/prod/ musical production thread

Also, that list doesn't have the fucking Turkish march, so I'm bummed, but whatever.

another user but i guess he means they dont have much punch. maybe put some sausage fattener on them? thats what i always do when something is not "hard hitting" enough in my mix lol

what kind of materials should i use to build a basic isolation booth for a guitar amp? i've been using couch cushions around the amp/mic but it gets too much noise. I just want a box that my cab and mic can sit inside that's mostly closed. needs to be lightweight/easy to make since im in an apartment and don't have access to tools.

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I don't know, I didn't post that comment.
You just said you missed the feedback from the other thread and I linked it to bump the thread.

ahah i see, thanks for going back for me then

hahaha yeah maybe... I'm not too worried yet, I think I can fix that when I'm done adding stuff and arranging

>instaud.io/3w00
I really like it! the kick distortion makes it sound kinda cheap doe, I'd try to smooth it out a bit. other than that, great work.

why don't you just set the amp on the floor? I just Mic my amp next to my desk and wear headphones for the backing track.

anybody got tips on making metallic sounding percussion, like the stuff on PRODUCT by SOPHIE and Hi This Is Flume by Flume. I'm using Logic Pro x (>inb4macfag)

I was meaning to research this too, so double interest

FM synthesis is probably your best bet.

Ring modulation

I wish I could modulate SOPHIE's ring, if you know what I mean...

how do you keep ring modulation in key?

nice

instaud.io/3wcs
this is my revolutionary new take on drum and bass

Here's the first version.

Is the wording right?
Should I change something?

Attached: 0.1.png (1800x3851, 694K)

Sorry, the right list was misaligned.

Attached: 0.1b.png (1800x3851, 803K)

are you the same person or what

good work user i like it

Thanks.
If you're a native English speaker, could you please tell me if the wording is right?

bro quit worrying. are you a cuck or sth?

Just self-conscious about my English and too autistic to make an image with mistakes in it without wanting to fix it.

It's fine bro
Shut up faggot

Thank you.

We can do a test run with today's OP

530 so uhh 0 is considered even right?

and 53 is the song number right? not 35 (a bit confusing there with the ordering)

and the result is Dangerous Woman, woo

>Dangerous Woman, woo
Can we remove this from the list?

kek

bump4u

how do real musicians come up with vocal melodies? does it require being able to hum in key?,

>real musicians
Hum, just *think* about it, play an instrument, copy somebody else's

should we make tripcodes for the contest or nah?

i am unable to put my own thoughts into lyrics¬

This contest is dead before it even began.

I think we should try it anonymous for now and see how it goes.
If nobody partecipates, we can try things like that to see if they work as an incentive.

well im definitely interested in participating, so far we have me and you lol

discord

people, stop asking this
if you don't know how to make the kind of sounds sophie makes, the answer isn't to learn some hyper specialized technique. the answer is to read the fucking manual for your chosen soft synth, and then learn how every major effect works, and then you won't have this stupid question of 'how do i sound like x' because it will be plainly obvious how they achieved their sound. YES, it will take you some time. NO, it won't get you soundcloud followers. NO, it won't get you laid. YES, you will actually know how to produce instead of stumbling around like a blind retard. NO, it won't make your ego any less fragile or diminish your burning desire to be an aping copycat to win internet points

infp

have sex.

OwO

Hopefully we can try hyping it out throughout the week and others will join us.

This and also unironically.

maybe we can just start tomorrow? dunno the time for you but for me its 22:23 pm.
because ill have more time on the weekends.

redpilled af

like memorizing a fucking "trick" or something just to achieve one particular sound isn't going to get you anywhere in the long run. If you want a step by step guide to get a sound that you're clueless about you might as well just use a sample at that point because having those steps laid out for you isn't going to fill in the gaps of your fundamental knowledge

TEACH ME HOW TO MAKE A FUCKING RUBBER SOUND FUCK YOU

I'm in the same time zone.
I thought that since the remix isn't a one-day thing, we could work on it throughout the week (or whenever he have time), and post it at the end.
Since posting the songs and (hopefully) talking about them would potentially require a lot of time, putting it on Sunday would ensure that most people would be free at the same time.
We start on monday because it's the day right after it so we have 7 days to work on it.
If you have more time on the weekends it just means that you'll do most of the work on the last two days instead of the first.
Or if you want it to be a one-day thing, just start on the last day (which would still be the weekend).

yeah. and good fucking luck making a good song with the sounds you aped. that is a skill in of itself. those tracks by sophie, arca etc are more than the sum of their parts

>aped
What do you mean?

how? lmao

How important is aural skill? Like being able to determine intervals and the notes in chords in music

you guys are fucking retarded i swear

i can come up with guitar riffs and some chords and melodies, but can't go farther than that, i just record little snippets but a lot of my better jams i dont bother saving because i can't think much of them, i save those that i entitled myself to think as a song part. and then i cant make lyrics to save my life. it's like i cant activate my songwriting genes

It does help a lot if you like to compose with an instrument.

lol. That's the point to ring modulation. if you're having trouble fitting it in, go easier on it.

Thinking of recording me reciting some of my poetry, haha.
No experience with recording and don't have a mic although I am a nerd and understand electronics and balanced connections and such.
My local library offers free recording time:
vpl.ca/facilities/inspiration-lab/record

Should I buy a cheapo mic to practise at home first?
How many times should I practise reciting at home before going into the studio?
How much time should I budget to learning and setting up the equipment if I use my library's recording?

>mad that he can't into sound design and just wants shortcuts
Yeah okay

They're separate skills, no shit
A good song is a good song regardless in non-sound design centric genres. If the song *is* the sound then asking for a shortcut to the sound is basically asking somebody to do the bulk of the work for you

>>mad that he can't into sound design and just wants shortcuts
>Yeah okay
I'm mad because you're retarded af and i happened to read your garbage posts

>how important is it to understand how music works when making music

Well if you want to make good music pretty important. If you want to be your typical soundcloud producer then not so important.

Well thanks for providing a reasoned opinion for everybody

How does music work tho?

no problem bitch boy

notes and rhythm. optionally lyrics

The other day I had a weird dream in which I was a successful touring producer playing live shows all over the world, and I happened to be in New York, so I went to meet Demarcus, and being a millionaire I was happy to help him out, and I bought him a fully specced Macbook Pro and a bunch of top-tier gear, and even gave him some money, and he was like "k." then when I started actually helping him making music and telling him where he can improve and what to do to get better, he just kept making excuses saying that he couldn't do it because of this and that.
I then got so angry that I woke up.

What does this mean?

Lol'd out loud
Well first off it means you spend too much time in /prod/ (same)
Second, gear and resources raise the limits on what we can reasonably do and makes things easier but it doesn't make us better

Yeah, I agree with everything.

I had a dream that I was a woman

You can turn that dream into reality if you want.

What drum machine was used in this vidya tune?
youtube.com/watch?v=i4SvRMknPks

Attached: SkeletonWizard.png (306x303, 61K)

have sex

>wow! sophie sounds good! if i sound like sophie i will be good! i need sophie's sounds! then i'll be good!

if the song IS the sound, then you have the problem that nobody will listen to your shit as soon as someone can do the sound better than you can. it's just a fucking product. as we see with the majority of (americanized) dubstep, all that nosia type drum and bass crap, flume ripoffs etc.

I already am ;)

>wow! sophie sounds good! if i sound like sophie i will be good! i need sophie's sounds! then i'll be good!
No, I mean I don't understand what the word "aped" means.
I'm not the guy you were responding to.

Many genres are centered around sound design, and even if they had the best composition it would still be less important to the listeners than the sound design.
Wether you think it's good music or not is irrelevant. At the end of the day the listeners are listening to those songs for its production, and if somebody does it for you, then they've made the main part of the song for you.

>if i sound like sophie i will be good! i need sophie's sounds! then i'll be good!
>No, I mean I don't understand what the word "aped" means.

That's what it means, imitation with no understanding behind it.

Ah, got it, thanks.

what exactly does a remix entail?

>nobody will listen to your shit as soon as someone can do the sound better than you can.
That reasoning can be applied to everything in music lmao

It can be anything from an edit of some parts of the song (like even just adding a sub or replacing the drums), to a completely new one that only has some elements of the original.
You're free to do whatever you want.

no it can't. actually, only electronic music suffers from this cancerous shit

that's great dad, nobody gives a fuck about your shitty opinions though

>laptop updating for 3 hours
>had to play guitar instead of producing like a fucking boomer

it hurt bros

me except for 2 years

god, i can tell you're going to end up on some soundcloud weblabel where you belong

why are you even in this thread dude

clyp.it/idgrbtdb

soemone in the last thread asked if I could upload this without drums

at this point, what should I do to get better? what should my next move be? I don't think I can progress much further without an actual teacher. I can focus on piano but there's a beatmaking course at a college upstate I can go to and I feel like I might need more help when it comes to drums and producing than when it comes to learning piano.

Attached: DzTxKxqVAAAV9Bo.jpg (476x476, 28K)

do you have me confused with another poster? i come here to listen to the tracks and see what people are doing

no, i have no idea.
It just seems odd to me that somebody that sounds like such a rockist idea of electronic music would care to lurk in /prod/

>muh sound design
just download all plugins in the world and do minor changes to the presets. there you have your sound design

i've done higher profile shit that sucked harder and aped harder than any of the shit in this thread so i am speaking from experience. looking at people asking for 'advice' (they might as well be asking for someone to hit them over the head with a hammer) on how to imitate x y and z makes me cringe because i see the road that leads down. anyone telling you 'when you start off you do imitate people though!' has either huffed something or is intentionally misleading you with malice. i count myself lucky that i didn't slide into some kind of imitation slot and become some fake arca or some shit. i think i would kill myself if that happened. if you care at all about the quality of your music you won't do it. otherwise... yeah the peer producer weblabels await, good luck but i can't follow you there, i can't give advice on these shitty 'sophie-esque' things anymore

i'll believe you, but i don't sure what you're advocating though because telling people to just start shooting in the dark sounds equally ridiculous as spending all your time imitating people to me.

*personally* i don't ask these questions only because i don't need to now, but I do obsess over sounds only because i think the principles behind them can be applied elsewhere... like learning how to do more things can't possibly hurt lol

Am I fag for needing a scale to play? I can't play by ear, doing trial by error makes me want to off myself, how do those producers handle it?

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what does prod think of my song
instaud.io/3wi7

why do you care so much

can't sugarcoat it, yes that makes you a huge faggot
practice and stop being a bitch about it, you have to suck to get good

because he loves us and i love him

your gay

How do I practice playing by ear? I can only handle playing 3-note melodies, I want to make 7th,9th chords and shit but it's too overwhelming at the moment to fit them together.

>mfw have an uphoria interface and thus can have porn playing on my headphones while music plays on the loudspeakers

Attached: Feels_good.png (738x761, 89K)

youtube.com/watch?v=R4O6WqFRVbM

what am i advocating? here's the blueprint
>step 1: listen to at least 1000 different artists to prevent becoming some kind of golem
>2 find music you genuinely like. preferably it isn't current, because that in of itself will minimize the bandwagoning shit, people sucking sophie's microdick, etcetera
>what does the music use? figure out the technology like this:
>traditional instruments: go buy and learn it. good luck
>samples: learn to sample and how to keep a library
>synths: go read about the fundamentals of synthesis, which will allow you to determine how much you can rely on presets for the sound, or whether you will need to design shit from scratch
>synths that need to be designed from scratch: READ THE FUCKING MANUAL. the most important step. quit now if you can't even manage to do this. now force yourself to enjoy designing shit for 3-4 hours a day every day until you know how to actually use the sounds in a track. note the lack of 'secret technique' or 'trick' faggotry in this method, which will leave you with an imbalanced understanding of how to even use the sound (the equivalent of only training biceps at the gym). if you do this properly you might even completely diminish the desire to sound like someone's bitch toy copy
(cont)

>sophie's microdick

how do u know

>now you have the techniques you need to make a track! now make 500 tracks (except it's more like a recursive, intertwined process. you aren't waiting years to make your first track, obviously. you switch between these two 'modes' of writing tracks and designing sounds, which are more segregated than south africa). ape as much as you fucking want
>eventually you will stop aping and develop a style. hopefully. i'm not sure how it works. it took me about 5 years
>now you can make a soundcloud and actually begin to upload tracks. don't collaborate with anyone. ignore every personal message from spastics. block all weblabels, eastern european 'collab hookups', other wannabes. when an actual, physical label contacts, you, one with a verifiable history, you can now release something. or you can self release stuff. don't fuck around with weblabels though, they have nothign to offer you, only things to take away from you. collabing with people you only know online can be a major fuck around and kill time
there you have it, the simplified method for avoiding becoming a ripoff 'deconstructed club' 'bass music' 'autechre-like' producer.

so i don't end up like one of these faggots:
wow, who would've guessed that to make good music you have to actually care about shit. i guess it's just a coincidence all those top musicians and artists are monomaniacal. not that i advise you come join me over here... it's a double edged sword

WELL thankfully i've already done all this
... like exactly lmao

okay on to soundcloud I guess

answer me bros

did they record bass amp + DI in the seventies?

but SOPHIE is music I genuinely like

Fuck you demarcus, you snivelling shitbag.

>POST production WORKS IN PROGRESS TO instaud.io and not clyp
>ANYTHING WITH YOUR ARTIST NAME (like clyp or soundcloud) IS CONSIDERED SELF PROMOTION AND SHOULD BE POSTED IN THE SC OR BANDCAMP THREADS.

That means you, mark.

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just type "sophie sound design tutorial" into youtube! *pats on head*

why do you all get mad at people for being me and ignore my actual posts

I'm not following that rule. Stop trying to enforce it. People are used to clyp, and its useful.
>ANYTHING WITH YOUR ARTIST NAME (like clyp or soundcloud)
Good thing I'm not using an artist name

>Good thing I'm not using an artist name
the point is not specifically as an artist name but an identity that you can promote. Everybody knows your soundcloud and shit, so it's effectively the same thing

There's literally no reason to not use Instaud.io. You can't come up with a single justification, except that you like attention which of course is no justification at all.

write a story or a poem or a diary entry first and then turn that into a song

those drums are sick af

This is way too erotic for vidya music

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I'm not Demarcus, why does everyone think I'm Demarcus everytime I post?

How do you play by ear and improvise then?

first you start by recognizing the intervals.

musictheory.net/exercises/ear-interval

thanks bro

can you just tell me how to make melodies instead of telling me to learn things what the fucc

>If you're a native English speaker, could you please tell me if the wording is right?
...
>The last digit of the OP decides which list the song is chosen from
Don't end your sentences in a preposition and "decides" is okay but "determines" would be the better word to describe the result of a random event rather than the action of a person.
>>The last digit of the OP determines from which list the song is chosen.
>Even means stems (left list), odd means Classical (right list)
Just rework this trainwreck.
>>Even digits result in stems (left list) and odd digits result in classical pieces (right list)
Note that the lowercase 'c' in classical is intention in the above as your classical list includes pieces from the Baroque and Romantic era, not just Classical.
...I could go on but I am exhausted.

Are you SURE you aren't Demarcus?

i was joking and pretending to be that user please don't be mean to him o____o

shut up ameriburger cuck

>ameriburger
What makes you assume this? It's currently 1:20 in bongland vs 20:20 on the east coast of burgerland.

why am i getting this ridiculous noise floor
instaud.io/3wiK

he's actually a schizo burger

been there done that, it's all just so tedious and I don't enjoy it anymore, I just come in these threads to answer peoples questions

I don't care about attention I just prefer using clyp for archival purposes. It's the easiest way to keep track of what I've done.

If it's really a problem I'll use instaudio from now if I need to, but today I didn't, its in the past now. I can't delete the post at this point. Can I get a response to my post though?

No

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i have a question: r u gay :)

no just autistic

my nigga demarcus, do u use scales or play by ear?

How it feel to have pusy

like a bag of sand

>DeMarcus ghosts me on clyp AND prod

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literally who

bro there are like 10000000 thirsty ass producers online. Why do you care about one who not only sucks, but is toxic? Nobody needs that man

>I don't think I can progress much further without an actual teacher
Looks like you know what to do.

>yore*

Lmao natives end sentences on prepositions all the time.
Go back to College you nerd.

cringed bro

you mean compose by ear or what

ye

warmplace.ru/soft/sunvox/
>Lmao natives end sentences on prepositions all the time.
...and they're wrong.
>Go back to College.
I already have a Master's degree -- I don't need another.
You would.

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Pretty sure I might have posted this before but whatever
instaud.io/3wjp

*I already have one dick in my ass and I desperately need another

Sorry, Autocorrect

The native speakers can't be wrong bro, the language is still alive.

I use scales.

STOP SAYING THIS I DON'T GHOST YOU

I'm just trying to figure out if I should focus on drum and producing or learning an instrument.

kick could be a bit shorter it seems to overpower everything else since everything is pretty thin

what are your favourite scales bro

also you should try and keep your lower frequencies mono (250Hz and below maybe even higher) so that everything else comes through

bullshit. stereo lows is cool

maybe if they are done right but they sound like shit here

Practice. Pick a song find the cords and learn to play it

rate my shit sketch of a song pls
instaud.io/3wjE
instaud.io/3wi7

are u that dude who said he had perfect pitch

not

a diary would be a bunch of depressed schizophrenic thoughts

dont want to learn songs tho, bores me to death

Anyone know a good free program for composing music for the piano? Preferably available on linux, but windows is fine too.

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those would make great songs, unironically

i actually made an effort to generate emotions and feelings in myself so i could put them into music, and now im left with a bunch of bad shit in me that almost gets me paralized

forgot to add: and in the end i still didnt get back to practicing regularly, listening to music or write anything off the devil that i created inside me.

youtube.com/watch?v=ILSbYH9pvjQ
Oops, it's actually rose garden.

For those of you on /prod/ who know autechre decently. Could you tell me if im on the right track? It was sounding pretty good untill the bassline in my opinion which I think i fucked up

clyp.it/tjxiujdh

upload to instaud.io and then we'll listen.

I use Aeolian a lot because that's what you're "supposed" to use for trap beats but my personal favorite scales, out of what I've experimented with, are Phrygian and Minor Pentatonic.

instaud.io/3wjY

someone rate instaud.io/3wi7

Unironically sounds nice

>Aeolian

Attached: scales.jpg (857x1202, 155K)

thanks man, first time doing this kinda stuff. The sound design aspect is really really fun, but when the time comes to actually put music to it, it's brutally hard.

I am in the opposite situation

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I went the cheesey route and used a plagal minor cadence for the pads, it's hard to go wrong doing that. But feels like a cop-out. It's so much easier to write melody/harmony for more traditional electronic lmao

I like this but now make it 8 minutes and a roller coaster of emotion

That last one doesn't even make sense

How do they do it, the more I delve into it the more they seem like gods compared to all of their contemporaries.

Would lowercase vi make you feel better?

because they are, and we are mere mortals who attempt to replicate them

f phrygian dominant

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no, its not C major if its centered on the vi. In fact you can't have music centered on the iv, it becomes the tonic.

do you guys pick a scale before making a song or just jam random notes on the keyboard

Rocks tonic juice magic.

I just whatever sounds the most depressing

start with a drone or a pad, something that has enough of a spectrum to lead you in a direction, find the best note for your pad/drone, write around that note, choose your key signature accordingly.
all you're looking for is a sound that has the correct tone and then everything else will fall in place around it, no rhythm or lfo or modulation, just a correct tone - for me its like colours, if i want some surreal bluey pads or grey, grainy noise, or bright stringish stuff or dark and brown and earth like a cello
thats my process at least

Stereo lows are massively dependent on listening equipment, which is why general practice is to mono your lows.

it's either 100% stereo headphones or 2.1 speakers with mono lows so why where is a problem

last one

After a sound design session, whatever you created in that sound design session usually inspires you and it's just obvious what scales/modes it needs.

well, that's kinda what a mode is.

>missing the joke this hard

>tfw tone deaf

>tfw

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>2 hours into musictheory.net realizing you're a complete fucking retard

who else really never gonna make it

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what exercise

chord ear training

tonedear.com/ear-training/how-to-practice

read this auty

>has subtle synethaesia like me
based.
are strings also red for you? and midrange analog pads blue?

Thank you very much user.
Is it ok now?

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>native speakers are wrong
kek

Which one is better?
>determines from which list the song is chosen
or
>determines the list from which the song is chosen
?

This is my first song using ableton, second song ever, any feedback or tips would be very much appreciated
instaud.io/3wmi

soundcloud.com/worldwidecriminal/storm-2019-preview
eat a dick

Nice

Get Dance Music Manual by Rick Snoman and make sure to really read all those boring parts if you actually care.

I can’t think of a more spoonfeeding book than that btw so if you can’t read just uninstall your DAW and go beat your micropenis

i always score around 75% on that website, is that good enough to stagnate at?

my two months old K240 mkii is buzzing when i'm listening to my bass track on reaper, but when i listen to normalmastered music on foobar it doesnt buzz. should i return it?

Musescore

instaud.io/3wp6

how u like that loop?

my band had a recording session booked for today morning and i couldnt go
now i'm gonna sit in my room and record another kiss cover using my own gear just to jerk off

forgot to say it's only the left speaker, even when reaper is mono'd

You're out of the band

how to outboard gear with ableton?

i missed reharsals before and they didnt kick me

Depends on what gear, but you can route things through your interface.
Check the settings and the External Instrument and External Audio Effect

This should be more exhaustive:
help.ableton.com/hc/en-us/articles/209774265-Using-external-hardware

Vocals arent loud enough, it feels weird that the vocals are only on the right speaker especially on headphones. Arrangementwise good tho, but i didnt enjoy the part right before the drums start to kick in. The ending is too abrupt

Other than i have to add i really dig this song

how are the drums' programming, do they need more ghost notes on the snare
instaud.io/3wq0

>instaud.io/3wp6
Pretty good maybe lower the volume of the 2 note spacey sounding pad cos it's like sorta overwhelms all the other elements of the track maybe even scrap it because what really works well here is the old school jungle/dnb melody (perhaps the synth needs a little tweaking) and the percussions (although wished the percussions were a little louder and snare had more low end )

Here is mine

instaud.io/3wpT

Techno, drone, pretty kooked let me know what you think lul

Like the asmr sound. Go all the way with it. Check out objekts latest album for inspiration

Yo niggas, any good plugins to achieve that old warped tape sound?

wow and flutter is a free vst that emulates the wonky detuning of a worn tape. tone boosters plugins have good tape like lofi fx as well

I've never tried it so take this with a grain of salt, but I'd think u-he Satin for the texture and a pitch-shifter (Alter Boy or Manipulator are both good) for the detuning.

Thoughts on Reaper?

I’m recording an album that has a bunch of orchestral instruments. I’ve played with Ableton Live before, not too crazy about it. Will reaper dot he job?

no use wow and flutter for the detuning. its literally made for that tape detune emulation

If you don't do it manually it's cheating.

i like the progression, bass also really sweet.

reaper is the most powerful audio suite, what do you think yourself?

>what do you think yourself?
It's my life.
What ever I wanna do.

for me its based on timbre so some violin in a middish register are yellow ish, and become sort of piercing, blinding white towards the high range with lots of information around 12k or whatever, pads typically appear turqoisey blue , the intensity or washed out ness of the colour is sort of linked to... i get you could call it saturation or hue, its not really volume - but then tube saturation makes things appear more..... dark and unstable, very tonal and human - then more brittle distortions are like adding water to your paint and washing it out - ive always thought this was to do with the appropriate volume across the spectrum, i.e pink noise curve (if you are simplifying it MASSIVELY, i.e bass is louder than highs, no loudenifying tricks like smiley curves). for example that tube is guna make my shit more unstable, but compression can reduce those rumbles and force them into a consistent, but now more tonal entity.

sorry i can ramble for days about this shit, but red for me typically will come from guitar warm guitar amps, any metal based amps or heavy distortions quickly become very uncomfortable shades of brown, but a nice mid range amp with is what appears red to me, often reamping other things also makes them redder.

i recently had a seminar with a "video games audio consultant", basically the guy who creates the sounds for video games and makes them work within the appropriate ideas and manifesto of the dev's; so thats footsteps, menus, music, ambiance, dialogue, foley etc
anyways the point is he uses reaper because its the most... i guess versatile?
>most powerful audio suite
is a stretch though, i mean if my workflow is modular by design then ableton is probably going to offer a lot of freedom, a lot of that "best" stuff comes to work flow because in 2019 all the DAW's are great lol its not like 2002 where there were audible differences between them

Just realised J37 has wow and flutter, works quite nicely

>>determines the list from which the song is chosen
This one... but I was just messing with you. Nobody cares about proper English anymore.
See et al.
Absolutely. You'll just need to get some good kontakt libraries.

>anyways the point is he uses reaper because its the most... i guess versatile?
actually i was wrong, if i remember correctly it was because of the batch processing or something?
when you're making 25000 sound fx variations, reaper becomes CHINA NUMBA 1

Alright, thank you.

Here's the last one.

The links are:
remixpacks.ru/top-popular-stems/
thepiratebay.org/torrent/8773763/
mediafire.com/file/pnzq3eyxr2cku12/

Forgot Image.

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i dont want to come across as too much of a dick here, but what do you want to use tape for?
and im asking beyond the idea of "to make it lo fi hurrdurr"
>that old warped tape sound
like what do you mean by this, dynamics or freq or pitch or thd or push and pull sort thing, because if you can identify what you are actually trying to do instead of applying it to nouns like tape you will make much better beats
do you want the leveling and flattening effects of tape, or the fluctuations or the harmonics or whatever it just seems so counter productive to be like
>i need this type of thing to make this type of sound
when in reality you can just make that sound in an infinitum of ways in a digital environment

anyways, the answer to best tape emulation is (imo) AirWindows ToTape5, free from AirWindows along with hundreds of other free plugins custom made from the absolute genius Chris who creates custom vst solutions with incredible ingenuity - no UI's so you have to use your ears running with the motto
>in the mix no one can hear your screen

airwindows.com/tag/totape/
youtube.com/watch?v=bQg7GLSsg4E

Thoughts on loud threshold and high ratio vs quiet threshold and low ratio? Same average db reduction on both cases.

why it wouldnt?

Is Ripe Banana a good song name?
clyp.it/4reulxk5

Idk I'm not giving it a great deal of thoughtif I'm honest, just wanted it for the tune above

>Idk I'm not giving it a great deal of thoughtif I'm honest, just wanted it for the tune above
fair enough, but maybe you should think about making educated decisions in your creative and mixing choices instead of applying blanket ideas to things
ever see tutorials where an artist is using stock vsts and getting a brilliant sound? thats because instead of thinking "i need the sound of the EL8 distressor", he is thinking - i need to achieve this difference using any tools that can do so.
a small change to your thought process can make a big difference in end quality

totally dependent on the source and what you want to do to it brother

don't be such nerd bro lol this aint reddit m8 take a chill pill will ya haha

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Not him but please don't ever post again.

Naive beatmakers with no future btfo

woah there take it easy bro haha

yeah i know it's not an absolute way that will work forever, so i ask what is the difference in sound of these two forms and what cases they would work better for?
i have an impression that higher ratio gives a more squashed sound vs more natural sound of low ratio, even if the lower ratio requires a quieter threshold for achieven the same reduction

sorry bro haha i'm chill bro LMFAO

I appreciate your input, cheers

can we roll the song now?

Aren't we supposed to start on Monday?
When this one reaches the bump limit I'll make the next thread with the image and we'll start then.

im just saying things that i wish someone had told me 5 years ago
i dont think i am physically capable of typing out a proper response to that its a complex thing to discuss, a lot easier face 2 face which obv cant happen so sorry but
>squashed sound vs more natural sound of low ratio
is somewhat accurate but then consider that even mixing classical instruments could well benefit from that "squashed sound" as long as you arnt removing all the dynamic range - i mean compression *typically* does more than just change the dynamic range in a volume or bit way, it can also change the relationship between harmonics **over time** - just like the ADSR of your synth or the transient profile of a drum, a great example of this is in a brass instrument when overblowed can create harmonics that are "alien" to the note harmonic series, but that is a fundamental part of the sound of the instrument, yet compression could attempt to even out the difference - making the whole sound more audible or less audible because the ear perceives sounds that contain more of the spectrum as louder.
its hard to describe because a lot of waht people say are fundamental facts arnt really the case, e.g squashed = less natural sounding. its a complicated topic but i hope its not too much of a cop out.
np i like to type my thoughts out as it helps me criticise them to myself and further my own understanding, i'd like to think someone else might find it useful as well.

>sorry, I don't use scales, I use my custom set of handpicked pitches

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>it can also change the relationship between harmonics **over time** - just like the ADSR of your synth or the transient profile of a drum, a great example of this is in a brass instrument when overblowed can create harmonics that are "alien" to the note harmonic series, but that is a fundamental part of the sound of the instrument, yet compression could attempt to even out the difference - making the whole sound more audible or less audible because the ear perceives sounds that contain more of the spectrum as louder.
Do you mean with multiband compression?
Or do you mean that by changing how the volume changes over time the frequencies that only appear in one part of the sound (say, during the transient or during the sustained part) get perceived differently?

ok

what do you need these things for? cant you just plug in your audio directly into the mic in on the computer?

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lol

answer the question faggot

for starters computers generally don't have the required I/O for microphones that aren't usb

for so many reasons, that is a googlejob if u want to make music you will benefit a ludicrous amount from it, focusrite is a brilliant entry product.
better converters, amp control for your monitors, xlr inputs for monitors, internal dsp, xlr/jack inputs for recording DI/microphone.
if you are questioning the need for a soundcard in producing audio then you need to get a grip and do some reading on your own cuz thats the most entry level bullshit you can encounter and aint nobdy got time to talk you through that wank

i mean any form of compression, which is esstentially a form of distortion. any form of distortion will have an effect on any or all of the features of a sound, this is why i say its dependant on the settings, the model of the compressor and the content and amplitude and envelope of the source signal, because all of these will interact to produce various results
so its timbre (the relationship of volume over time between harmonics)
its dynamic range (the difference between the loudest and quietest points of the signal)
its thd( total harmonic distortion)
im sure theres other things, i mean it could even be effecting the phase relationship between the L/R and sometimes if its modeled on a certain thing it could be a fundamental part of the emulation and you'd never know that unless you used something like plugin doctor
>Or do you mean that by changing how the volume changes over time the frequencies that only appear in one part of the sound (say, during the transient or during the sustained part) get perceived differently?
potentially yes
cont.

why is there no xlr on that thing then?

there is

the inputs on the left are both jacks and xlr's you degenerate go and read about them on your own time

so the two front holes are both for microphones AND audio line in (like from a synth for example, sorry my english isnt the best.)? So can i either Input left and right audio out from my synth their OR a microphone?

ok got it. i read it on the page theyre selling it on but didnt get it

Isn't a compressor like an automated volume knob?
Why is it basically distortion? Because it changes the shape of the waveform by changing its volume?

because distortion is the idea of distorting something from its original entity, any non discrete processing is distortion, you'll never change my mind but i understand that most people dont think that way - this thought process just enables me to approach tasks as just that, tasks, instead of compressing or saturating - i am just trying to achieving the difference i have identified i want and the method really doesnt matter, if you are willing to automate all your volume faders manually because thats what you are trying to achieve with your compresser, then nigga do it it'll probably sound dope
a compressor however, is by no means an automated volume knob

so in my picture from left to right is a C3 note of a Violin, an Oboe and a Cello.
note the fundamental is the same but the notation of the harmonics (the overtones, the harmonic series) is not the same - this is how we determine register, and the relationship between these harmonics and how they interact with eachother over time is what we call timbre.
different instruments perform more appropriately in different octaves, and produce different artifacts in the.... way they are designed to be heard (????) dependant on the octave/register, the playing method, the envelope etc
a compressor could potentially change the relationship between the high and low volume peaks, which in turn will change the perceived timbre - because the time varients are being altered AND the harmonic amplitudes are being altered AND potentially incurring its own harmonics, AND potentially increasing the relative output of any over/undertones that are generated from the resonance of the harmonics themselves - because consider this, a chord can produce its own harmonics that are not present in the original series of notes (and that is fucking neato when it comes to sound design btw)

man this shit is hard to put into words i hope im not waffling too hard

Lol my dude it's 2019 just get software to do it for you.

youtube.com/watch?v=_Kgff6tfnOg

Sound alright, change the pad sound to something more complex/dynamic. Trying adding micro variations to the drums so that they evolve throughout the track.

ffs all that and i forget the god damn picture

>a chord can produce its own harmonics that are not present in the original series of notes
my reason for saying this is that a compressor creating its own harmonics could potentially be increasing its own harmonic distortion, it depends on when the harmonics are being injected - pre or post compression - for example the Gyraf XXI gets around the phase crossover issues of multiband compression but using dedicated filters that only effect the post stage of each band, so that any information that isnt present in the original signal that is above the crossovers is phased out against itself - meaning that it is filtering its own THD out of itself because of some VERY clever developers. the reason im saying these maybe seemingly off topic things, is that if you can come to terms with the fact that there is no way for you to monitor what every thing is doing then you can embrace the fact that as long as you know what you are trying to make, you can achieve that difference - so it doesnt matter if something is squashed = less natural, because you are trying to make music not a tree

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>because distortion is the idea of distorting something from its original entity, any non discrete processing is distortion, you'll never change my mind but i understand that most people dont think that way - this thought process just enables me to approach tasks as just that, tasks, instead of compressing or saturating - i am just trying to achieving the difference i have identified i want and the method really doesnt matter,
Yeah, I agree with that mindset. I was just confused on what you meant.

>a compressor however, is by no means an automated volume knob
I don't mean in the background because I know the internal processing is much more than that, but in practical terms? Doesn't it work similar to a volume knob with an envelope follower, in terms of what it does to the sound?

Yeah that was because I accidentally recorded in mono for the first section and for some reason any subsequent takes didnt sound the same. Also yeah I thought that might be an issue, going to come up with a smoother transition, thanks

>Doesn't it work similar to a volume knob with an envelope follower, in terms of what it does to the sound?
desu the answer is just no, maybe im not capable of describing why because i am struggling to fuck to put it in text
if only we could have this convo over a beer and i'd unironically show it all with my drunken hand movements

damn...don't know if i like this or hate it. i always thought writing good melodies is my strength. But with this thing...makes my skill basically worthless huh? well im for sure gonna try it tho

yeah but there are definitaley some cool ideas in that song, it's worth polishing. also I guess you can just copy the one speaker mono track to the other channel right?

>a compressor could potentially change the relationship between the high and low volume peaks, which in turn will change the perceived timbre - because the time varients are being altered AND the harmonic amplitudes are being altered AND potentially incurring its own harmonics, AND potentially increasing the relative output of any over/undertones that are generated from the resonance of the harmonics themselves - because consider this, a chord can produce its own harmonics that are not present in the original series of notes (and that is fucking neato when it comes to sound design btw)
That's what I don't understand.
How does an ideal transparent compressor (something that's not an emulaition that deliberately colors the sound) alter the harmonic content?
Doesn't it just work on the volume of the signal regardless of what frequencies it contains?

>so it doesnt matter if something is squashed = less natural
I'm not the guy who asked that original question. Just another user who is confused about this.

It has to be time-domain processing, right? So what does it do to the waveform if not changing its volume?

>Doesn't it work similar to a volume knob with an envelope follower

No, not usually. The difference would be the compressor only attenuates the part of the wave that goes over the threshold, not the entire wave.
I suppose it's kind of like a volume knob/envelope follower, but a (practically) infinite number of them working on infinitely narrow frequency ranges.

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>definitaley
What kind of accent is that?

Are there any general rules when it comes to EQing?
Like I think I read something about the relationship between the bass guitar and bass drum once, but I don't remember what.

Haha didn't think of that, and yeah I think I've just got to refine everything now

Not that user but I suspect this is related to the "is a compressor a waveshaper?" discussion a while back - a compressor when used with a non-zero attack and release parameter is not acting on individual wave cycles but instead on the sound's envelope, so yeah it is more of an automated volume control in that scenario, but if you have a quick-enough compressor and a zero attack and release it will act as a sort of waveshaper too so in that mode you could expect some real timbral changes to happen.

Are you sure?
The first part of your psot makes me think of a waveshaper which only alters a portion of the waveform, and it could kind of make sense, but the second part makes me think of frequency-domain stuff, which is obviously not employed in any normal compressor.
How would a compressor do that without FFT processing?

It's the i suck at english accent

>so in that mode you could expect some real timbral changes to happen.
Yeah, those are the usual compression artifacts that happen with shitty compressors or by simply pushing them too hard.
From his post I seem to understand that he means that a compressor's normal operation would affect the frequency spectrum differently.

The second part is just a way to visualize it related to your question, and not how I imagine a compressor works.

I

Can't

Stop

Wait

Cumming

For

The

I understand why you question my thoughts and its a fair criticism but i guesss my reply would be along the lines of even the best products arnt perfect?

i mean look at this image, the left in compressed and the right isnt - both are peaking around -14db, on the compressed signal you can see the harmonics at the high end, F8 and F#9 - are being disproportionally increased - and this is using Pro C, a very very good compressor. Consider how it bringing up an F and an F#, while the actual note being played is a C. F# isnt even in the C or Am scale, so this being brought up is significant even if its for a theoretical understanding of timbre - because all music is just timbre.

honestly, the scope of this conversation can go very very deep and i dont think i am capable of properly addressing it at this level

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Producer

Contest to start bump limit reached lets go boys

Let me know what you think if you try it, my DAW can't do MIDI out from VSTs so I never gave it a go.

Alright cunt, I'm gonna make it now.

NEW THREAD AND CONTEST STARTED:

>I understand why you question my thoughts and its a fair criticism
I'm not criticizing you. I'm just trying to piece together the pieces of information to understand this thing I'm confused about.

>but i guesss my reply would be along the lines of even the best products arnt perfect?
So it's about the artifacts and not the normal operation of a compressor?

>i mean look at this image, the left in compressed and the right isnt - both are peaking around -14db, on the compressed signal you can see the harmonics at the high end, F8 and F#9 - are being disproportionally increased - and this is using Pro C, a very very good compressor. Consider how it bringing up an F and an F#, while the actual note being played is a C. F# isnt even in the C or Am scale, so this being brought up is significant even if its for a theoretical understanding of timbre - because all music is just timbre.
Oh, didn't know about this, thanks.
I guess I need to pay more attention.

Would you say it's an intrinsic part of how a compressor works - like how a normal (minimum-phase) EQ alters the phase unless it's specifically designed not to (linear-phase ones) because of how it works (by duplicating and offsetting signals, as far as I understand) - or is it an unintended defect that isn't supposed to be there but the tech isn't good yet?

Or is it an intended wanted feature?

i replied in the new thread

p nice i'd don't know what you want to do with it but the snare could use some weight and come up a bit and maybe take out some of the more dissonant notes in the pad cuz they don't really do a whole lot for it