flat (the mix, not the notes). The vocals are nonsense and there's way too much reverb and distortion on them.

Hey, so how are you guys getting clients now that rock music has kind of been dying? This is my first time posting in this thread and it's making me wonder how everyone else's roadmap is looking. Unless you guys are all bedroom LARPers or something, I would appreciate some advice on the matter as it's growing apparent that the game will soon be up if I can't think fast. I would try and fuck with rappers but they don't wanna pay real money for anyone's time.

> producers only produce music for other people

youre in the wrong place

how indispensable it is to have monitors when mixing?

start producing rap even if you don’t care about it

>what VST would I use to start trying to make rubber sounds?

ftfy

I'm LARPing as a bedroom producer LARPer

bumping this to ask how you guys found, and honed in on, your particular sound and content. I assume most of you listen to many genres outside of what you produce, and are (at least hypothetically) able to create music different from what your typical creations categorically fall under.

Why doesn't anyone in /prod/ listen to other people's music?

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i tried to copy new order and the smiths with some red hot chili peppers and faith no more thrown in

my sound is like melodic chip tunes mixed in with 80s synth pop like falco and a bit of the cure?

i struggle the most with adding vocals to my songs and not making it weird and when im trying to add lyrics to anything i usually just draw a blank and freeze up which is lame because some of my stuff is very depeshe

This is literally my first time coming to this thread

work in corporate/library music. one of the only avenues that still pays decent upfront. though that's dwindling, and the market is over saturated as well. you better be damn good, extremely fast to write, and almost always on call

>why doesn't anyone in /prod/ listen to MY music

ftfy

but I am a bedroom producer I don't have to LARP as one

how come prod isn't as good as /agdg/?

i've gotten some legit bad advice here like people telling me making a sample pack is a bad ideal

what's /agdg/ anyway?

Yea Forums's amateur game dev board on /vg/

Sure but that is based on how many listens I get on instaud.io and that number indicates to me that people generally aren't bothering to listen to stuff posted in the threads. And I do my part and listen to any of the music I find in the thread myself, so I'm not contributing to this problem.

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okay then what vst?

uh.. making a sample pack is in fact a terrible idea unless you're actually good at sound design and have no use for custom samples cause you make shit music

no one needs another layered 808 sample pack with accompanying serum presets

i got some legit rare synths like a suzuki keyman

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>found what emotions appeal to me the most (or "hit" me in art
>found what interests me in production
>crossed with what i'm actually good at in production

basically i'm at industrial/sound-design-focused hip-hop. it's not really hip-hop though I just like calling it that. also idm/ambient. I make rock and trap and more sound track stuff too but i'm terrible at it lol

so make music with them and don't give away your sounds unless you just don't care. a big part of getting people to listen to you nowadays is having /prod/ retards wonder how you made that track

>rock music

>a pastiche of stupid pop music but in a sort of sincere way.

I bet yuou read david foster wlallace, you redditor Adam Collier-Beato motherfucker.

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I don't know. I don't even know what a "rubber" sound is. I'm just trying to steer people from actually buying expensive equipment. Deploying preemptive image reply.

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>I'm just trying to steer people from actually buying expensive equipment

i'm all for that too but you're being a proactive dick in this instance.

never read him. sorry if you don't like my music

>one particular topic or philosophy
>basing all your art around that
Gay. It's also putting the cart before the horse. You're just supposed to make shit. Not come out the gates with an "art project" unless you have extraordinary vision. It's more of a brand than a philosophy with stuff like Marilyn Manson. In fact most of music is based on it. I find the "philosophy" or "brand" limiting. But I also I haven't released any music commercially, so go figure.

>bumping this to ask how you guys found, and honed in on, your particular sound and content. I assume most of you listen to many genres outside of what you produce, and are (at least hypothetically) able to create music different from what your typical creations categorically fall under.
I have found multiple sounds and an overarching sound for all of my stuff for the most part based on the way I like to mix things. the first was the vision I had in my head for beats. I achieved it. The second was more like mining. Throwing stuff at the wall. experimenting with different combos of aesthetics and sounds.

>I don't even know what a "rubber" sound is
Every time I read this I laugh so hard I can't breathe lmao

Just going to wait till someone does a new thread before I blow my load

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>basing all your art around that
no, just putting different stuff under a different alias, retard

>putting the cart before the horse
While an immature musician, yes, but at the point of nearly going professional I think it's excellent advice. All the best bands or artist have a very distinct sound or message. If Boards of Canada started dropping rap albums it would dilute the image they have, as an example. If Zepplin released some shoegaze, that would be the end. But if Boards of Canada or Zepplin started a side project under a different alias, the same harm is not done.

is it just a made up sound to meme about or something? I don't get it

NEW THREAD

mfw i myself started with that pic on /prod/


sounds like good enough, i'll start applying for gigs as lead singer, thank you

I think you mean "provocative". Its never a negative thing to be "proactive" brainlet.

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Let's just say I liked your music more than your description of it and leave it at that. Basically keep doing what your doing but shut the fuck up.

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>"proactive" brainlet.
>no ,

no, i meant proactive. as in taking the initiative to be a dick lol

then you'd say "over-zelous" or something. Certain words are tied to positive connotations. "proactive" is one such word.

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Well part of it was that the post with the frog image directly above the one I commented on made an esoteric reference that I didn't get but made me laugh anyway which primed me for the "rubber" comment, which made me laugh hysterically because for one, user was making suggestions on how to create a rubber sound without evening know what rubber sounds like, and then I thought about what kind of sound rubber makes and couldn't think of anything, just imagining a static piece of silent rubber. Add on top of that the quotes around "rubber" and all of this together made me choke up with laughter each time I read the sentence. And then when that wore down I tried to think about it again and thought of a high pitched squeaky/fart sound that rubber makes when rubbing against itself, which made me laugh again because why the fuck would the original user even want such a sound? I don't know, you had to be there to get it

>Certain words are tied to positive connotations.
the contrast to dick was supposed to be a joke

now you're reaching.

Can anyone identify which Japanese group/producer this reminds me of?

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>Its never a negative thing to be "proactive" brainlet.
yes it is idiot, you would've killed yourself on Y2K if you were old enough to remember.

Waste of money. You can produce a lot of unique sounds with modular gear but the price point simply isn’t worth it. The VCOs and VCFs aren’t great, and the inability to save patches is incredibly frustrating. If you wanted a modular setup with the same capabilities as say a sub37 you’d probably need to spend 3.5 grand at least. If you’re into noise or modulating a signal to the point that it’s unintelligible garbage then go nuts

>Do you honestly think I'm spending hours upon hours helping you every day, just so I can sneak some "you're a beginner and your music isn't good yet" once in a while?
Fair enough point.
>In short, music is supposed to evoke some kind of emotion or feeling/vibe. yours often doesn't do that and it just sounds like a sequence of chords and melodies.
You can't really learn to translate emotions though, right? How is relearning the basics going to give my music feeling?
>I could get to teach you some more advanced and useful stuff like that, but until you have a good grasp on the basics you won't get much use of anything we can give you.
Same as my last response. I know about chords, intervals, scales, arrangement. What else do I need to know and get a "grasp" on? What about my music demonstrates that I don't have a grasp on the basics?
>Are you serious?
Yeah.