/prod/ - music production general

clyp.it/5zxsa03t

started watching some theory videos but got so horny and lonely I couldn't finish them

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It's great but it will go on sale again. I'm guessing 10 isn't too far off either.

huh

what did it sound like?

BAN CLYPOSTERS!

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And by 10 I meant 11 obviously

It had a thick layer of strings and flute. I mentioned it in the thread a few days ago, maybe I'll find it mentioned in the archives.

why

Thank you; I'll spend my time getting good in Reaper :3
No, but I feel like it might be fun to make some cheesy electronic music. All I need is sleep.
Of course. I've had the demo for a couple weeks but haven't gotten around to using it much.

>Reaper

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because Demarcus is cancer. Worse than a tripfag. I can tell you I could have gone my whole life without knowing about nigger who wants to write a Zombie Musical.

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the dreampop song I tried to do?

clyp.it/0ja2rkxr

ableton live + renoise >>>>>>>>>>>>>>> POWER GAP>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>literally everything else

I wish I could get happy and smile about something.
This is one of your better ones. Nice work. A little repetitive though.

Seriously I can't get Kotakt to work. Please help me! Both Ableton and Kontakt are 64 bit.

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Kontakt doesn't work with a pirated version of Ableton

>This is one of your better ones. Nice work. A little repetitive though.
Nigga thats from like 3 months ago can I get some feedback on the song I just posted? 27 minutes ago?

for me its cubase

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it sucks

not true quit being a kike and lying to people

:)

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look at the big brain on brett

Okay I figured it out. I was being retarded

you are 100% correct. i used trackers for 7+ years when i started writing music (mainly in the context of chipmusic/demoscene stuff) and renoise was naturally my first "modern" daw. ableton has been my primary daw for the last 5 or so years, and i've used it with renoise as a slave via rewire, and holy shit, do you get the best of both worlds. paino roll based daws have always been missing a lot of the natural ease of doing certain things that are super simple in trackers, and vice versa for trackers. ableton (in my mind) is one of the best modern piano roll daws, and renoise is (essentially) the only modern tracker daw, so the pairing is pretty obvious.

What kinds of things do trackers excel at? I've always been interested in trying one.

I don't like this it looks like a chinese cubase knockoff like they do the fake game consoles

I used to love tracker/demo scene stuff. Still do I guess but haven't listened to much lately.

>things that are super simple in trackers
Like what?

It'll go on sale again, probably as early as May.
They may have released v11 by then, so it might not be as heavily discounted though.

breakbeat and dubstep

modplug is really easy even for brainlets like me. You've got samples, and patterns of notes with some effects, that's it.

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I don't find it easier to make tunes with modplug. It's awkward separating chords into multiple channels and just having letters and numbers representing their value. It's slower and less intuitive. I know you can record stuff live with a midi controller but it's far too messy that way. I can see the use for some rhythmic stuff though.

Pro Tools

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sample manipulation and advanced drum sequencing/effects for things like breakbeat music are the primary reasons I use Renoise as a slave in Live

I sorta went in the opposite direction. I started off using Live to make stuff like drum and bass. I wanted to make breakcore and also take my drum and bass to the next level, and everyone told me "You really need a tracker to actually make good breaks", but I didn't understand why or what they meant.

Then last summer I bought Renoise and learned how to use it, and figured out I could use it as a ReWire slave in Live. I instantly understood the limitations of piano rolls when making breakbeat music, and I finally understood how my idols made the sounds they used. I still have a long way to go until I can do what they do, but I finally understand and see the path forward to what they do.

It's sort of like living in 2 dimensions, then suddenly someone adds a 3rd axis and you have an entirely new dimension of possibilities in which you can work/experiment in

clyp.it/5zxsa03t

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sauce on the woman in your clyp?

give me feedback and I'll tell you

Generally, sample manipulation. Samples are first class citizens in trackers, including Renoise. There are a whole lot of things you can do with samples that are certainly _possible_ in piano roll based DAWs, but certainly not designed to be done.

Historically, the way that trackers allow to modify/apply effects to samples in "real time" (i.e., automation) is through something called effect commands. For each beat (or number of ticks) there's a slot (or arbitrarily many slots) where you can apply effects that target the sample currently playing in that channel. For example, say you want to jump to n% of the way through a sample on a particular beat, or arpeggiate the sample and continuously change the arpeggiated notes on each beat. These are a few stupid examples of stuff that's super easily done in trackers.

Here's a link to Renoise's docs on effect commands. Renoise expands on their traditional sense for a modern DAW, in a pretty smart way imo.

tutorials.renoise.com/wiki/Effect_Commands

I also look at individual channels per sample as 100% a feature, especially in modern trackers where there's no real channel limit. Say you have one sample playing a chord, with its individual notes in multiple channels. What if you want each note in the chord to have different effects which change over the length of the chord? Just add the appropriate effect commands to each channel wherever you want. It's literally designed to do stuff like that. Good luck doing something like that in a modern piano roll DAW, where you're playing all the notes in a single channel -- there's no way to isolate individual notes. Sure, you can split the MIDI clip up into different tracks, but that's not really what those DAWs are designed to do.

I could go on and on about trackers. There are a bunch more features of trackers that really make them stand out from other piano roll based DAWs.

It's ass as usual.
Gimme the knotty on the hotty thotty.

is there a site to watch Sonic Academy tutorials for free? Timecop1983 for example.

The chords and melodies are not quite good yet but you're noticeably improving.
The parts don't quite fit each other very well.
Everything is too repetitive. Especially the drum beat. Add variations when you repeat something. Don't just repeat them as they are.

audioz.download/

They don't have the timecop one (if it's a new tutorial they'll probably add it eventually) but there are many others from sonic academy and other schools/sites.

clyp.it/1buaqaci

posted this in a previous thread, but i've expanded on it and done some mastering work, think it's sounding better and better.

i'm the guy who's been raving about renoise above btw

I might be too drunk to articulate this properly
I'm getting the hang of Renoise, especially for breakbeats and such

but I don't understand phrases at all
people who get them swear by them
but they just get in my way. Obviously I haven't seen the light

you seem to be very well versed in Renoise , so if you can, could you explain to me how/when/why you would use phrases? Maybe put it in context of breakcore or drum and bass so it'll click with my retarded brain a bit better

I'd also like to know this. Also [spoiler]more Reasonpost.[/spoiler]

youtube.com/watch?v=EPX4SZp6qRY

Its sounding pretty good but work on your separation with either EQ or panning. I'm not usually a fan of the vocals following the rest of the instrumentation note-wise but it works here, issue is everything's sitting in the same space.

This is right up my alley too
I'm afraid.

hey guys! here's a little lofi thing i made. i dont know if any of you guys are into anything like this, but it was fun to make.

soundcloud.com/wayjay/its-4-am-and-the-party-is-over

okay thank you for actually answering this, that's exactly what i wanted to know, and exactly how i felt ableton fell short; most of the time i wait to resample at the last step or have to have macros for every little( "effect" or manipulation etc and i run out pretty quickly (8 per drum group, 8 for "master" drum bus") I don't even make break music lmao.

i've asked this question like 10 times and every time somebody just said something really vague that didn't seem to have an advantage over ableton macros

This is a good song (that i totally don't vibe with lol) but the mix

>soundcloud

oop

these are good. thank you anons
same. trying to learn more and more about the synthwave genre.

...sigh. I'm really never gonna make it at this point. Making 8 bar chord progressions and melodies is just too much. I don't want to practice making "good" chord progressions. It just feels forced. I don't want to be the best at manufacturing emotion. I don't want to be the best at putting everything in the "correct" place mathematically so it all fits together perfectly. Searching for the perfect way to create variations. I just want to make fun pop songs and rap beats why is this so fucking HARD.

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That's a great question. Phrases were introduced near the end of my time using Renoise as my main DAW, so I never got a bunch of time to use them. Generally though, I think of them as basically an abstraction on top of instruments. Think of a phrase as a generalized instrument, and a regular old instrument as a specific case of a phrase. Operations and effect commands that operate on instruments operate the same way on phrases (for the most part). In this way it gives you this really nice abstraction layer to create really complicated, reusable, and modifiable, well, phrases, in a really powerful way. I never really implemented them into my workflow, so I can't speak to specific use cases too well, but use your imagination. Just from writing this out, I'm already thinking they're insanely useful for detailed drum work, for example.

what's wrong with soundcloud

Because you can't play an instrument. How many dozen times do we have to tell you play your damn keyboard?

everybody who post links here can't read

Not that dude but what do you mean play an instrument? I can bang random keys on a keyboard all day and sometimes it sounds nice but how to actually get good? Music theory?

You learn by learning to play music.

Like reading sheet music or what

You could start with simple songs you like and just use guitar tabs.

That really can't be it. It can't be.

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Read the OP, there's a place to shill your SC and it ain't here
You'll find yourself enjoying writing and actually improving if you start actually playing your own progressions and improvising.

What makes improvising on an instrument better than improvising in a piano roll? It's all MIDI. I don't have a real keyboard.

You don't have to be the best.
Also that involves decades of constant practice and study.
You only need to become ok at it. Hell, just focus on not being bad. That doesn't take much. You can definitely do it, but it's going to be completely impossible if you don't put some actual effort in it, and at this point it doesn't seem like you're even trying.
Right now it's even hard for us to help you because anything we give you you're just gonna avoid it if it takes too much time/effort or if it's too basic, so your options to learn are very limited.

Here, if you don't want to watch the Varien videos, take a look at these:
youtube.com/channel/UCDKiHSPstsj0silp519gt6w/videos
They should teach you a lot of tips and tricks to improve without getting too complex.
They're a bit longer than you might like, but stick to them because there really isn't any shortcut shorter than this.
If you can't watch even these shortcut videos, there really isn't any hope for you and you should find something else, so force yourself to watch them (or to have enough willpower to actually put the necessary effort).

Also, read the fucking book I gave you. It's going to boost your skills so much faster than any YouTube video could ever dream of.

Also, listen to the other guy.
Learning to play an instrument is an incredible boost for your sense of music, which will reflect in your compositions too.
You literally can tell when someone makes music without playing instruments with almost complete accuracy.
It's also fun, so you have no excuse.

yee that was my bad

It's much more fun with an instrument.

You got feedback, now give us sauce.

You will find out in another 10 years.

You can't be serious.

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Are you retarded?
Serious question.

>You literally can tell when someone makes music without playing instruments with almost complete accuracy.
How can you tell? Can you post an example?

that lead is great can't say the same about the chord and 808s

>but it's going to be completely impossible if you don't put some actual effort in it, and at this point it doesn't seem like you're even trying.
I'm trying, I really am doing the best I can, but like I've said: half my mind is gone.
>You literally can tell when someone makes music without playing instruments with almost complete accuracy.
>It's also fun, so you have no excuse.
I miss it. I really do. I've missed it for more than a decade. I wish I never stopped playing in the first place.

Yeah. Yeah. Maybe I can do this. I'm looking at my MIDI keyboard right now. Maybe if I get into the mindset right now I'll have enough rape energy in the morning to just do it. Just ejaculate all over this. Michael New I'm COMING FOR YOUR ASS.

Thank you.

>What makes improvising on an instrument better than improvising in a piano roll?
You don't have to click things with mouse and stare at screen for a long time to find out whether something sounds good, it's either good or bad if you play instrument user. No fucking composer of any genre can't play some kind of instrument, your problem isn't sound designing/preset/mixing or whatever

If you want to make a good memorable song like pic related you at least need to be able to play some kind of instruments at basic level. Damn I hope that you aren't trolling or baiting
youtube.com/watch?v=Y3ySiI03cv0

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Because rather than clicking little boxes to place your notes and doing it all with mathematical precision, you're actually creating the music live. You get a LOT more feel out of manually playing it.

I can't articulate exactly why, but it sounds off.
It's like looking at a 3D-generated face and experiencing the uncanny valley.
You can tell there's something "off" with it.
Particularly in the chords.

I'm not gonna upload it for obvious reasons, but my music used to be like this for the longest time (I can't afford instruments or a controller so I never learned any), and I had to specifically train myself to detect it, and it's still not quite free of this problem.
It goes away when I make music just by improv singing it into a recorder though, but the chords don't always come out like I want them to when I sing them this way (either arpeggiating them or by singing one voice at a time like with a looper), so I still have to edit them in the piano roll.

>half my mind is gone
It only is because you keep telling yourself that it is.
Stop whining and start working on improving anyway.
It's going to be difficult at first but you'll get used to it and learning new things will become very easy.

I wasn't asking for the pic he posted, but the one in his clyp.

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Did you post the wrong song and picture?

I want to ask what channels I should go for learning keyboard besides Michael New but I'm not gonna get started till tomorrow morning. Is it cheating to write the which key is which on my keyboard?

>It only is because you keep telling yourself that it is.
Ha. I really wish that were true.

>Is it cheating to write the which key is which on my keyboard?
Not at all. Do anything you can to help yourself.

>Ha. I really wish that were true.
Even if you actually are as mentally handicapped as you are, your choices are either keeping on whining and wasting your life, or powering through anyway and getting the best out of your situation.
Until now you've chosen the first option, but there will be a moment where you'll be forced to go for the other one because otherwise you'll just end up homeless with no way to ever bounce back, or dead.

So you better start changing your mindset now that you still have time, because the later you do it, the more likely you'll be a fuckup for the rest of your life.

>ou'll be forced to go for the other one because otherwise you'll just end up homeless with no way to ever bounce back, or dead.
Jokes on you, I want to die.

Cool.

>Did you post the wrong song and picture?
No, that song is pretty decent composition, interest, and sellability wise despite my dislike with EDM music in general

damn those lyrics made me cry

>Jokes on you, I want to die.
Then just kill yourself and spare us this pathetic theater you put us through every single fucking day.
You'll have to anyway if you don't change ASAP. I'm completely serious.

We keep wasting hours upon hours of our life straining our patience just to help you and you keep dismissing everytihng with one-line replies like this.

If you don't want to help yourself, why should we do it?
I'm tired of putting more effort in trying to help you than EVEN YOU do.
It's ridiculous. Evey time I decide I would stop engaging with you then change my mind, you prove me wrong and make me hate you again.
I'm not going to help you or respond to you anymore until you demonstrably change your mindset.

This is the last bit of advice I give you and you better take it very seriously:
Carol Dweck is one of the top developmental psychologists (if not THE top) of our time, and she's world famous for her work on the effectiveness of mindsets (particularly what she calls the "growth mindset").
Watch her TED talk right now:
ted.com/talks/carol_dweck_the_power_of_believing_that_you_can_improve
And for the love of god read her book:
www3.zippyshare.com/v/ucqrTeyu/file.html (I DLd it now from Libgen so it's not the same file I read it from, but it seems to be the same content).
It's short and it's a very light reading and tells a lot of stories of people who went from losers to winners by changing their mindsets.
This is your biggest problem that all the other ones stem from, so you should do yourself this favor and read the book very attentively, because if you keep having your current mindset you'll never go anywhere in life.

Good bye.

I'm literally mentally ill.

Most of us are.
Hell there are at least two Anons who are hikkikomoris and didn't leave their house for more than a decade, not to mention how almost all of us are suicidal to some degree.
You're the only one who keeps crying about it instead of trying to do something about it.
You're the one who has the whole community trying to help you and you keep throwing all of it away.

FUCK why do I keep replying?
It bothers me way too much that you're like this.

hes right
if you don't want to help yourself then its not right that we do it for you
i'm gonna start ignoring you too

Add me as well.

We should all start ignoring him until he stops being a bitch. If everything else failed, then maybe this will push him a little bit.

what producers have good lofi sounds actually using lofi equipment or at the least equipment that costs less than $500

clyp.it/rrhsz4k4

someone plz gib feedback on this i think its sounding decent

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Intro:
The moody background stuff is too repetitive. I'd change it gradually to create some tension for the drop.
The high pitched sound that comes in after a while is too high-energy and clean for the already present stuff, so it doesn't fit too well.
Same for the hi hats but not as much.

Drop:
Way too crowded.
Focus on having the focus on one instrument at a time. Right now there's too much stuff in the foreground so it ends up being a cacophony on random-sounding stuff.

thanks man. this is a first time doing something w a big drop. i try to build momentum for the drop but i really know how to either kinda.

I wish we could go back to old prod where the worst were Sammy and Jbenitex, which were at least kind of entertaining.
But then Demarcus came and the shitposter made fun of him so hard that the whole of /prod/ just died, and now all we're left with is Demarcus.

>equipment that costs less than $500
Like total? none. You're being vague. "lo-fi" rock is expensive. hip-hop, maybe maybe not. hardware guys need $$$, software.... well $ or pirate. sounding good/lo-fi isn't cheap, sounding shitty is

sammy was never entertaining and he's just a faggot.
Jbenitex, eh.
Demarcus is only bad because people keep paying attention and trying to help. Shitty song No. 225 is barely different from no 143, his process doesn't sound different at all. Honestly People who haven't been producing for a couple years at least aren't even worth trying to help most of the time, you end up explaining rudiments that they probably won't internalize with your explanation anyway

That's why namefagging is cancer and why clyp.it needs to be banned now that they require an account

The easiest way to create tension is to make thngs rise.
For example by gradually pitching things up, filter automation (LPF opening or HPF closing, or even just a bell peak going up), have things speed up, etc. but I think the most tasteful way is to just compose it with increasingly higher notes.
You could have none of the above and make a perfectly effective crescendo just in the piano roll, so you could do that and apply the abovementioned tricks in a subtle way.

Also a common trick is to reduce the low frequency content over time (either by high-passing it or just by lowering the volume of the bass) so right before the drop there's none of it in order to make the bass in the drop hit you harder and get a lot of release ofr that tension you built up.
A bit of silence like in your clyp also works.
Another way to increase the release is to have a drop that from the very start hits you with a full spectrum wall of sound (a cheesy way would be to put a crash cymbal or a white noise burst).

Think of tension like a balloon that you're inflating, and the release like it blowing up.
You want to stretch it as much as possible, then you want it to blow up as hard as possible.
If your music doesn't feel that way, you need to change something.

Agreed.

Pro Tools is the fuckng best for tracking large numbers of channels, serious editing, surround sound mixing/mastering, and post production for film or television.
If you aren’t recording live drums, mastering, operating a commercial studio, or doing lots of editing, you can use other shit I guess, but if you’re making serious commercial releases you’re going to be giving your music to people using pro tools.

Avid, the company that makes pro tools, is a fucking dumpster fire and can suck syphilitic horse dick

>mastering
yeah i get the editing and tracking/industry-compatibility shit but explain this. As far as i'm concerned the only people who care about pt are rockists/oldheads, "industry" engineers and some film composers

youtube.com/watch?v=l2UIEAiiuDg

what the fuck is this arrangement? where's the hook?

How did you fix it, mine isn't working either

EQ out some of the mids in the synth that comes in in that intro. is right about that sound being too high energy, either muffle it with a low pass (could even back it off to build the drop, which brings me to...) you need more tension before the drop. Play with filters.

instaud.io/3tH8

feedbacks pls?

what the fuck is wrong with you people

I'll just ask in here and im not being ironic or anything.
there are 0 dubstep threads on this board and i don't wanna open a thread just for that.

for whatever reason bangarang got into my shuffle some time ago and even though i used to hate it i enjoyed it a lot.

>is dubstep still a thing?
>what are the current top artists?
>what has changed since 2011?

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Are you Demarcus?

Honestly I started on it because my dad was an old-school engineer and he bought it for me when I started my degree, but every single industry interaction I've had has had people using Tools. Studios, smaller mixing operations, mastering, whatever. I know one guy that uses Studio One but thats just for fucking around in, and back to Tools for mixing and mastering. The only thing its missing compared to Ableton etc. is a good sample stretching/warp implementation, and thats just because I haven't been fucked to really mess around with elastic audio.

But Avid is a steaming pile of shit, and the fact that their implementation of WASAPI on Windows is still fucking broken (and if you want to get any support/updates you've got to pay for another upgrade plan, good goyim) is a disgrace.

Really flat, no seperation, and your reverbs are a fucking mess. Clean those up. There's also no progression or transitions, need to work on some more flow and structure.

And the faster section that starts at 1:40 is all these problems coming together at once. Once you've cleaned up the reverb it'll be a bit less all over the place but as it is now its just too hectic and chaotic to be good.

factmag.com/2019/03/28/serato-studio-beta-launched/

RIP Ableton

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hey guys, sometimes i get in moods to make this really unstructured, well, shit. and its not unstructured in the "experimental" way, its just like, i have the pieces but i dont know how to put them together other than a really loose assemblage of sounds. id ont get like this that often though but how can i force myself to "feel" a structure tot eh point where it makes sense to put things in certain places?

instaud.io/3tN5

like this. it ends up sounding like some retard slapping a keyboard. and its not like i dont know how to stay on beat or quantize, the stuff i usually do isnt like this, i just find it hard to drag my mind out of this mode.

I haven't followed it much for a few years, but from the little I hear, it's been evolving in some weird ways.
There's Riddim (some used to call it "swamp") which is probably the worst genre in all of electronic music and consists of one or some times two notes of some disgusting sound repeating rhythmically throughout the song.
youtube.com/watch?v=YauLZWmBJWc

Then there's shit like this:
youtube.com/watch?v=BS87krWeYpA

Or this:
youtube.com/watch?v=6g4N_9gPKUw

Getter was also really popular for a while:
youtube.com/watch?v=JjJ90jhS84A

This "cyberpunk-y" stuff has been really popular for a year or two (it's basically the new synthwave but mixed with dubstep/complextro):
youtube.com/watch?v=7rr-vAsxWhY

Some of the more underground circles have been doing this kind of stuff but I'm not sure It can be called Dubstep:
youtube.com/watch?v=HLPA3TIFPZI
youtube.com/watch?v=Ne1KlUkyS6I

Then there's Deathstep, which is pretty self-explanatory:
youtube.com/watch?v=pypzNzOAUKM
youtube.com/watch?v=Jk_nwS2CppA

Then there's the trap-influenced stuff:
youtube.com/watch?v=Lfk1O_NRCc0

Then there's the usual stuff but with more refined production:
youtube.com/watch?v=pyQKntpFtBs (the first drop is a remake of an old song but the second IIRC is newer).

Then there's various producers having their style and whatnot, but I can't comment on that.

AFAIk this is the last Dubstep-ish song that Skrillex made:
youtube.com/watch?v=ZkqyIoYAXV8

Sorry if these songs are old, but I'm not really up to date with the whole scene.

Perhaps check the Beatport charts to see what's popular and who are the top guys.

Can't wait to see pretty boy DJs pretending to use it while their ghost producer makes all their tracks behind everyone's backs.

>no progression
do you mean like chord progression, or do yo just mean it fells like it's not going anywhere?
>and your reverbs are a fucking mess
shit there's only three (of 8) tracks with reverb...
thank you for listening.

I mean... its exactly what you said it would be, so I can't say I'm surprised. The base sounds are sorta cool, they're just arranged in such a haphazard way. Yeah I dunno man, kinda think you might want to revisit more traditional writing techniques sometime.

Its not that too many tracks have reverbs, its that either you're either running them too wet (if they're inserts) or you have their sends too hot (or volume too high/delay too long) if they're on aux tracks.

A tip if you're not already doing it? Set up a single aux track with one reverb on it, and nothing else. High pass it so you're cutting out mud, then throw in whichever settings you liked the most out of your reverbs you have now. Get rid of what you had before, and send all of the tracks you want reverb on to that with buses, then back the send off until its not sounding so washed out and messy.

By progression yeah I mean chord progression, which lends the problem of the latter (not going anywhere).

I suppose it might be fun to try and fit these sounds into a traditional structure. i think i end up thinking of it more as sound than as music so when stuff doesnt make musical sense, it doesnt stick out to me if i like the texture.

for context, this is something i did that has more of a traditional verse, chorus verse structure instaud.io/3tNf

unfortunately i cant mix for shit

Looking for feedback on this track

instaud.io/3tNd

Pretty new to this and I'm mostly experimenting and learning stuff, so any advice is welcome

that was the first serious response i ever got on Yea Forums
thanks man. i will check it out later and see if i can find some stuff that inspires me. appreciate it

Np man, glad to help.

The post is probably missing some pretty important stuff, so perhaps try asking on a dubstep-centric forum or subreddit and you'll most likely get a more exhaustive answer.

ffs this whole post kinda goes over my head, i get the high pass part and yeah all of the reverbs i have are set to pretty long decay times, and the dampening pretty much removed and i'll fix that, but "aux tracks" don't exist in my daw as far as i know, and the only place i've seen busses has been on one of the drum machines (that i'm not using.)
again, i'm grateful for your time, but you don't have to try to explain it more because you probably have better things to do with your time lol

Its no worries, I occasionally pop in here to offer advice and this is the first time in a hot minute where it hasn't been wall to wall shitposting.
Basically an aux (auxiliary) track is a track that can only take effects - you use this to get multiple tracks feeding the same effect. A good way to glue a mix together for example is to set up a compressor on one of these and send multiple tracks (ie drums and bass) to it.
What you're trying to do is set up a reverb on it like I said. Generally most DAWs have a way to set up buses/sends, google it for yours. You want to get one of those on your original instrument track and set it to about -20db to start. Then set the input of the aux track to that bus (thats how it works in my DAW ProTools anyway).
You do this with whichever tracks you want reverb on. Its lighter on your CPU (less instances of the reverb running) and will usually help the different elements of the track sit in the same space.
You can google most of the stuff I said for your DAW; if a DAW exists that doesn't have them it isn't worth using and you should move on. Out of curiosity, what DAW are you using?

prepare to kek:
i'm using reason,
reason 5
i'm basically only using it because i had a crack of it from a friend that i got almost 9 years ago, and haven't really had the money to get a recent daw, and dont trust myself to pick a safe crack of something else.

Download Ableton Live 10.0.6 from audioz.download
It's released by the most trustworthy audio warez team in the world (R2R) and it's guaranteed safe by the site and its autistic community who'd let you know immediately in the comments about any malware.

oh shit i just realized it has aux tracks built into the mixers kinda? it has aux sends on them, meant to be like on a physical machine i think?

Jesus. Well, we make to with what we've got. I used to make ultra shitty rap beats in high school using Fruity loops. And yeah, thats right. If you just google "reason 5 aux track" you'll find videos that give you what you need.

that's what i did, it showed me a picture of the mixer, and then i made the post

I'm still kinda new to music, this is my 4th year doing it. I find that I often have to really, really force myself to make longer tracks. Usually one of my criteria for a track being finished is that its over 4 minutes or so, or at least 3 if its detailed enough.

I mostly do this to get better at running with ideas and developing them but I'm wondering if thats a stupid thing to do because it sort of prioritizes finishing tracks over finishing really good tracks that I like a lot. Instead of having like 5 9/10s, I end up with 15 6/10s. I don't think I'll be making my best stuff for awhile though and I've often heard that finishing tracks even if they suck is a good method but is there a point at which you should grow out of doing that? It just feels kinda.. artificial. Like I'm arbitrarily extending tracks for the sake of it.

Does anyone have opinions/advice on this?

I used to really suffer from this. Two tips:
Rather than striving to finish your mediocre album, focus on what your genre is and finish a good EP.
Find inspiration for your structure. Working with a vocalist is the best way to do this, since the classic intro>verse>chorus>repeat ad nauseam works with vocals giving you the main variety and everything following it. If you don't have a good vocalist, I've found using samples either from movies or documentaries to either build conversations or just provide a bit of tension goes a long way. Experiment with using sparse vocals during your build ups (verses) and then going crazy with solos (guitars and synths work here) in your drops (choruses). Throw in breakdowns for a bit more variation.

why is it that every DJ I've ever talked to has their head so far up their ass they could french themself

they don't even make music they really are the ones that just press play

Inflated egos from people treating them like superstars.

There's a hilarious video of David Guetta teaching production and answering production questions to a group of guys at some event, and almost all of the partecipants looked like the stereotypical DJ (tattoos, black v-nacks, etc.) and I remember this skinny nerd actually asking questions and everyone else just sitting there smirking like "get a load of this loser lmao I'm so fucking cool".
I'd be willing to bet a kidney that those guys were all DJs who don't produce, and were just there to meet Guetta.

(I have a terrible memory and I watched the video many years ago. I don't guarantee any accuracy whatsoever, and this post shouldn't be considered real anyway).

You're retarded

LOL RUBBER BAND XD

Found it:youtube.com/watch?v=DEfeh0bQ504

Not really like I remembered it, but still the point stands.

I like how he didn't even download the book (the last download time is currently the same as the upload time 6 hours later).
If he even is a real person and not an elaborate shitpost, he clearly doesn't want to get better.
He just wants to bitch and moan because it's the easiest thing to do.
It's both sad and pathetic in equal parts.

Yeah, that's why I decided to stop helping him until he changes.
Hopefully I don't change my mind again only to be newly disappointed after another 20 hours of posts.

Finishing tracks helps a lot, forcing yourself to develop your ideas helps a lot, finishing as many tracks as possible helps a lot.
All these things are useful, but in different ways.
Many great producers went through periods where they produced a song a day/week/whatever, and thanks to grinding through a large amount of work they improved dramatically.
This applies to all forms of art btw.
medium.com/@herbertlui/why-quantity-should-be-your-priority-3bc2b16fe3f5
So you should strike a balance between these "forces".
Maybe start with making a new song every day from monday to friday, then pick the best one and spend the weekend finishing and polishing it.
This way you get to practice creating quantity without wasting too much effort on ideas not worth developing.
Then on the weekend you work on the refinement of those worthy ideas.
After a while you'll find yourself making better daily tracks than what you'd make after a weekend of polishing the best ones, because quantity will undoubtedly lead to quality.

If you take more than 3 days making a track from start to finish, focus on making what you can as soon as possible and if the track isn't completely finished and polished by the end of sunday, leave it and start the new week.
As you grind through those tracks, you'll get progressively faster and you'll eventually be able to finish things in time.

Any good channels on synthesizers and stuff?

Well that's good to hear. I guess on some level it feels like I'm devaluing the process. At times I start thinking that the fact that I find making music hard sometimes and don't just love it all the time is some universal indication that I'm just fundamentally shit and no amount of practice will change that. Do you ever have thoughts like that and how do you deal with them?

Also I like the idea of doing tracks during the week and polishing them during the weekend. Right now I'm just kind of floating between ideas with no real direction and I think it's definitely slowing me down.

8-bit keys is pretty good. Sonic state is nice for getting in depth with synths and if you can bear his personality, Andrew Huang does at least show off some interesting gear sometimes.

>Do you ever have thoughts like that and how do you deal with them?
It's normal to doubt yourself.
Even the best do it:
en.wikipedia.org/wiki/Impostor_syndrome
Just keep in mind that if you keep working on it you'll eventually be good.
Even if you're shit right now, there's no way you'll stay shit after you put in the work.
Not always being "in the zone" or even wanting to work is normal and many successful producers talk about it.
Here are my notes from a popsci course that talk about ways to be more creative:
pastebin.com/PBJLG1x7
At the start there are the full notes, then the TL;DR version, and at the end the core information.
If you don't want to read the whole thing just read the TL;DR and core part.
I think you'll find it useful.

>Also I like the idea of doing tracks during the week and polishing them during the weekend. Right now I'm just kind of floating between ideas with no real direction and I think it's definitely slowing me down.
Try the weekly thing and see how it works for you. Maybe it does or maybe it won't, but it will surely benefit you (at the very least by helping you find the right workflow).

thnx

>At times I start thinking that the fact that I find making music hard sometimes and don't just love it all the time is some universal indication that I'm just fundamentally shit and no amount of practice will change that
Not the guy you're replying to but you overthink it too much. Passion/interest =/= thinking about it all the time, passion/interest=thinking about it MOST of the time outside of your responsibilities. There are things outside of music user. As long as you have some discipline to practice routinely you will get better, also even if your goal is to "make it" you need to have skills in other stuffs to succeed (socializing/networking with others, promotional/advertising stuffs, stage presence, gimmicks etc). Fyi, two of my favorite musicians are Yoko Kanno and Carol Kaye and they don't even listen to music much outside of work reasons, even Carol Kaye (which is a great jazz player) had said in the past that music can sound like cardboard when you're used with that, while nowadays Yoko Kanno said that she rarely listen to anything or follow musicians in particular to keep music fresh for her

I personally just draw/fuck around/hangout with friends or families when I'm fed up with music. Also the better you're at music (or any skills really), the easier you will be susceptible to feel fed up and bored with that

Thank you, these notes are very interesting and I really appreciate being given information.

>Just keep in mind that if you keep working on it you'll eventually be good.

Yeah this is something I try to remember as much as possible, I feel like it's almost impossible to remain truly shit and have no improvement if you spend years doing something.

>Thank you, these notes are very interesting and I really appreciate being given information
Oh my god, are you thanking me? Is this real life?
Just kidding, I'm glad you found it useful.

>Yeah this is something I try to remember as much as possible, I feel like it's almost impossible to remain truly shit and have no improvement if you spend years doing something.
True.
Worst case scenario you improve slowly (so of course you also want to work smart on top of working hard), but there's no way to keep working without any improvement.
Just think of yourself when you first started. What whould that person think if you showed him/her your music?
Now imagine yourself 4 years from now showing that music to you.

I guess that's true. It's like jerking off I guess, just because you aren't doing it 24/7 doesn't mean you don't actually like it and are just lying to yourself.

That idea of not listening to much outside music is really interesting and not something I've ever really heard before. Personally though, I'm still too new to just drop inspirations, it took me years to even admit to having influences.

It is weird though, because I hardly ever just sit and listen to music on it's own, I only really listen to it when I'm doing a mindless task or while traveling. I used to think that meant that my interest in music was false but I'm getting a little better with overthinking.

Anyway, thanks fren

I'm (more than) mildly autistic so information is a big deal to me and the fact that some random person on the internet was nice enough to give me advice as well as notes is honestly probably the best thing to happen this past few weeks.

As for improvement, I spent a lot of time comparing myself to other musicians and right around the start of 2018 was when I finally got to seeing music as less of a competition. I mean, I like to think I never did see it that way but I absolutely did. I'd look up musicians I like, how old they are and how old they were when they started doing music and how old they were when they did some of the stuff that I really like. It was a very toxic habit that I'm finally learning how to stop because it's just such a waste of time.

On a tangential note, are you doing anything particularly interesting with music these days? I love to hear what people are up to and working on, it's kind of fun to be aware of a part of a strangers life you'll never meet.

clyp.it/2dxisgmh

>Rap beat of some sort

Relatively new to making music, so i'm not really sure if its overproduced/too repetetive/badly mastered etc

input would be greatly appreciated

>I'm (more than) mildly autistic so information is a big deal to me and the fact that some random person on the internet was nice enough to give me advice as well as notes is honestly probably the best thing to happen this past few weeks.
Good to know.
I was just joking about certain other Anons who are known to be ungrateful and rude to those who help them.
Sorry if I didn't make it clear.

>As for improvement, I spent a lot of time comparing myself to other musicians and right around the start of 2018 was when I finally got to seeing music as less of a competition. I mean, I like to think I never did see it that way but I absolutely did. I'd look up musicians I like, how old they are and how old they were when they started doing music and how old they were when they did some of the stuff that I really like. It was a very toxic habit that I'm finally learning how to stop because it's just such a waste of time.
That's great.
Comparing yourself to others in a negative way is never good, especially because you'd be comparing all of you (the good and the bad) with the best of them (what you get to see of them), so you don't really know how long they worked for, if somebody mentored them, if they had some advantages along the road, etc. and even if they actually are prodigies, it doesn't affect you because it's not a competition. Nobody is going to turn down listening to your music because you're 30 instead of 20.

>On a tangential note, are you doing anything particularly interesting with music these days? I love to hear what people are up to and working on, it's kind of fun to be aware of a part of a strangers life you'll never meet.
Not really.
I haven't been making music for a long time, and I just spend my time posting in /prod/ or wasting it somewhere around the Internet.
I'm slowly getting back into producing with a similar schedule to what I suggested earlier, so hopefully I'll get up and running soon.
What about you?

>I was just joking about certain other Anons who are known to be ungrateful and rude to those who help them.

Which is weird and really silly, although I kind of understand. This is one of the few places on the internet where people will actually rip into your shit with reckless abandon and most people aren't at all prepared for that.

>I'm slowly getting back into producing with a similar schedule to what I suggested earlier, so hopefully I'll get up and running soon.

That's good, I think too much downtime can be a bad thing but a certain amount is helpful, kind of a weird balance to strike.

>What about you?
Well I'm taking a paper that allows students to learn whatever they want so I'm trying to build a synth in Pure Data. It's a sort of graphical programming language and it's honestly really hard and the math behind simple functions that I sued to take for granted can get disgustingly complex, I've basically given up on understanding it all.

Also, this is a cry for help for anons who use Pure Data, I have so many questions.

>Which is weird and really silly, although I kind of understand. This is one of the few places on the internet where people will actually rip into your shit with reckless abandon and most people aren't at all prepared for that.
Yeah, it's both the blessing and the curse of anonymity,

>That's good, I think too much downtime can be a bad thing but a certain amount is helpful, kind of a weird balance to strike.
Yeah well, I think after 3.5 years my downtime is way over that line lol

>Well I'm taking a paper that allows students to learn whatever they want so I'm trying to build a synth in Pure Data. It's a sort of graphical programming language and it's honestly really hard and the math behind simple functions that I sued to take for granted can get disgustingly complex, I've basically given up on understanding it all.
>Also, this is a cry for help for anons who use Pure Data, I have so many questions.
That's cool.
I dabble in Max (which is very similar to PD) and I have to admit I always take shortcuts when I can (I only used it to implement certain ideas I had), so I'm not too strong in the underlying math either, but I definitely plan to learn it as well (should be the exact same between the platforms).

>I'm taking a paper that allows students to learn whatever they want so I'm trying to build a synth in Pure Data
Could you elaborate on that please?
Is it like a university/college assignment?
What kind of synth is it?

Needs some more interesting percussion. Change up the hihat rhythm occasionally, add a second snare doing little rolls somewhere. Could also play with bending the bass notes occasionally, it gets a bit samey. I'll assume you're writing this for vocals to go over at some point? If so, great, you've left some good space. If not, come up with another more interesting melody.

Whole bunches of shit desu.
Why do you think I don't want to be named?

I did start out learning Max since I use Ableton and it seemed like the best choice, but that was when I didn't have a paper to justify it so it was really hard to get things I learnt to stick. As for the math, I'll forever be pissed off at the fact that I didn't get super autistic math powers so I try to stick to learning concepts and only go to the math when I really need to.

This is a university paper but it's self-directed, I don't get any classes or anything like that. I just have to learn something related to coding in some way and technically, PD could be described as a programming language. As for the synth, I'm still really new to patchers in general so I'm not doing anything new or crazy, I'm mostly just copying other peoples patches and trying to understand why they do what they do. It's going to have 2 oscillators, a low pass filter and a comb filter and some other effects that I tend to use a lot, like chorus and distortion. I only just finished the low pass filter today and I'd be lying if I said I genuinely understand it.

In 2020, I have to take one more self-directed paper. It's the only one I'm taking and it's basically the equivalent of a thesis but it's intended to be a continuation of the paper I'm doing right now, so I'll probably make either a long EP or a short album entirely in PD.

>Why do you think I don't want to be named?
Because you're as insufferable as the namefags and don't want people to notice?

Yeah that's the way.
Here's the manual:

docs.propellerheads.se/reason10/wwhelp/wwhimpl/js/html/wwhelp.htm

You want the "Mixer 14:2" chapter.

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That's cool user.
I know it's not easy but hopefully you'll learn useful skills that you can branch out from and make something useful.
Knowing DSP can be a very effective way to stand out in an increasingly saturated and competitive field.
On top of doing well in school of course lol.

Yeah, I started on the beat last thursday, so this is the ''template''. Will focus on percussions and bass the coming days.

And I'm writing for vocals yes.

thx for the feedback man, much appreciated

Espen Kraft, if you're into older hardware

Well yeah retard, that's why. Are you autistic or do you just not think before you type?

s-sorry.
i'm just easily irritable because i need to ejaculate but demarcus hasn't given me sauce for his picture and the frustration is killing me.
didn't mean to be rude.

Ah that's ok then friend.
Hopefully he isn't too booty blasted to help out, and you'll find peace in release.

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instaud.io/3tG0
i never got feedback in the last thread ;_;

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Chord progression needs some work, its constantly meandering around but never resolving. There needs to be some tension.
You'd also do well to spread out your drums, they need to be a bit more dynamic.

>reason in an actual studio

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>mfw I meant to say Ableton

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Looks more like a home studio to me.

>ableton bald German guys
every time
the only thing that can be closer is bald German guys in expensive anoraks

Quick! Your favorite record label has offered to sign you, but only if you can give detailed, constructive non-bitching critiques and pros and cons of all current DAWs, as well as giving them a 1-10 rating

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Audacity:10/10 bees knees
the rest is shite that costs like a 2000 Honda Civic

>Ableton
Pros: It's the best
Cons: None

>FL Studio
Pros: None
Cons: It's FL Studio

>Cubase
Pros: None
Cons: It's Cubase

>Renoise
Pros: None
Cons: It's Renoise

>Bitwig
Pros: None
Cons: It's Bitwig

>Pro Tools
Pros: None
Cons: It's Pro Tools

>Cakewalk
Pros: None
Cons: It's Cakewalk

>Audacity
Pros: None
Cons: It's Audacity

>Logic
Pros: None
Cons: It's Logic

>Reason
Pros: None
Cons: It's Reason

>Hardware
Pros: None
Cons: It's Hardware

>Garage Band
Pros: None
Cons: It's Garage Band

>Reaper
Pros: None
Cons: It's Reaper

>Ableton: the best
oh I am laffin

>oh I am laffin at the dawlets who don't use ableton*

Sorry, Autocorrect.

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Nice timbres, the screaming synth sticks out too much when the voice come in

Hey, the last thread disappeared before I got to see what everyone said about a question I asked.

Seeing that guitar music and that is kind of dying, how do you all make a paycheck with local recording artists/aspiring people nowadays? I was doing gangbusters two years back and now it's difficult to pay the mortgage and I want to cry. I would work with rappers-- no problems there, I just wanna record and produce cool tracks-- but they're fucking awful to work with and they think $200 is too much in terms of my time. Maybe it is, considering people have no issue listening to absolute dogshit. I still have enough for rope, thankfully. Otherwise, what do you guys do to keep the roof over your heads? Any ideas? I'm at my wit's end and I can't try and get a job at a studio around here because I'm overqualified to be doing intern work and I need more than $10.50 a fucking hour.

>Pro Tools
>worse than ableton

Sorry you're too poor that you can only afford one computer

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arent we all?

What kind of people do you think hang out in these threads? >99% of people in these threads don't make a single dime, let alone a "paycheck" (implying that anyone's livelihood here is music, lol). What do you do? Are you a studio engineer? Producer? Can't really help you unless you're even just a little bit more specific about what it is you actually do, and what skills you have.

And to answer your question, I keep the roof over my head by being a software engineer, and having a full time job. I spend a ton of time making music outside working hours, and it's made me some money, but I've never tried to monetize it, nor would I (personally) rely on it to make ends meet.

I produce and engineer, I used to work in 3d and UI/UX development for about six months when I was 20, but my side hustle of recording picked up to the point of expanding the space I work in to a stand alone building on the property and has been going well up until last November. I've thought about making plugins or something like that, but even then, people are moving away from those in the hobbyspace with shit like Splice.

no

im a professional neet

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My advice: If you were once in software, go back into software. You'll make very (very) good money. It might not be the thing you most want to do, (it certainly isn't the thing I most want to do,) but you'll have plenty of time on the side to pursue music/recording/etc. I would only ever really recommend quitting your day job to pursue music full time once you're sure beyond a reasonable doubt that the money coming in from your side hustle is more than enough to live comfortably off of.

I do software full time, but pursue music pretty seriously. Would I like to do music all the time if I could? Sure. Do I think that I'll ever make anything close to what I make doing software by doing music? Almost certainly not. Obviously your situation, incentives, and priorities are different than mine, but it's still reasonable advice. It sounds like you're at least a reasonably smart dude given that you worked in 3D (what kind of 3D? graphics are super cool) and UI/UX, so if I were in your position, I'd pivot to doing something that had a bit more security and enables you to live a comfortable life.

should I buy cubase artist or go straight to pro?

look here and see how you want

steinberg.net/en/products/cubase/comparison.html

i don't like cut down versions so i would go the full version

I tend to agree with hating cut down versions which is why I'm not sure. Right now I know I want at least artist, but maybe later I want some other features that are only in pro and then it'll be a bit more expensive overall.

Any features in pro that you can't live without?

what are some of the things a tracker is BAD at? thanks for writing all this user, I've been meaning to pick up a tracker

any linux guys here? im installing ecasound right now

REEE stop telling this boomer to get back into software when I can't even get a fucking interview I need as little competition as possible!

Where is your pepe picture you whiny fuck

I'm not DeMarcus, I'm a college educated man that can't get a job that pays well enough to live alone.

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? Might've spent too much time on this.

clyp.it/bxlarv4n

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I don't know who you're talking about, but you won't get a job with a shitty attitude like in Unless you were joking at your own expense, in which case carry on.

You'll get a good job, you just have to put in the work. Make your resumes and interviews impressive, and have a good attitude when being interviewed (they will reject you if you come in all mopey and angsty, nervous is expected). Best of luck man, you got this.

wait I'm like 23 how am I boomer? Also, good luck you're going to get outmoded quicker than you think.

>I also look at individual channels per sample as 100% a feature, especially in modern trackers where there's no real channel limit. Say you have one sample playing a chord, with its individual notes in multiple channels. What if you want each note in the chord to have different effects which change over the length of the chord? Just add the appropriate effect commands to each channel wherever you want. It's literally designed to do stuff like that. Good luck doing something like that in a modern piano roll DAW, where you're playing all the notes in a single channel -- there's no way to isolate individual notes. Sure, you can split the MIDI clip up into different tracks, but that's not really what those DAWs are designed to do.

pretty trivial in FL tho

I'm on windows but using lmms because i'm a poor bedroom producer

I was living comfortably. I was paying my mortgage on the shithole plot and double-wide I bought out in the middle of nowhere so I could do this-- down payment came from my 6 months of working at that do-nothing shithole. I'm trying to figure out what my next move is because I have easily sunk every other penny I've saved from working in production. Like, I want people to fucking pick guitars back up again because I'm finally getting fucking good at this. In November I recorded a real deal band and I keep getting teased about working with one of the dudes from Escape the Fate but he's not jumping on yet for some reason. I would love to post some of my shit but I'm not looking to get my mixes crit, I just want some advice about what other people would do in my position because I don't think I can think straight considering this is an every day freakout. Like, high school I could get away with just recording my dumbfuck friends on a shitty UX2 and using mixcraft with a bunch of torrented plugins and that was easy money and now I have all the gear in the world, things go well and then it's just, 'welp looks like the well is dry.' Like, what the fuck are the kids doing these days? Why do I feel so fucking old?

instaud.io/3tV4

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clyp.it/l2durzfh Can i get some feedback on the mix? also how can i make the vocals sync with the fucking song, the stems are 178 bpm and the project is in 128 but if i stretch them they become unusable, so i tried to place them so they sound kind of okay

rock is just not cool anymore, it's joining the grandpa music club like jazz and blues did decades ago

Yeah it was a joke. I always stay positive but my resume is garbage so I don't expect much.

Fuck I'm older than you, I'm deffo gonna die broke.

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Please do.

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fuck you,
fuck you.

fuck you.

fuck you.

fuvk yoyu.

fuck you.

fycjk tiy,

and fuck you especiakkt, especuiakkt,;

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Hey it's that nigga SOPHIE!

wait I should've used a picture of Dr. Sivana
Go see Shazam if y'all haven't already

>go see DC's newest attempt at a wacky meme-filled family friendly superhero movie
Wow no thanks.

It's not full of memes it's a lot of fun and does everything Marvel tries to do way better
Best movie of the year so far

honestly no there are things i would miss like channel batch export but i would be fine with artist

TEACH ME TO MAKE RUBBER WHAT THE FUCK

alright thanks for your input, much appreciated

Renoise is 100% accurate
I feel like Audacity is a 50 something guitar player who only just realized he can record onto a PC instead of that old 4 track tape recorder he's been using since the 80s.

>Best movie of the year so far
Lol like that's an accomplishment.

IT'S GREAT FUCK YOU

Is it even better than African American Panther?

Yeah but Black Panther was fucking garbage so thats not really a fair comparison
I was over all of it but Shazam and Into the Spider-Verse have renewed my interest in capeshit

Yeah I'm pretty much caped out at this point. It's been non-stop since the early 2000s with Smallville and Spiderman.
I watched Guardians 2 for the first time the other night and I just couldn't bring myself to care about any of it.

Sounds pretty good. When you're using random vocal samples that don't sync or stretch you might just have to chop them into shorter phrases.
Also I feel like the little arpeggiated chord thing is a little underwhelming for how prominent it is.

so which one is best

for what purpose

Reason

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>It's been non-stop since the early 2000s with Smallville and Spiderman.
Oh. Are you old? I've never seen an episode of Smallville, I was born in 1999, I've basically been a superhero fan all my life though. I think Spider-Man and Spider-Man 2 is what got me into it. I would buy guide books for all the Marvel heroes and read about all their story arcs and consume any Marvel and Spider-Man stuff I could find. And I still have a pretty big comic book collection. So I loved the MCU at first, I remember being 9 and seeing Iron Man in theaters with my dad, but the saminess of it all after 11 years has almost put me off superheroes entirely. But I loved Spider-Verse (after Homecoming made me lost all interest/hope in Spider-Man), I loved Shazam, and I enjoy MHA. Wonder Woman was surprisingly good too so I'm looking forward to 84.
>I watched Guardians 2 for the first time the other night and I just couldn't bring myself to care about any of it.
I saw it in theaters and while I once considered the first movie my favorite movie I just didn't really care by GOTG2. Rocket and Michael Rooker were cool but the rest of it was mid as fuck.

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Reason is the most fun.

Yeah I'm old. The first Ironman was great. GotG 1 was entertaining but didn't really grab me too much and I can't even keep track of what last Justice League or Super Friends or whatever was about because it's too much and I don't care.

i like it

Yeah I don't even remember the first Iron Man. I thought it was great, but I was 9 and never bothered to revisit it.
>last Justice League or Super Friends or whatever was about because
I didn't get into DC until my sister made me watch The Dark Knight. The DCEU is a complete mess but again, I can't recommend Shazam enough. It made me wish I was a kid again.

what about ecasound, sox, csound or supercollider?

thank you, these help me make my decisions on a more informed basis

>what about ecasound, sox, csound or supercollider?

Actually sox is good.

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2019 and Tracktion is still forgotten

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I don't think anybody here knows how to make that sound, sorry user

as someone who does this full time also, you have to adapt or die my dude. guitar music is just done, bands are too expensive vs 1-3 person electronic groups, and the prime kids market don't even like the sound anymore.
learn to produce, jump on that trap/hybrid game. you can even still record guitar parts, just chop and screw them for beats. plenty of opportunity for hybrid acts now.
that said... getting paid for the gigs... still sometimes difficult.
hence why I now work in corporate music mostly, and do what I want on the side

Nobody's heard it yet but the quest goes on.

why is it gay? i can't stand the interface of every daw i've ever seen other than what i mentioned

and, maybe more importantly, what i mentioned isn't proprietary garbage

what are you guys talking about? good versions have been posted multiple times, and a whole lot of shitty ones

Prove it. I think you're telling fables.

I downloaded a bunch of stuff for Kontakt but the only one showing up in "libraries" is Kontakt Factory Selection. What am I doing wrong?

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It's because you steal.

>I think you're telling fables.
Why would anybody do that? lol
I don't have them saved or anything, you'll just have to hope somebody sees the request or just happens to post it I guess

no I only got stuff they offer for free

I dunno man I got their free stuff too and it just werked. Do you have their shitty Native Access cancer installed?

try open the options menu and theres a library tab maybe you need to add it

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This is the situation

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if you want to use those other 2 you need to use the reaktor player

OH! Thank you!

bro r u srs
the free version of kontakt and reaktor don't play any free shit. Companies that make librarys and instruments have to pay a fee to be usable in the free version, so they just don't typically, especially when they're free

Is there any DAW or tracker that looks similar to this?

I think my ideal workflow would be an aesthetic extensible command line (like ecasound or sox) or ncurses based program, with the option of a keyboard driven, lightweight GUI experience. Ideally it would easily incorporate Csound, Supercollider, etc and give some kind of interface to interact with your synths.

I might try tackling this as a programming project and just use ecasound and sox as a backend, borrow tons of code from Adlib Tracker II and then roll up some kind of interface for Csound, Supercollider, etc

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just use LMMS so you can jerk yourself off every day in /prod/

nigga that's a bios menu from early 2000

I'm here to meme. I don't like the LMMS interface. I really, really want a keyboard driven interface at least. After that, my next highest priority is aesthetics, and every single thing I've seen so far makes me want to barf, except Ecasound, Sox and Adlib Tracker II (which was the pic).

>I'm here to meme
meant I'm NOT here to meme.

never gonna make it

ok what are the best piano tutorials?

i just want to find what im looking for so bad, id like to into production but refuse to use everything i've found so far

clyp.it/ljvmtpqt
not dead

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You should just go back to ricing your Linux distro tbqh

as a software engineer, a pretty picky dude, and someone who has spent a lot of time producing in very old trackers (adlib included), this is one of the most patently retarded things i've read in my life.

sounds to me like you're trying to do all this prep work for making music instead of, ya know, actually making music.
I hate to break it to you but most producers can pretty easily make their sounds in whatever program they so choose. (perhaps less efficiently but still)
so uh maybe focus less on the aesthetics and functionality and more on the whole music thing

Read instructions bitch

Fucking KEK

Depends on what you want it for. Look at the pictures and decide which one you are. Reaper is top tier btw

Let me guess. All you know about production is what Deadmaus says on masterclass?

What's the book you're referring to here?

>mfw all the apps Native Instruments is getting me to install

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>what Deadmaus says on masterclass?
(not him)
I unironically watched all of it after somebody posted here and just lol. I'd be fucking pissed if i paid for anything like that

Native instruments isn't even one of the worse installations to go through

>Native instruments isn't even one of the worse installations to go through
IK multimedia shit is far worse.

you got baited into spyware with free shit, pirating would have been unironically safer

fuck off, im a patrician emacs power user not a ricer

there's nothing retarded about it

i already make music, i just don't use a daw. not sure why im getting hate for trying to be comfy and rolling my own stuff

>waves account
>please download and install waves central
>waves shell
>10 different waves folders
>don't change shit or it won't work

desu this is why I dropped waves almost entirely. well that and most of their plugins are shit compared to modern day alternatives but still

fuck i've probably downloaded every free plugin they release for christmas for the past 3~ years and haven't successfully installed any of them. Just dropped as soon as I saw how much trouble it was and considering how much free shit there is that competes with them

if you ever need support from waves they will try to get you to remote connect with them im sure they look and see if your shit is pirated

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Made my first ever track today
soundcloud.com/lemon-desu/ungood

do they really? fucking kek
at first trying to install komplete my downloader wasn't working so i e-mailed support and they sent me back some shit that would scan everything and send back a full report.... like nah dude

Yeah, iirc there's a whole 13 minute video of him just telling you how to duck your shit for your kick.
It was very entertaining though, wouldn't want to have paid specifically for it but if I was subscribed to the site I'd be ok with it.
I hope the Van Buuren and Zimmer ones are a touch more informative, but my guess is they won't be.

What's the best way to record drums?

Multiple mics in different arrangements? One single mic recording everything? Using a drum pack controlled via MIDI? What kind of acoustics are best?

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so the problem with my music is the lack of variation right

That one piece of the puzzle of fundamentals, which you have not practiced any of evidently

i don't know, i haven't heard yr music

rate the amount of time i put in

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Rookie numbers
Alsl that's not even two hours a day lol

It works for drone and techno artists

the whole point is that it gets hypnotic
techno and drone create variation with the mix and sound design, it's a completely different approach

Practicing variation is weird cause again, it feels like I'd be forcing it, and I don't want to overdo it. I was told I was using too many melodies before but now I'm not using enough.

Demarcus.

Hip-hop seems to loop a lot, I think. With some stuff having minor variations. It's really hard to pinpoint exactly. Because when I listen to songs I don't even notice the changes. And figuring out how to variate and where the variations should go. Inversions and changes in octave seem too simple and mechanical.

>forcing
literally everything needs to be forced right now because you don't know what the fuck you're doing
it's very hard to "over do" variation. It's not supposed to be completely different shit every time unless it's add music, it's supposed to be different itterations of the exact same idea (double up kicks and hats, make a snare slightly late here and there, an extra note within a melody etc etc). Just stop copy and pasting shit, it's that easy

The "human" element in hip-hop varies wildly. If you ever look at a trap midi kit it's insanely obvious that they play chords with keyboards because all the notes are off and uneven. Sampled hip-hop is from people playing real instruments. Your music has no human element to it

Thoughts and critiques? New mix/master, added synths, changed around drum patterns. Took feedback from about a week ago.
>new
clyp.it/wxift2w1
>old for reference
clyp.it/dodbpip3

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pay, you fuckin' cheapskate. it's $60

Whoah there Rockafeller, I can eat well for a month on that.

i make that in a whole damn week of sweat, aint paying it

Hmm. Alright. I'm gonna make one more song attempting meaningful variation in my DAW. Gonna get on my keyboard in the morning, or later tonight.

Holy shit I thought my financial situation was bad. Do you guys live in Haiti or something?

brazil. 250 minimum wage

reminder that sammy won't buy monitors because he says they're a waste of money

I wasn't even gonna say anything but then I noticed your school shooter shades.

Has some neat sounds I like the interplay of the synth bits that come and go, although the one pitch wavers too much for me. I hate the intro, that slav donk sounds preset as fuck and your snare sounds garbo throughout.

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Reals a week?

> U N S K I L L E D L A B O R
> N
> S
> K
> I
> L
> L
> E
> D
> L
> A
> B
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(in Cook County)

usd a month . divide that by 4 and that's reaper license

Hopefully. I'm mostly getting into it so I can understand the stuff that I already use better and find interesting ways of using it. I'm nowhere near good enough to be able to put together these huge arrays of unique processing yet. Here is a picture of the oscillators of my synth.

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229 reals a week

In his case they likely are.

I guess monitors can't fix him

NEW

youtube.com/watch?v=e1apSZa3PoQ

This lunatic uses that software to make her music.

Oh fuck lmao, god I love Silke F. She's an icon.

She's also insane but her "Aphex Twin Bad" post will live on in infamy

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