/prod/ - music production general

If ever we needed more proof that hardwarefags are gatekeeping trustfund stoner cunts.

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>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.

>You can't really learn to translate emotions though, right?
>What about my music demonstrates that I don't have a grasp on the basics?

not him but you literally just quoted it all lol
if you can't make one note sound nasty as fuck or make a basic ass drum beat *alone* that would make somebody's head bob then why the fuck do you think learning more "Advanced" shit is going to help you?

>if you can't make one note sound nasty as fuck
what

IF YOU CAN'T MAKE ONE NOTE SOUND MEAN, PUNK, HARD, ETC ETC

the pair of used Samson C02 mics i bought just arrived and one of them is doing some weird wind-like noise that goes away when i turn the phantom power off, and the sound is clean until the mic stops making output

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u niggas gay u think actual producers go on forums to git gud lmfao kill yourselves

thanks for the vote of confidence

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>some weird wind-like noise

Happens sometimes when capacitors in the power circuit go bad, can also happen if there are any trim pots in the circuitry (usually used for calibration) that aren't contacting very well - switch cleaner would help in the latter case and obv you'd need to replace any bad caps if the former.

what are you even talking about

The transfer of emotional information through the use of sound?

okay he's not that retarded, stop trolling me man

now the noise is quieter but the sounds are lacking bass

shall i return both for the other mic may also show a problem after a while? or is it safe to just return the noisy one?

So I got an X-Station yesterday. It didn't come with a cheesy demo song like my old Yamaha though so I attempted one.

instaud.io/3ts2

Good lad.

Or you could fix it? Depends on how cheap you got them I suppose and whether you can get another pair of fully-working ones elsewhere for the same price.

Fuck getting professionals to mix and master. What I want is a pianist to give my music some humanity. Is there a market for musicians that will play from midi? basically just import the file as-is, and play the instruments with rubato and the like? THAT'S what I'd pay upwards of 100 dollarydoos for, not some asshole to play with some knobs.

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i got them for just a bit cheaper than new ones at the same website

How do you give a sound texture if it's good for what it is but it needs some more oomph

dope

>instaud.io/3ts2

Nice farty bass. Real retro sound.

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>Fuck getting professionals to mix and master.
yeah i'm sure you're great user

> Is there a market for musicians that will play from midi?
transpose to sheet music you lazy fuck. That's what all the "real" (session) musicians use

>transpose to sheet music

more like there's no way I'm reading that Shieeet music, can I get a what what?

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I accept the level of production in my music for better or worse. I just don't care about those qualities of music to shell out my own good money so some kike can balance the mix. I would however shell out good money for a session musician to play the music from the midi and a description of the desired overall intent. Understand now, user? Also transposing to sheet music would entirely defeat the purpose. Its not like I'm working exclusively with acoustic instrument samples of something.

what what!

If you can't put feeling in your music you either don't understand the basics well enough to communicate it or you don't understand the emotion you're trying to communicate.

>transposing to sheet music would entirely defeat the purpose
Yeah I understand now, you don't know how session musicians work lmao

Do i get a cashier job to pay for a new pc? producing on my asus laptop makes me suicidal

yea just get whatever shit job really and then quit when you have the money

how do i figure out what emotion to communicate

In music, typically, you choose what emotion you mean to describe.

yea but what if i don't know what i'm describing

>transpose to sheet music
There is nothing to transpose. MIDI data can be read and interpreted in musical notation; programs like Reaper, Logic, and Cubase (I think) do this in the box. Alternatively, just export a midi track and import into MuseScore.

You'd be amazed at what possibilities a job will open up. Also if you spend all day sitting in your bedroom or doesn't help your creativity any.

If you don't understand your emotions you need to engage in self-reflection, or possibly speak to an empath of some sort to assist you in guiding yourself.

>You can't really learn to translate emotions though, right?
Of course you can. People aren't born knowing to do that.
It comes from either knowing the theory or from practicing so much that you basically know the theory without knowing the names of the things you're doing.

>How is relearning the basics going to give my music feeling?
You're being impatient as always.
The basics aren't for improving your music. They're for allowing you to apply the things you'll learn in the future more effectively so the time you spend on the increasingly advanced topics doesn't go to waste.
If you hired the ghost of Bruce Lee to teach you the one-inch punch, he's not going to teach it to you on day one. He's going to spend months drilling the basics into you so that when you do get to learn the one-inch punch, you already have a solid grasp on things like feet position, movement, etc.
If he just explained the technique on day one you'd never be able to perform it without learning ALL the requirements step by step from the bottom up.

>Same as my last response. I know about chords, intervals, scales, arrangement. What else do I need to know and get a "grasp" on?
Knowing the temrinology of something doesn't mean you know how to use it.
The Varien videos go through the very basics and give you tips on how to use them (which you ignored because they're on a keyboard instead of a piano roll).

>What about my music demonstrates that I don't have a grasp on the basics?
The choice of notes doesn't sound like there's any intention behind them. They just sound like notes that were randomly generated by a computer.
If you listen to well-composed music (not in hiphop because the bar for this is very low in hiphop and especially trap) you'll notice that the music has a direction and "makes sense".
Even if it doesn't have vocals, it's still telling you something on a deeper emotional level.
Your music doesn't say anything. It's just notes.

but is it oomph or more like oumphht?

>t or you don't understand the emotion you're trying to communicate.
I'm never trying to communicate any emotion. I just choose a scale and put a song together.

I do. That's why I'm asking for one who works the way I wanted and described. Jeeze user, your going in circles here.

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>The choice of notes doesn't sound like there's any intention behind them.
There's not.
>Your music doesn't say anything.
I don't have anything to say.

do you think it's worth fixing? my experience with electronics is after they get fixed they get worse and the problems expand

>Overthinking about music theory again

AAAAA I just want to make music god fucking damn it

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>I don't have anything to say

Then why are you making music, turkey? See this? This is you.

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Those are the Varien vids? m.youtube.com/watch?v=hE_2u1HQM_4&list=PLHDdEI3jMPuuYZNJS98T88vKh4hEeyFQ4&index=2&t=0s

How do I record my guitar and drums to sound distorted and good like the glow pt 2? How did the microphones make it sound so disgusting and nice

Yes.
Here's the playlist:
youtube.com/playlist?list=PLbg71h_P2VCU8D_aDM45yuzFkV6hq4b6O

This guy seems like absolute cancer

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clyp.it/i23vlfxw

finally finished

Well I kind of have stuff to say but I have trouble feeling and detecting emotions
I either feel nothing or everything intensely but nothing is really consistent and I don't know what's real or not
When I'm making a trap beat I usually don't think of feelings at all, I just think "that works" or "that's okay".

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Analyze what you think about music made in such a mechanical fashion, yours and other's.
How does that analysis make you feel?

Then don't start describing until you have a well-defined idea that you want to describe.

If you start your song thinking "I'm gonna make a cool beat today" you'll only make something that satisfies the "cool" requirement and won't necessarily be a good piece of music.
But if you start your song for example by thinking "I'm gonna make a song about overcoming the loss of a loved one", suddenly you have a direction and even if you don't know the theory that would give you a shortcut on which chords to use, you could still compose by thinking "does this fit the mood that this song is supposed to have at this point?" and change the appropriate parts accordingly.
You can make the song move in any direction like it's a movie. For example it can be sad in the beginning, then become a bit brighter as it goes on, then have a higher energy chorus that feels like intense crying, then ending on a hopeful mood.
It's super cheesy but you can just straight up make a song about the Kubler-Ross model and it would be a billion times better than any song that's not about anything.

I'll give you an assignment:
Download the Four Seasons by Vivaldi here [torrentz2.cc/779de4ceac18c83667b6858be633ddac81da0e53] and read the sonnet for each concerto as you listen to it
en.wikipedia.org/wiki/The_Four_Seasons_(Vivaldi)#Sonnet_Text
Notice how the music PERFECTLY portrays what it's about?
It's not just notes that sound good. It's art that's made to evoke specific emotions.
Even when it's not as directly explicit as in this case, great music still evokes something, and that's what you should aim for.
Or even if you don't have a specific theme in mind, you can still just think about the direction of the song and make it move to slightly different emotions over the course of a section.
Music should at least make you feel something, otherwise what's the point?

Great music is never made by thinking "I'm gonna make something cool".

I can't think beyond a surface level unless I'm high

Btw. I'm uploading the Vivaldi concertos to Zippyshare if you don't want to torrent, but they'll be ready in about half an hour.

>When I'm making a trap beat I usually don't think of feelings at all, I just think "that works" or "that's okay".

Well that's the problem bro, do you love making trap beats or are you forcing yourself?

>It was Demarcus the whole time

Also you're right about trap. So why are you making trap beats? Its the most superficial crap out there. Music is for conveying emotions but not if you're going to WILLFULLY slum in in consumerist genres.

i cant think on a surface level unless im drunk

Then analyze that behavior.
How does that analysis make you feel?

Nice chords but that second sample is fucking annoying as hell.

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thank you user, this actually helps a lot

Good lord nigga does your bass really only play one note the whole time or did I miss something?

>winter sonnet
Lol, fucking Meds can't handle the cold.

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Yeah, I mean, that's how I feel about art general. I saw Us over the weekend and the entire movie felt pointless.
>the Four Seasons
I'm pretty sure I've only heard Springtime, but I know what you mean.

>Well that's the problem bro, do you love making trap beats or are you forcing yourself?
I'm not really a fan of trap music, no, not outside of Young Thug, Travis Scott, and some Future. Playboi Carti and Uzi have grown on me some too. I do like making music though, it's the only thing I can really focus on and making trap beats is easy and quick enough that I can just get straight to it and make a song immediately.

>Also you're right about trap. So why are you making trap beats? Its the most superficial crap out there.
Oh. I wish I saw this before I answered the other question. It's just the immediacy of it, combined with the fact that I don't know how to make the stuff I actually want to make. Attempting the stuff I'm actually interested in is frustrating because I have no idea what I'm doing it takes a lot of tweaking and in the end it still comes out like shit because again, I don't know how to actually get that sound. With trap I just put a snare or clap in the middle of every bar and fill every 2 steps with hihats and I'm halfway there, I already have the correct sound. The end result is always more satisfying than this shit:

clyp.it/dsdejymp
clyp.it/byfsl5xp
clyp.it/vvm4dy3d
clyp.it/izejl1p4

Shitty, I guess?

The 808? Yeah, it's only C.

What is the stuff you're actually interested in? Like Les Miserables? Fuck it pisses me off I know so much about a guy who doesn't even have a trip.

Here:
www72.zippyshare.com/v/8GgZGbRy/file.html

Glad to help.

>the entire movie felt pointless
Yeah that's the general consensus.

clyp.it/5ukzbgbi

here's a short dumb thing i made tonight

i think it's fun at least

Do you guess or are you certain?

>clyp.it/5ukzbgbi

if your "dumb things" sound like that then you're too good to be posting in /prod/.

also AAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! fren

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>Oh. I wish I saw this before I answered the other question. It's just the immediacy of it, combined with the fact that I don't know how to make the stuff I actually want to make. Attempting the stuff I'm actually interested in is frustrating because I have no idea what I'm doing it takes a lot of tweaking and in the end it still comes out like shit because again, I don't know how to actually get that sound. With trap I just put a snare or clap in the middle of every bar and fill every 2 steps with hihats and I'm halfway there, I already have the correct sound. The end result is always more satisfying than this shit:
You're too impatient man.
When I first started I wanted to make music like Skrillex, and as I started learning everything seemed so unarrivable. I was constantly doubting I would ever reach that level, but I knew it would take me years, so I started making easier stuff first, then increase the complexity over time until I had a good enough understanding of music production as a whole that I could make any electronic genre pretty easily (perhaps not as well as the famous guys, but still it's not daunting at all).
This only came after years of practice, and those people you listened to also spent years going from beginners to pros.

You can't expect to make complex music right away without building your skills from beginner to pro over the years.

Stop being so impatient and accept that it's normal to not be able to make complex music at your stage, because if you keep getting discouraged like this you'll never improve to the point of being able to make it.

also also. What Japanese producer or group does your music remind me of?

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not sure? bo en? maxo? diveo? absrdst? none of those people are actually japanese, but they do stuff in a somewhat similar style.

sorry to make you angery user

voidz + rap song
cant wait to finish this!!!!

clyp.it/sddmgjr2

I liked Couches fwiw. One thing you really clearly don't understand is how to manage the dissonance of a diminished chord. This is basically what will make your music sound amateurish whether you're writing classical, electronic or anything else.

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You can't tell me that opening riff isn't Japanese as fuck. Like every major jap vidya composer uses that thing.

I mean, I grew up on Les Miserables, so kind of. But when it comes to musicals I think I'm more of Sondheim fan.
>What is the stuff you're actually interested in?
If I had to narrow it down to a handful of artists though: Kanye, Tyler the Creator, Kero Kero Bonito, Brian Wilson/The Beach Boys, and... I don't actually have a 5th. Bjork? Kate Bush? Mac DeMarco? Gorillaz? SOPHIE? I don't know. I like production by Grimes on Art Angels and Visions so maybe Grimes.
>Fuck it pisses me off I know so much about a guy who doesn't even have a trip.
I'm genuinely sorry.

It had some really beautiful imagery though.

Like I said I'm unsure about everything. I don't really have a specific feeling towards it. It sucks but at the same time I don't care that much to be angry or upset about it. >clyp.it/5ukzbgbi

youtube.com/watch?v=OkkFST5qrLg

? or Koji Kondo?

OH you mean the maj7add9 shit with a gliss down to a regular maj7? haha yeah i definitely stole that from ocarina of time.

In particular, this: youtu.be/5ShzyggtsCs?t=16

>Koji Kondo?
Holy shit, you called it.

YMO. Love them but no. Actually I realized what I was thinking of was just some music I heard in LBP. Its not even that similar. Its weird the associations we make sometimes.

youtube.com/watch?v=copLR8E1sfs

Analyse your uncertainty.
What do you think about uncertain people?

This sounds so fucking much like Jacob Collier's music its not even funny. That's either a very good or very bad thing around here. I'd say a good thing. I just have this labelled "punchable twink" because I think someone of his musical acumen should really be making classical.

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>making classical
No. He's all about that weird microtonal shit and utilizing the formants to add color. I don't want that shit in my classical.

>weird microtonal shit and utilizing the formants to add color
Post good examples of that please?

Oh, thanks. I take it as a compliment anyways. I don't know if I hear the similarity to Collier in my music -- I just like jazz harmony and have a strong sense of melody I guess. I 100% understand though why Jacob Collier's music can be polarizing, especially around here.

1. It'd be easier to accept that if I even knew what I was doing a smidge, instead of trying to recreate the sound I want with no direction. You said you started simple and then slowly got more complex. I don't know how I would get to where I want to go from making trap beats, it seems like opposite directions.

2. I've wanted to kill myself for 9 years and I have no confidence so yeah I can get a little impatient. Wait no, not impatient, hopeless. Is it the same thing? Maybe. When I'm not making a trap beat the only things I can really focus on sex (which I get none of) or how much I want to kill myself. Again, none of this might be a problem if I had weed.

>One thing you really clearly don't understand is how to manage the dissonance of a diminished chord.
I'm not sure what you're saying EXACTLY, but one thing I do have a lot of trouble a lot with is if I go out of scale or I detune an instrument/synth then adding other melodies or chords becomes an impossible task. I don't know what I could do besides put the it back in tune/go back in scale but then I lose the sound I liked in the first place. It really sucks.

>I just like jazz harmony and have a strong sense of melody
The similarity is in the ゲイ vocals. You definitely sound like a kid who was in the school choir.

>Its weird the associations we make sometimes.
It kind of sounds like that, I get why it reminded you.

I mean he said "Japanese vidya composer" I just thought of the most obvious one

ahahaha that's hilarious -- i was never in the choir, i've just been playing instruments all my life. my voice is pretty dogshit. i have to do a ton of shit in post just to make it sounds passable. definitely sounds a bit gay, but i've kind of embraced that aesthetic with my music anyways.

>What do you think about uncertain people?
I think they're fucking boring and I want to beat the shit out of them. But I can't really help it I need meds or some shit.

How does that analysis make you feel?

Many composers use microtonality to great effect. That is just the sort of thing that would make him an interesting classical composer.

youtube.com/watch?v=odTIoRzbDhA
youtube.com/watch?v=iEOhUVsVNBY
youtube.com/watch?v=q6WXzOIsBuQ

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manifestation.com/neurotoys/eliza.php3

might as well just use this at this point

I'm thinking visiting prod and other production-related forums is more of a detriment for me as a beginner. Are my anxieties right? It feels like I'm constantly overthinking and feel overwhelmed easily.

Aww, why'd you have to ruin my fun?

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how do i get my pads to sound like this?
youtube.com/watch?v=Z7uBEpelThs

here's my interpretation
clyp.it/dy5axfd5

my pads sound flat as fuck. i have a feeling it's because he uses multiple monophonic layers and i'm playing chords on like 2/3 layers so there's no textural variety. any other advice?
2019 bird-bient wave, calling it now.

Nothing!!!

bad bot

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>I don't know how I would get to where I want to go from making trap beats
Start making simple songs that aren't necessarily good finished songs but can help you develop the skills you need.
Forget trying to have finished good songs. Just focus on learning.
Perhaps start by spending some time just refining chord progressions. Learn to make chord progressions that span the length of a full song and have a certain sense behind them so that they don't sound like random notes together.
Once you can make good chords, practice making melodies to go with them, and once you're good with that, practice laying some drum rhythms.

To be able to compose good music you need to be able to write good harmony, melody, and rhythm, so listen attentively to music that's strong in each of those characteristics and imitate it.
For example, to learn harmony listen to classical and jazz, to learn melody listen to pop, to learn rhythm listen to funk and Dilla-type hiphop.
If you get decent at those three areas of composition, you'll be able to make full REAL songs (unlike trap "beats") that sound good.
Then if you want you can branch out into more complex music theory, but for now just focus on learning to write decent chord progressions that have meaning, decent melodies that make you want to hum them, and decent rhythms that make you want to move.

>Wait no, not impatient, hopeless. Is it the same thing?
en.wikipedia.org/wiki/Learned_helplessness
You heel hopeless and this makes you impatient.
Accept that this impatience can only hinder you, and start focusing on learning things for a slightly longer run.
You're not gonna make good music any time soon, so why keep trying unsuccessfully for years, when you can stop trying to make it and spend less than a year studying to get much better results?
You'll improve MUCH faster if you stop trying to get good immediately.

The book I gave you will teach you a lot of these things. It even has a section about genres.

>Learn to make chord progressions that span the length of a full song a

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what book

It's not hard dude.
You're just a beginner who lacks the necessary information to know how.
Once you learn and practice you can do it easily.

Just think of how many musicians make good music but are complete retards in everything else.
If they can do it, then you can too.

>Are my anxieties right?
probably not
i've been doing this for five~ years and i'm kind of pissed i didn't realize how many resources there were online until i was a few years in.... at which point I already knew 90% of what people were talking about and realized they were bullshitting.

overwhelmed? yeah okay. Overthinking? Probably not. "Lmao, don't overthink it dude xD" only works when you already know what the fuck you're doing

>bird-bient wave
is this still going on?
well first of all, his shimmer/reverb is just straight up better than yours.
second, all the foley is fucking up any chance of highs shining in your pads
.... and his chords go deeper

get your patches perfect before you start adding shit in i'd say. same for reverb. don't just say "fuck it" and let everything mesh, it's a balancing act. work on seperating so everything is able to be distinguished and see how much "bleed" is actually appropriate

I just want to thank you even though i'm not Demarcus, because you probably won't ever reap (hear) the fruits of your efforts

This:
www35.zippyshare.com/v/LGDcXa9m/file.html

>I just want to thank you even though i'm not Demarcus, because you probably won't ever reap (hear) the fruits of your efforts
Lol, I appreciate it.

that's like 200 bars of chord progressions I rather jump off a fucking cliff

slow
your
roll
kiddo

Remember the rbt.asia post (particularly the ABAC stuff).
It doesn't have to be a completely new chord progression after the other.
You start with 8 or 16 bars, duplicate it and make variations. Now you have a verse.
Now take the verse chords and use them to make a chorus (there are a million ways to do this. Just listen to songs you like and see how the chords in the verse relate to the ones in the chorus).
You can even just use the same chords for the verse and chorus with some slight edits and a different instrumentation (usually more in the background).
The same goes for every section.
Just take what you have, make variations (even just transposing it and changing its rhythm/timing can be very effective), and you have a new section.

See how songs are arranged and learn how to repeat sections in order to keep the song interesting over time without having everything being new all the time.

>ABAC
all bops are custards?

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All Boys Are Creeps (my new crossdressing pop act name btw).

"All Black All Cock" my favorite well hung gay only African American pornography series.

if you had the choice would you
>work on music with your very motivated brother, but he wants to mix whatever genre you choose with rap and he's bad at rap but very, very good at mixing
>work on music with your childhood friend who is a mediocre drummer but likes one of the same genres of music as you
or
>be a one man band and work on music you like, eventually maybe gaining band members who like your music and are good at making it and hopefully don't want to change it too much

>very, very good at mixing
You mean like a mixing engineer or that he's good at mixing the genres?

good at making instrumentals, beats, I guess mixing engineer, producing? sorry don't know the terminology, I just play instruments
he said he would be willing to become a producer for a band while making his own music on the side

Gonna roll into a fucking lake.

>Remember the rbt.asia post (particularly the ABAC stuff).
Yeah... I did that with the melody here:
clyp.it/i23vlfxw

I also did what the user in the last thread said and built around a melody instead of to a melody...
this is all shit don't songs not even always need chords
and if I'm making 8 or 16 bars of fucking CHORDS then... ugh
you mean a different chord for EVERY bar? every TWO BARS? I DON'T THINK CHORDS HAVE FUCKING RULES LIKE THAT. DO YOU JUST MEAN ANY AMOUNT OF CHORDS OVER 8 OR 16 BARS? FUCK MAN.

I think someone told me months ago in here that Tyler the Creator songs are almost nothing but chods.......

B, I'm still into the teenage garage aesthetic.

I'd say make music with both (individually or at the same time).
Learning from your brother would be more beneficial, but making music with your friend can lead to something interesting too (since you'd be making stuff that you like).
Explore all the possibilities and see what works best.
We don't know you or your friend/brother so we can't help much.

>compromise, compromise, slight bonus
>somebody with a similar goal but they're not good (yet)
>cross your fingers

i would take the second option. i've worked with people I don't believe in, i've worked on songs I don't believe in. Never worth it unless it's your job man. It's like fucking somebody you're not even attracted to lol (also done that and every time god damnit)

i'd work with the friend who actually wants to do the same shit as you. finding people with your interests is hard man

Boy chords are literally the most important thing if you want rich emotional content in your music.
Peep this shit and see if you can understand.

youtube.com/watch?v=YK_Rmr1wJNw

(I also like his 80s voicing video but I figured 70s might be more applicable to your issues with the RnB connection.)

Of course there are no rules.
It can be a new chord every bar for the entire song or there can be a single short chord at the end of every 8 bars, or no chords at all.
But that's not the point.
The point is that you're a student and you need to learn how to compose, so it's important that you practice composition on its own instead of practicing full songs right away.

Once you learn how to make a full song of chords you can be creative and limit them to whatever you like, but for now just focus on the practice.

cheap skate hillbilly hardware /diy/ masterrace here

yeah, he want to teach me mixing/producing but he said the best thing to do is experiment.
friend and I's shared genre is metal, which I do like but not the type of music I want to be known for and I think it'd be odd to have a metal band and my own personal neopsych funk band
it's not very much a similar goal as it is a similar interest, and my brother has more of a similar goal than him but he wants to rap over it, even if I made both of them get together, so I had my drummer friend and my brother in the same band and we made death metal, my brother would try to look for a way to incorporate rap, though he has asked a few times how to growl and scream (I don't even like metal with too much of that anyways), so it may not be a solid "we have to have rap or I'm not doing it" type thing.

transpose to sheets and post as image, i’ll play it for ya user, i’ve got a digital

Yeah, go with your brother then.
Perhaps fuck around with your friend for fun, but if you want to be serious, either chose the brother or find someone else.

post the sheet nigger, i’ve never done any software stuff just piano and sheets. u post sheet and i play

someone answer her

I'm not sure if this is the right place to ask such questions.

hanging with the drummer friend is the patricians choice. if his skill is a problem just powerlevel him

uhh? lol, why not?

People here are mostly into producing electronic music with a computer.
It's rare that someone actually does stuff with microphones and is actually good at it.

interesting.. is it more difficult than the typical production process done here?

what about the /soundcloud/ guys? do they know about this sorta stuff?

Why would it be weird to have two separate projects?
Also not to be discouraging but you shouldn't go in with the expectation of being immediately "known," seeing as how you sound new to this

>Her?
Wtf
Are you sure it's not post processing?
I am familiar with that album but I don't know about the recording. However, he majority of these "lo-fi" recordings I hear about and look into reveal "cheap shitty mic" is actually "cheapish" mic into a driven >$1000 preamp for one particular sound and crushed into this $hardwarecompressor$ and really not a budget sound at all. I could help but it would help me to help if I knew what you're working with and what you already know

True

As somebody who makes both rock and bleeps I have to say legit recordings are a lot harder... or at least there are more things you have to not fuck up. It's good players on good gear in a good room vs all good sounds in the box (affordable) and one good person who can fix most things with minimal compromise

A Boy Attains Coitus

>interesting.. is it more difficult than the typical production process done here?
Not necessarily. Electronic music can be as basic as simple trap beats or as difficult as Autechre-type generative music with custom DSP based on real world physics and obscure scientific concepts.
But real world "traditional" production is more based on developing a good ear and mastery over the choices you can make to get the optimal recordings, and being able to find the sweet spot where the difference can be very subtle, which can take even more time to master than the abovementioned nerd stuff.

In short, it's a different set of skills.

>what about the /soundcloud/ guys? do they know about this sorta stuff?
I never visit those, but you can listen to the songs posted and if you see someone posting stuff that was recorded well traditionally, you can try asking them.

Attack Blacks, Attack Caucasians

My Death Grips tribute band.

Altered Beings Ancient Curses, my 70's fantasy prog jam band.

>legit recordings are a lot harder...
so recording my guitar with phone in my room and running through a daw is gonna suck? i wanna sounds like chon on an acoustic

>or as difficult as Autechre-type generative music with custom DSP based on real world physics and obscure scientific concepts.
this is actually not necessarily difficult, fyi, and can be very trivial, but yeah. how realistic is getting good enough stuff from an phone recording an acoustic guitar? can it pass as lowfi?

>with microphones
topkek

thanks, gonna try to convince him to do rap in his own thing, maybe get a dedicated singer or something, he knows more people into music than me and he knows some girls that are great at singing
yeah, I want to send him some learning resources but also don't want him to take it the wrong way
idk metalheads are pretty anal about the "metalhead image" and I think that if they see a metal band and like the music enough to look into the band members they're going to see "user anonsky and anonymous anondy, user anonsky has a side band that puts out neopsych funk" and they're going to assume we aren't a "real metal band", I mean, bands that deviate from the normal stereotypical metal genre get enough flack already, look at ghost and zeal & ardor.

how hard would it be to manage 3 different bands anyways?

>might take it wrong way
smart man. perhaps it won’t be a problem anyway, he may rise up. if not i’m sure ur big brain will figure out suitably subtle and effective approaches

>this is actually not necessarily difficult, fyi, and can be very trivial
Only if you cheat and use premade stuff without understanding the underlying math.
If you want to get deep and make your own DSP from scratch you need a lot of knowledge that can take many years to learn if you don't have any previous experience.

>how realistic is getting good enough stuff from an phone recording an acoustic guitar? can it pass as lowfi?
Not to anyone who does it professionally.
lowfi isn't just bad recordings.
It's recordings that have a specific kind of vibe that's evocative of an era where audio had those kinds of flaws (so all the artifacts of analog mediums and processing).
A shitty modern recording just sounds like a shitty modern recording.

>topkek
?

yeah, his main problem is rhythm, I would post a recording of his playing but it's on a different computer, he has potential but he was like me when I first started playing guitar but he has been playing for a year and a half instead of for a few months before I learned how to properly play to a beat
also I don't really know many resources besides just sending him a link to a metronome

I'm not the OP but I feel like you should know that topkek means pretty much the same thing as lmao

>Only if you cheat and use premade stuff without understanding the underlying math.
i wouldn’t call it cheating, but yes rolling your own dsp is of course more complex.

>it will sound shitty
and so i thought. maybe i’ll snag or make some old recording gear then. i’m probably still gonna waste my time trying tomorrow tho, i need to learn some editing basics.

topkek because of
>It's rare that someone actually does stuff with microphones
>Microphones

how is this a tutorial its just a nigga playing piano
>but I figured 70s might be more applicable to your issues with the RnB connection
Is that supposed to be a black joke? I've never listened to R&B a day in my life
oh its not just a nigga playing piano he's actually talking now
>Boy chords are literally the most important thing if you want rich emotional content in your music.
I was told that not all music needs chords though? Music is very confusing. It's like "Oh well some stuff doesn't need chords" but then some shit is JUST chords with the only real melody being the vocals and then you have shit where it's both melodies vocals and chords which isthe most common thing but its just too fucking much I really want to jump off a bridge, or rather roll off a bridge or be pushed

I hate this shit
What the fuck is this nigga even talking about? Using the same notes when you switch to another chord? Isn't that how everybody does it? I don't know what he's saying.

I will shit.

>he has been playing for a year and a half instead of for a few months
maybe he’s nervous, maybe he just doesn’t practice well or frequently. as i’m sure you know a little guidance, applied intelligence, regimen and discipline goes a long way.

>I'm not the OP but I feel like you should know that topkek means pretty much the same thing as lmao
I know what topkek means lol, I just didn't understand what he found funny.

>i wouldn’t call it cheating
YES IT IS.
ALL FROM SCRATCH OR NOTHING.

>and so i thought. maybe i’ll snag or make some old recording gear then. i’m probably still gonna waste my time trying tomorrow tho, i need to learn some editing basics.
Good, post results when you do.

>topkek because of
>>It's rare that someone actually does stuff with microphones
>>Microphones
I still don't understand.

ah fuck I just remembered, yeah he most likely hasn't practiced very much or often, he's probably going through marine training plus he has/had a job unlike me. should've thought of that
can't tell if you forgot to respond to some people or if you are going through schizophrenia right now but I think he's laughing at how it's true, though I wouldn't really know because I'm not here very often

is it cheating to not make your own operating system? firmware? IC? circuit design? what if you’re voltages aren’t locally sourced, grass fed and free range? etc. dealing with the highest abstraction level to get a task done is fine. not every driver needs to know how to build a guitar.

but understanding all abstraction levels is clearly optimal and the patricians choice

>topkek
what i thought was funny was this
>It's rare that someone actually does stuff with microphones

it’s like a pun lol

what is this track missing? the lead synth sound needs a little work but i cant figure out why it feels empty

instaud.io/3tuL

Attached: chekm.jpg (636x380, 42K)

yeah.. it always bugs me that instrument players age is measured in years (i.e been playing guitar for three years), because it’s kind of a meaningless metric. a better metric would include factors like aproxination of hours of practice and the quality of the hours

Anime Jungle
clyp.it/0fhg4o1l

maybe something like "I play 3 hours a day for the past half year" or "I have played about 200 hours of guitar in the last 3 months"
but most people are able to wrap their heads around "played for half a year" better than being specific "5 hours a day only on the weekends for 2 years"
if I were to be very specific, I would say "played for around 5 hours every day for 5 months, put it down for half a year, and have played 7 hours for the past week every day for guitar, and 10 hours for 3 days for a few days but only because I got it over this past weekend" and the chick that I am trying to hit on would probably tune it out by the time I say "put it down for half a year" and walk away, much easier to say "I played on an off, new to bass though, starting a band, want to be a singer?"

>can't tell if you forgot to respond to some people or if you are going through schizophrenia right now but I think he's laughing at how it's true, though I wouldn't really know because I'm not here very often
Sorry, I'm just autistic and I can't read between the lines, so you have to say things clearly or I break down.

>is it cheating to not make your own operating system? firmware? IC? circuit design? what if you’re voltages aren’t locally sourced, grass fed and free range?
Yes.
All of that is cheating to some degree.

>dealing with the highest abstraction level to get a task done is fine. not every driver needs to know how to build a guitar.
"needing" to do something is a different matter than wanting to do it for a personal idea of artistic independence.
You don't to do anything to make music. Just call competent people and have them make music under your direction, but any musician that's proud of calling themslves as such wouldn't do that because it would compromise their artistic integrity.
Of course it's unreasonable to expect a producer to make everything (software, instruments sampled, etc.) from scratch, but the more suff made by other people you use in your music, the less it is music.

>it’s like a pun lol
Ah lol, didn't even notice.

whoa I love this
I might unironically download this shit

i typed a reply and then realized troll

>real metalhead image
be anonymous then. i like metal but fuck metalheads

true
i've played guitar for "8 years" but i'm shit at it
consistent for 4 years and varely played for the past 2 means i was better at 4 years lol

i didn’t advocate for communicating it like that.

my bigger point is that time is weighted too heavily, while intelligent practice (often only feasibly efficient through a teacher) and disciplined focus are significantly underweighted in measuring skill.

personally, i roughly approximate myself based on this weird homemade metric: if i just picked up a guitar today, and i was my own teacher, how many (units of time) would it take for me (the average retard) to get to my current skill?”

thanks, glad you like it

i am only complaining because you call it cheating. there are no rules to break, so it cannot be cheating. i agree that a working understanding of low level abstractions should be had, but i understand that’s subjective and would never say it’s cheating not to care. it (interfacing only with the highest abstraction levels to quickly complete a task, whether a DSP, car, fridge, etc) can be an extremely efficient and pragmatic way to view the world.

not troll, why do you think that

Relax man, it's a half /prod/ meme.

Yeah, cheating is not the right word. Maybe shortcut would be more appropriate.

it’s more of a /diy/ meme i would think,
/prod/ is dependent on high level abstractions. and i’m perfectly relaxed

>shortcut
we’re defining the problem differently then. imo, /prod/s problem is achieving sound files that sound roughly as you intended as quickly as possible. obviously leverage existing software is faster and better for this than opening up an electronics textbook.

i know there’s a compounding advantage to learning the innards and rolling your own, but to argue that as a truly more efficient system for the task at hand is silly.

>it’s more of a /diy/ meme i would think,
>/prod/ is dependent on high level abstractions. and i’m perfectly relaxed
There were some very heated discussions about the legitimacy of using samples in songs, with people saying it's cheating and people saying it's not. That's what I was referring to when I first used the word.

>we’re defining the problem differently then. imo, /prod/s problem is achieving sound files that sound roughly as you intended as quickly as possible. obviously leverage existing software is faster and better for this than opening up an electronics textbook.
Yes, if you want to expand the "cheating" thing to every aspect of music creation (so making your own materials used for building your own instruments and gear, etc.) it's obviously not practical at all, and if someone actually does that it would be because of other more abstract reasons (likin the feeling of having made everything themselves, or as a marketing thing, etc.) but the cheating thing is usually said in the context of using samples and presets, and here on /prod/ we generally agree with this stance:
rbt.asia/mu/thread/78826520/#78871079
So if you're making generative IDM that people listen to for its impressive DSP, you better make your own, otherwise you're getting praise for something that someone else did, but if you're making rock and your listeners don't care about the technical side, using premade DSP is fine because it's not a main point of the music.

>i know there’s a compounding advantage to learning the innards and rolling your own, but to argue that as a truly more efficient system for the task at hand is silly.
Who said it's more efficient?

clyp.it/ac1bzmnt

this is the best I can do right now

Attached: 1548634866729.png (960x960, 1.21M)

wtf how would you even make something like this

holy shit I'm literally your brother. the only reason I know you're not actually my brother is his friend is a guitarist not a drummer. like freaky how similar the situations are.

Put small amounts of delay and reverb on each instrument. Also needs groove or swing, iif ableton go to the groove pool. Its all too in time.

The synth could use slight saturation or some other modulation or something. You may want to raise the attack a little bit.

How is this? instaud.io/3tec

Ideally, I wanted this track to be trying to pull attention between different parts of it, idk if i succeeded.

Attached: Actor11.png (96x95, 9K)

Its quite narrow overall

todays practice beat
instaud.io/3tw6

not a fan of spamming kicks but that's just me. also too much glide

I like it for the most part but everything sounds too filtered. Also the bass is like, 2 octaves too high.

Thanks, I appreciate the feedback. I was trying to use the 808s as more of a bass than a kick but I guess the transient is still too strong. Do you know of a good way to reduce that or is it just a fundamentally impractical idea?

What do you mean by transient?

There's nothing wrong with having a high bass, but at the end of the day each instrument needs it's own place in the mix. Right now the chords, bass, and melody that comes in at 1:20 are all taking up a lot of the same frequency ranges.

Most people would just high cut the bass and low cut the melody to get around this. Personally I only like to filter to improve the sound on it's own, and if things are clashing in a mix I'll raise or lower the octave, or just not have them be on the track at the same time. Panning one to the left and the other to the right is also tried and true.

When something sounds good on my monitors it doesn't sound as good on my headphones, and vice versa. Both are good quality with flat response.

Which do I trust more?

I mostly make techno and some house so I guess being club-orientated I should trust the monitors more?

WHy not post something

I'm glad you brought that up because I have other questions about mixing. I've only recently started to actually mix properly so the shit I do is very rudimentary. Usually I cut anything that doesn't need low frequency content at least above 100Hz and maybe more for pads and things that dont need too much low end. But aside from that and taking out frequencies that are really obviously problematic, I don't do much else. Ive had issues in the past where I overmix things and just fuck it all up. What should I focus on learning, what should I be paying more attention to and how can I remove frequencies without making sounds sound lifeless?

clyp.it/eui3gd0i

Does this progression sound interesting to listen to? Trying to apply myself in writing chord progression

clyp.it/eui3gd0i

Trying to put some time aside for songwriting, how does this progression sound?

It doesn't sound interesting, sorry. Focus on tension and release more, this is just meandering about. Is it a catchy loop ending on a 4 or a 5, or a big dramatic ending on a 1? I really can't tell. Sounds like it wants to go somewhere and then it kind of just does the same thing in a different order.

Frankly I wouldn't consider mixing my strong suit either, so I don't have too many tips to offer. The main one I have from listening to your mix is use 24 and higher dB filters very judiciously. 12 dB filters are great for taking out frequencies without changing the character of the sound. A 24 dB filter will absolutely give a "filtered" sound almost every time, which can be good but not something you want on every one of your instruments.

Besides that, just change train your ear. There's a lot you can do just by playing with knobs until it sounds good.

I usually cut at around 300 Hz if I have a sub bass, so cutting at 100 Hz with a more traditional bass like that is going to do almost nothing.

instaud.io/3txU

Working on some synthwave with a buddy from overseas doing some narration, unfinished WIP. Any feedback? I feel like the solo at the end is a touch sharp but all I'm getting out of EQ is too much of a filtering effect. Mix is still ongoing so some levels are also still fucky, and the ending is completely unfinished.

Not that guy you're replying to but anyone here should take note more from you long-post user, you clearly know what you're doing.

I want to ask, in songwriting, what kind of roles/function augmented chords usually have in a song and how can I use it? Any examples? I understand basic theory already so I don't mind if you speak in technical terms

Add 1 chord in the final and you've got a basic garage rock live gigs intro song. Not great but acceptable enough for that

this is such shit advice kill yourself. prod is really retarded.

Why?

Yeah the loop does go into another section starting on a f#minor but I’m not quite done with it yet, thanks for your response mate

It may seem that way but I still got a lot to learn.

Anyways, the thing with augmented triads is, unlike diminished triads, they aren't found in any of the natural scales. That means they are going to include an accidental whether you're working in minor or major. Their purpose is to create dissonance and tension, in my understanding.

If you do want to resolve to one, I would not include any major chords in your progression, as the emphasis of the song is invariably going to swing to that chord. I could see it working as the resolution in a progression of minor and partial chords.

Also, in general, when working with accidentals, minimize use of the notes within a half step of the accidental. For example, if your scale include C and D and the accidental is C#, try to make sure at least one of C or D is very unimportant and rarely played in the song.

>I don't know what he's saying
Well shit son guess you better hit the books and learn the basics first then.

Anyone wanting to lend their voice for a memesong ?

You'd be surprised what you can get out of just re-voicing the same chords.

instaud.io/3i9z

As Baller As Capable, my Chad Warden inspired self-help book

Attached: jkhhjhjkjjh.jpg (211x212, 11K)

fuck you

Pretty cool, have you tried using a de-esser or high frequency splitter -> reverb to tame the super highs?

Sending a demo to a few labels' email address today.

What kind of message should I write in the email? Never done this before.

Keep in mind they're actual labels that have tracks in the Beatport top 100, it's not a niche Youtube channel or anything like that.

That's not a "melody" that's a riff and not even a good one. Also you've never made anything with contrasting material, so its not ABAC

I'll bite, how memetic are we talking and how much involvement?
Do I just have to yell some shit like "gamers rise up" or is there a script/lyrics?

>de-esser
I'm a fucking retard, using one for the vocals. No idea why it didn't occur to me. Thanks

oh fuck you too

nice

Try to slip in a quick little joke about feminists.
Men in power love jokes about feminists and it lets them know you're one of the cool guys.

Go get aids like Sammy so we can all laugh even harder at you.

>instaud.io/3tuL

I dunno sounds like restaurant music. Why would you make this?

Attached: 1553536659959.jpg (1592x2627, 1.01M)

I'm an incel.

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DL'ed Ableton. These sowns suck. How I get better sowns?

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Thoughts on this track I made today?
clyp.it/02aifapk

Attached: 1551668396884.gif (500x400, 2.91M)

Just terrible. None of the voices compliment each other

Attached: 0cf0fb517f14d5647f8895be5097f073.jpg (236x261, 10K)

Alright, thanks. Should I just scrap it, or do you think I can fix it?

fl studio
good to know, thank you
how so? melody wise or just overall? i'm right there with you but I'm not sure what to fix
shits n giggles
kinda reminds me of lsd dream emulator music

Just hard pan elements. You could layer instruments too, look up layering, or parallel compression

gotcha. thanks for the feedback

Sounds a little muddy and unfocused, maybe clean up the low mids and boost the upper frequencies. A spring or plate reverb would probably sound great on this track too

You made that in FL? HOW?

someone link the abac thing

would i apply the reverb to the whole track or just some elements? are there any good spring/plate reverb VSTs?

mostly midi but the bass is a recording

oops forgot to @ you

>theorylets thinking they know what makes a song good

Attached: orsons.jpg (500x616, 54K)

theorylets BTFO

youtube.com/watch?v=hbPeOkuIY4Q

where do i find more music like this

theorylet is someone who doesn't know enough theory, right?

no
someone obsessed with theory

lol

Can someone post what is a rubber sound?

Not bad. Basic and incomplete but it's a good start and I find it more listenable than a lot of stuff I hear here.
Don't worry about trying to come up with an entire song full of chords right now. Come up with one sequence and then try to find an alternate one in the same key that complements the first. You're still very new at composition and you should just try to play some simple stuff on the keyboard first to wrap your head around it all. It will become more intuitive with practice. Don't get overwhelmed by too much too soon at this stage.

youtube.com/watch?v=GCmfztmG1GU]
youtube.com/watch?v=WAqO-bCYH-g

this

it's all about the ear

please stop you're killing me

The individual elements sound good but like said it's a bit jumbled and discordant.
I could see this really appealing to people under some kind of chemical influence.

If you want to create your own patches, than yes, you need a synth, hardware or software. To start I suggest something with knob-per-function

sorry I was off across the border for groceries

it's more or less an acapella of mad world with meme pol-flavored lyrics

Is there a place to watch Sonic Academy tutorials for free?

FUCK YOU.

clyp.it/ac1bzmnt

Mini-Moogalikes are a good place to start. Synth 1 is good too.

>That means they are going to include an accidental whether you're working in minor or major. Their purpose is to create dissonance and tension, in my understanding.
>I could see it working as the resolution in a progression of minor and partial chords.
What kind of accidentals you use to resolute to other chords in augmented chord? Any tips on "choosing" accidentals in augmented chords (or in any kind of chords in general if you don't mind)?

I only know that I can use 9, #11 (to not make it clash with the 3rd notes of major), and 13 extensions from playing a little bit of jazz. This kind of extended chords usually serve as tension to more "simpler" chords (dominant, maj/min7, or just plain maj/min). But I don't know anything beyond that

>if your scale include C and D and the accidental is C#, try to make sure at least one of C or D is very unimportant and rarely played in the song.
Eh is that so? Thanks a lot, I often thought that as long as the use of any accidentals don't clash by a half step with currently playing chord notes who cares lol

>Not bad. Basic and incomplete but it's a good start and I find it more listenable than a lot of stuff I hear here.
Based. Thank you, user.
>Don't worry about trying to come up with an entire song full of chords right now. Come up with one sequence and then try to find an alternate one in the same key that complements the first.
Should I be linking each chord to the next through (at least) one shared note? I think that video yesterday was saying do that makes it sound more musical, but that feels too simple.
>just try to play some simple stuff on the keyboard first to wrap your head around it all.
Okay. I REALLY should start using my MIDI keyboard. I especially want to now that I just got Nilufer Yanya tickets. I just have a hard time finding the motivation to get out of bed in the morning and I lowkey feel like it's gonna break my laptop even though it worked fine before.

meant to reply to you

okay so how to make???
(not the ball that one sucks)

>Should I be linking each chord to the next through (at least) one shared note?
It's a good way to keep things simple which is a good idea for practicing.
Definitely you should break out that keyboard and start playing something.

Alright. Thanks again, user.

music theary

ANSWER ME!

Attached: a34.jpg (657x527, 29K)

git gud

for me, voice leading is much more important. two chords in a row that make sense harmonically can be made to make a lot less sense depending on their inversions. likewise, you can get away with some cool chromatic voice leading by paying attention to the individual notes in your chords.

the way i like to think of it, for each note in the first chord, think about what note it "becomes" in the next chord. if you have these big jumps in internal voices between chords, it can feel jarring, which is probably not what you want.

I just want to know where to start with VST's. There's nothing about how to get them in the pastebin. I want better pads and basses at the moment.

Attached: 3SFGV.jpg (500x282, 62K)

Good post friend. Also I think an interesting concept that I'm using more and more often is thinking of 6+ note chords as actually being hybrids of a few chords at once.

what's the optimal way to watch the varien vids

don't, he sucks

you think you're so smart hu

this

Try Viking for bass
Pads are really broad and you should really just check out a list of the best vsts somewhere on the Googles.

What you call 6+ note chords as "hybrids" are literally just major/minor chords stacked on top of one another if you want to simplify it

For example :
C7 = C E G Bb (C E is C major, stacked by E minor E G on top of that, then G Bb is G minor stacked on top of that E minor)
C9 = C E G Bb D (C major stacked with E minor on top of that, then G minor on top of E minor, Bb major on top of G minor)
C13 = C E G Bb D F A (C major stacked with E minor on top of that, then G minor on top of E minor, Bb major on top of G minor, D minor on top of Bb major, F major on top of D minor)
C7b9 = C E G Bb Db (C major stacked with E minor on top of that, then G minor on top of E minor, Bb minor on top of G minor)

It's all basic mathematics

Honestly if you have experience playing jazz I'm not sure I should be giving you tips on theory, I'm for the most part self-taught in that regard and most of that is just trying different things and seeing what sounds good. Also just really into waves and harmony and shit.

By accidental I mean notes that are not in the scale entirely, 9th 11th etc. usually refer to notes in the scale. And you choose the accidental by choosing the chord, for example an augmented C triad(C E G#) will have an accidental E in C Minor, and an accidental G# in C Major.

The thing is there are two equally viable ways of writing chord progressions. One is to choose a scale, then pick and arrange from chords in that scale. The other is to make every chord available, make a progression that sounds good and then see what scale you end up in.

And again, I would worry about picking the chords rather than picking the accidentals. Major and minor chords both have very distinct tones, so augmented and diminished chords are great whenever you want to get away from those tones. Change the mood without reversing it, so to speak. On the other hand, most songs don't have accidentals and you've got to make it a big deal when you put them in, you've got to own it and make it a key part of the song. Don't use an augmented triad when a major triad would do.

not really

just sharing some q u i c k t i p s

I know that user but you can think of them as hybrids of seventh chords. Also there are many chords that cannot be merely spelled out in thirds

Another track I just made.
clyp.it/gurdbywb
Thanks for the feedback.

I think the very existence of someone like Demarcus proves Clyp is not a viable platform for sharing music in /prod/ anymore. What does anyone have against Instaud?

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I use it exclusively, but you have to realize that creating music is an act of the ego, and typically driven by the desires of the id, so anonymity isn't usually the ideal state for the musician.

Whether its ideal or not its the rules.

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what does that mean

What do you guys think of KRK Rokits?

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that tweet is just a stupid kneejerk reaction to their ubiquity, especially amongst bedroom producers. they're quite good for the price.

Thanks user, but what do you use for pads?

not him but what about JBLs?

can i have feedback before the thread dies, please?
instaud.io/3tG0

>they're quite good for the price
people need to stop saying this shit
"good for cheap" just means "yeah they're bad but they're the best in that price range"

rokits are bass boosted shit and everybody knows this. people say the same thing about all the fucking scarletts and we all know those clip like shit

much better

I agree heavily with that post. My younger bro needed a speaker for frat parties funnily enough, I told him to get a single Rokit 10. They love that thing

lol the 1930s called and they want their pseudoscience back.

So can I make and produce and sell music using a pirated FL studio that i have?

Or will artists know their pre-sets and sue me?

Will I get sued for using FL studio pirated too?

How would they even know?

because you just admitted it here

Why do people keep asking this.....

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oh man, that's pretty good. Reminds me of No Now by clarence clarity

>instaud.io/3tG0

Reminds me of Brainfeeder

They can embed a certain inaudible frequency in the exported audio that can be filtered out with certain software. Since you're probably not going to blow up, I really wouldn't worry about it.

Alright so I understand that augmented has somewhat same roles as diminished chords, but I still don't understand how do you choose accidentals, especially after reading this part
>And you choose the accidental by choosing the chord, for example an augmented C triad(C E G#) will have an accidental E in C Minor, and an accidental G# in C Major.
Like for example if I made this progression in C major which goes => F#aug - Bm - Eaug - Am - Ddim7 - G7 - C, how do I choose the accidentals for F#aug and Eaug ones?

make them using ableton's stock synths. learn what each of them do (wavetable, analog, operator, sampler, collision) and what sounds they're good for. don't download a single VST until you know every single stock Ableton tool inside out. anything you could get from the internet are just fancy versions of the stock tools that'll just make learning sound design harder.
also keep in mind that half of the sound design process is in the fx chain and how you process that sound. If you don't like the stock sounds, it's because you haven't done anything with them.

also, turn on abletons info panel with Shift and / (as if you're typing a question mark). hover your cursor over any knob/button/slider etc and it will be explained in a panel to the left of the effects rack. you can also use this panel to make notes by right clicking on a track and choosing "edit info text"

What if I'm lazy and I just want to find some good soundfonts?

instaud.io/3tH8

is the compression weird on this?
also someone had said the second half is too long & repetitive, would adding more layers help with that, or is it good how it is now?
also i know that this song doesn't really follow any theory rules, i was just kinda fuckin around.

kontakt/omnisphere it is

how do you know he's not going to blow up?

Because he probably sucks like everyone else on /prod/ and also the sheer improbability.

Ask Curtiss King.

Blowing up is very subjective though, blowing up to me is being able to make music for a reasonable living wage.

>random ass noobie asking dumb noobie question
>dude he might blow up
r u dumb

every producer started as a newbie you retard

I hope when Demarcus blows up he remembers his friends from /prod/

Well in that case your still not going to get "caught with your hand in the cookie jar".

majority of people completely drop this within a year
majority of those who don't never make anything that sounds even remotely good
vast majority of those who make something that's good never get heard. (so never make a real wage off it)

the retardrf thing to ask is why anybody thinks that somebody *won't* blow up, shit's backwards

Hi, need help and this is the only thread on this board that seems related.

Want to save a single track part(for future use) from half a dozen Im stitching together in Audacity.
What is the best format to save such track so there is no loss in quality? I know next to nothing about music formats.

wav for me

Group_Inou? It's the only thing that came to mind that's japanese.

Nah I agree with your last part, but there's no way of saying if someone isn't or is going to make it just because a newbie asked a newbie question, we don't even know the user personally.

Chances are none of us will "make it" but we aren't numbers. Some guys will never "make it" because they have no aspiration to make it in the first place, some people never get good enough to make it, and some people get close, then realize it's not worth it for what it could entail.

wav or flac

i've heard lots of good songs from anons here recently though

Thanks, wav it shall be.

It’s still worth learning synthesis if only because it aids workflow. Idk about other anons but if you know your shit you can whip together a basic pad/lead/bass/pluck or whatever and keep moving. Presets are fine but you’re gonna hit that moment where you’re scrolling through sounds for a half hour and fucking kill whatever momentum you had

Now that we've hit bump limit, it's time for some more random instaudio finds

instaud.io/2cfv
instaud.io/ps3
instaud.io/2uBk
instaud.io/3eHG

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Some of it's pretty dope

instaud.io/2NyZ
instaud.io/2moW
instaud.io/1VmC
instaud.io/TFy

Demarcus, without your dungeon synth roots your beats have lost all soul to my ears unironically. Could you do just one track with strings and flutes again but without percussion?

Don't lie, Jesus doesn't like it.

Fuck that gay shit, I won't get laid off elf music.

Oreos don't get laid anyway.

Jesus is dead tho

And we'll all be dead with Him one day user.

cringe

Please, just one more time. I can't find a certain track of yours anymore that you had up a few days ago.

new when

has anyone ever had to deal with m-audio customer support? how helpful were they? I bought a keyboard recently and the 5 pin output doesn't work, even though USB works fine.

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It's only page 3

I got a pro88 refurbished from the local music store and two of the keys failed. They ended up sending me a brand new keyboard as a replacement in pretty good time. No idea how it would have been of ii had to deal with them privately without the music stores help though.

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