/prod/

instaud.io/3AkU

New to production, why does the bass sound out of tune? Criticism welcome, thanks.

Yeah, but that's the price to pay for free stuff.
If you're pirating for philosophical reasons, then it's either this or looking for it on sketchy public trackers and sites you find on Google.
If you're pirating to save money and you use AudioZ regularly, perhaps you could consider getting an Uploaded/Rapidgator subscription so you can download at full speed while still saving a lot of money.

If you don't want to spend too much time babysitting your big downloads, get JDownloader and add all the links at once, so you can at least sit back and do something else (save for some captchas in some cases) while the downloader does its job.
Just be careful with every button you click during its installation because it's gonna be sneaky and try to install random shit. Just don't click on any unrelated "accept" buttons and on "next" while the "I agree to install X unrelated program" box is checked.

probably cringe question but how do i figure out what notes a vocal melody is using

These are the ways I can think of:
>play the notes on a keyboard while the music is playing and write them down
>play the music in your DAW alongside an empty midi clip and fill it with the correct notes as you go
>if there aren't other instruments playing with the vocal, load it into a tuning software like Melodyne or Autotune and if they have a good detection system it's gonna tell you which notes it's playing
>if it's a famous song try googling " midi download"
>if it's not a famous song, try emailing/DMing the artist and hope they give it to you

instaud.io/3Ac3

Can I get some feedback on this? It's pretty damn good IDM imo

Attached: me2.jpg (960x960, 106K)

How do i become like Andrew Huang?
He seems to be perfectly content and happy with shitting out boring rushjobs every day.
He has never attempted to actually make art and he seems totally fine with it, just fucks around for fun and makes some low effort stuff for views.
Yet somehow he seems quite popular.

how do I deal with this retarded scaling?

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He's not popular because of his mediocre music.
He's popular because he makes normie-friendly YouTube videos about it, and it's well produced enough that most normies don't realize that under that polish there's not really much great music.

It's almost always like this. Those who become famous by making entertainment about something, are more often than not pretty subpar at it (but good at making it entertaining).

did i get the creepy/anxious intonation right?
instaud.io/3Am6

instaud.io/3AmC

This is a cover im working on. does anyone here have mixing knowledge? also im looking for tips to make this sound more full and groovier.

is there a discord?

Nobody here has mixing knowledge

Crit this fucking mix clyp.it/0imk3nco

I can seed but do you mind throwing me an invite code if you have it? Cheers man

youtube.com/channel/UCYDzeYIkNPD7_6adQZ3oX8g

I don't have my account anymore, but I'm sure some other user has one.

First time actually considering to buy a plugin. it's the softube tape and I demoed it and it sounds fucking sweet. But spending 50 bucks on software rubs me the wrong way for some reason.

Does anyone have a UAD tape plugin and can compare?

it bangs/10

>UAD tape plugin
Don't UAD plugins need a UAD interface to run?

Bridge felt alright? Did the swell at the end of it cause an overwhelming clip and distortion? I'm worried I may have played the master bus far too fucking hard there.

yeah. Maybe someone here has an apollo card.

The studer seems to be the reference atm. Made this beat with the softube tape and the lowend sounds pretty sweet I find

clyp.it/r4uiaipa?token=bdc2cc1ccf687033ecbc7b0a491074d4

instaud.io/3Aow

how is this so far

The first half of growly yelling vocals sound like they're clipping or something.

I have Kramer Tape deck on there for it to add a little more grit, but it may be a little hot in the sauce

sounds like a demarcus track

instaud.io/3AoP

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Who? I-is that a bad thing or a good thing?

noice

the only person better than demarcus here is sammy

It is.

why are you pretending to be me

Is Renoise worth getting? I’m finding Ableton to be pretty shit and just don’t like many DAWs. I’ve never used a tracker and they seem pretty interesting. Probably helps that my music is mostly sample based too.

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Because I'm bored of not shitposting.

Here you go senpai
16-bits.org/ft2.php

Why is ableton shit in your opinion?

Looks really cool, I’ll check it out. I love the old school looking stuff, Amiga trackers look amazingly garish and fun.

I wouldn’t say it’s shit in general, just for me. I can’t really be specific, it’s just this sort of feeling of everything feeling all over the place, feels more emphasis on VST based productions over Samples (Sampler is still fairly simple), it just feels almost too clean, too professional, too feature rich, and the workflow has never really worked for me that much. I just want to try something different and something new.

>this sort of feeling of everything feeling all over the place
do not try fl then lmao
simpler/sampler/warping/drum rack are top tier for sampling though so idk what you're on about.... but i will concede that if you're REALLY sample heavy renoise is definitely worth a look over ableton

made this in Renoise It's honestly the best DAW, as functional as any other DAW, strong community, and the interface is nice because how fast it is to change patterns on the fly.

Wow you guys don't even know good music

based

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instaud.io/3Aq3

Thoughts?

Def need to tweak the volume levels a little. Might be hard to get it right without letting it clip a lil though

I like the chimes or bells on this. Sounds great with the pads.
Club banger
Would throw in vlog background/10 good stuff

What's the state of future garage? Is that meme sailed into the sunset yet? Was just becoming a thing when I checked out

Are there any good but free additive soft synths?

Try cakewalk it's easy to use.

Does anyone have some comfy /prod/ tier wojacks?

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This fucking bumps Jesus christ, what the fuck are you doing here?

He's ten years too late at least.

Weird cope, but I guess you're right? I really liked the verb bus stuff he does. It cuts the mix surprisingly well but I think that's more product of the vocalist rather than him though. The only thing that really pokes out to me though is the automation kind of putters out in that prechorus and it's a little loud.

ty dawg I appreciate the feedback and yes a lot of the goodness of this track is solely due to the vocalist, I haven't tuned the second chorus yet because I fucking hate Waves tune UI as I liken it much to a visual abortion if anything and Antares is fucking garbage. Did the bridge
¯\_(ツ)_/¯ it's hard being a grandpa at 20 my dick don't work and my knees fucking kill me all the time

Renoise is really good. I often use it when I'm tired of Ableton. I'm still not used to the mixing part, but for composing, you can materialize your ideas really fast.
Its sampler is one of the best you can find, and you have a VST version of it if you want to use in other DAWs.
Just try the demo, I think the only limitations is that you can't export to wav your tracks.

Are there other spots besides the official site and its forum? I don't find it particularly active desu.

bump

Posted it in the guitar thread, reckon I can ask here too.

I'm looking for an USB interface to play guitar in real time with effects applied to it. I guess I need something with low latency. I don't need any other bells and whistles, like many inputs or whatever. Can anyone recommend something?

Also, I'm still considering how to connect it to my regular desktop speakers. I've seen that I need one of those cables to convert the 2 outs of the interface to 1 out for my speaker. Can I also then hear the "regular" sounds from my computer or do I really have to reconnect the speakers every time after that?

RME Fireface 400 would cure your woes. If you want something dead easy, just a UX2 will do.

How do I write and make music like this?

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redpill me on 500 series, is it a scam? as a poorfag am i better off just sticking to cheaper rack preamps/eq/comps?

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Nah, alls I got is frog and boomer.

Make your own, this algorithm is the one used for Caustic's Pad Synth.

zynaddsubfx.sourceforge.net/doc/PADsynth/PADsynth.htm

It’s not a scam, but if you’re poor I’d stick to cheaper but well made stuff.

Im making an album on an iphone six and it takes longer to upload .wav files to my drive than it does to listen to the song multiple times over

The mic pre is a must have. It’s the only great one under $500

I think the glitchy my country tis of thee goes on too long. Maybe you could either shorten it way up, like just the first bit, or make it way faster?

>my country tis of thee

yoooooo i was trying to remember if I got that melody from somewhere lol

Will def think about making it shorter though thank you

what is a good hardware midi sequencer, maybe with the option of having some samples or basic synth bass/pads, and the ability to chain patterns together?

What's your favorite granular vst?

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is there anyway to download a full copy of Reason 10 anywhere?

checked just about every tracker i could and they only have a few options between 4-6. I've been playing around with the Lite version (which came free with my controller) and it's nice but i want to see what other VSTs they have in store and i can't really afford the full price tag

Anyone up for mixing advice?

instaud.io/3AtY

Something bothering me about the mix, I'm not sure what. Maybe I'm overthinking? This is the first time I'm working with distorted guitars and the distorted guitar parts sound sort of off to me. I recorded it with guitar rig and it only has some EQ to cut out some of the highs to tame it. Anyone notice something out of the ordinary? Could be that it's clashing with the bass?

Thanks my dudes.

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elektron sample

Andrew Huang just works. He certainly wouldn't come here or do anything else but make music and videos, he's got like ten albums he's done plus Eps and

He's excellent at production and occasionally makes great stuff

youtube.com/watch?v=3F35jTxGhww

As a noob who started somewhat seriously 4 months ago, is it normal to feel rusty and feel like you lost all progress after taking frequent breaks throughout said 4-month period(sometimes 2 weeks long).

I'd make beats for 2 weeks every single day, then take a week break just to feel like I'm back to square one after coming back.

Also, would you say it'd be bad advice for a beginner to take breaks because of a creative block?

He's extremely productive and puts more out (in terms of music & videos) in one year than most producers will in five. Also he's not a bad producer, around the last year or two he started making low effort content for views but some of his older music and videos are far better.

Yup. Read the book The War of Art by Steven Pressfield

Start guitar is out of tune
Hard pan electric guitars
Turn high synth thing way down, perhaps work out where it is in the freq spectrum and scoop the guitars at that part.
Maybe too many highs
Cymbals on drums are they there

Basically you want to use the entire stereo field, Could read the art of mixing by Dave Gibson

... a way to get a good balance is turn everything way down and listen carefully. You won't hear the bass as well but you want to try and make nothing stick out very much if at all in terms of volume, compared with everything else.

Thanks for the advice guys, I'll try this.

hey i have a regular interface and i want to record my guitar DI and the miked amp at the same time

how do i do that? how does a DI box work along with an interface? does it double the guitar signal so i can send one to the amp and other to the interface?

Idk why but I only have fun producing when I'm on Live 10 even on Live 9, I feel like shooting myself.

thats cuz 10 has like 1 billion QOL improvements that make it much nicer to use than 9

Do you have a thunderbolt port? It has the lowest latency without going pic. Check out the clarret thunderbolt version.

>Reason
>VSTs
user I...

bump

You aren't rusty, you're just a beginner. Also, you need to work through creative blocks. Practice something you already know, or just try something, anything. Creative blocks are an excuse to be lazy - not everything you make has to be good, or even shared with other people. Just make something, that is part of the practice

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>He's excellent at production and occasionally makes great stuff
True.
Why don't you post an example of that?

>643 views
Andrew pls go

rest in rip /prod/

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is it free and open source

Not yet

instaud.io/3ACj
give me feedback and you shall receive feedback

>instaud.io/3ACj
You need a different patch for that melody, bud. It leads me nowhere. Cool drum sounds though, however I'm intrigued as to what you're trying to do. I'm confused to the motif presented at the end with the half-step harmony thing going on as it's kind of grating to the ears and little context was provided to it's entry or purpose to the composition. Alongside that, the synth itself is too loud and is a bit grating on my ears as it seems as if it's trying to fight with the drums. I suggest a little bit of limiter on those, if you have the L1 I highly recommend it.

I agree with That melody is really loud, it might fit in more if you quiet it down. You should try replacing it with a different synth, too. You did good work with the drums

Frankly I think the melody is just flat out bad-- I mean maybe if he had some sort of pads or subs to give me more context as to what he's doing it may make sense as I am more than certain I am retarded. I'm trying to think about what exactly the melody is doing but perhaps the drums are obfuscating the true nature of this man's creation as I can't quite find a sense of what's happening.

instaud.io/3zRv

Does this sound any good? How can I improve it?

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>instaud.io/3zRv
The drum patch is kind of offending in contrast with the pad in the back-- please entertain the idea of a verb bus for them and blend accordingly with the patch, I like where the bass is sitting. I think the melody is nice enough, though it tends to meander about and cause me, again, confusion as a listener. I appreciate the context given at 2:06 and I think that it provides better insight into the idea presented but I'm not a particular fan of the melody in and of itself until you begin to walk it at 2:27, I like some of the contrast it provides against that lower synth.

Otherwise what seems to be a pattern in this thread is people afraid to kind of rip melodies they like and play around with them, but all the while maintain the ability to create a central theme. I think your theme at the end is strong and, if cleaned up a bit more, could be cool.

Once again, verb bus on those drums to blend with that pad and rewrite your melody senpai.

>please entertain the idea of a verb bus for them and blend accordingly with the patch

I meant to say please entertain the idea of the verb bus for the drums, to blend with the pad in the background.

I appreciate the detailed response, I'll definitely put your ideas to work. Thanks :)

instaud.io/3AD1

Early draft of a creepy dry hump track, how would you like it to go?

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>instaud.io/3AD1
Cool intro patch. I like it quite a bit, if you could actually put guitars in this it a la Issues album III, I think this would be really intriguing as the textures provided are nice. I think the synth patch you use for the main melodic motif actually takes away from the textures you've given me. If you wouldn't mind-- could you actually post an Instaud of the song without the bells, along with it's BPM so I can try something?

I mean, take my opinions with a grain of salt. I'm a dirty grandpa who likes mallcore-- otherwise thanks for taking my ideas seriously.

Yep, hang on - the project file's being fucky

I want to buy an USB audio interface for home recording. I don't need a lot of input jacks, one 1/4 inch and a mic input would already work great. The best thing as well would be for it to have a smaller output jack for my headphones (I don't know the name in English). What have you used and would recommend me?

UX2 for cheap or RME Fireface 400 for delux

instaud.io/3ADr
now how is it?
also, did you guys want feedback?

What the fuck. The deluxe one is REALLY deluxe, man.

Dude, much better. Though I still hate that weird pluck patch you've got going on, you need something far warmer. Also, have it drop out at 1:45, as I think you're introducing a completely different motif there. I would recommend some sort of pad to go behind it as well. Go study melodies you like senpai. You would benefit from it. Nothing wrong with creative theft here and there.

It's a good interface, but shit, even with all the shit I use I still use the UX2 for live gigs to send my shit to the soundboard and to split for my ears since it's so light and it can take a raping, be it rain or some dumbass accidentally dropping it.

As for criting my shit they will not be in your preferred style of music. , but I invite your opinion nonetheless. I would like to know if you think the lack of actual direct overheads for my cymbals is a bad choice and whether or not just using the verb bus for the cymbals feels as right as it did for me.

I should also add you should maybe do a bit of TLC on the drums EQ-wise and on top of that, perhaps ease a bit off the mix of the drum's limiter. Get a feel for your volumes here. The drums are proud now, but what do you want them to do? What is the terrain you wish to create with this song?

...

To add again: Volume automation is your friend and you should just try and ride the automation if your DAW allows it, you certainly should have a landscape of what your song will be doing. Imagine you're conducting an electronic orchestra and you want certain sounds to be loud and some to be quiet. Like, the drum statements made with the snare at some places, super cool and I think they invite a lot of attention

Also awful way of doing things. Record guitar first, then route out your clean track to the amp and reamp the recorded stems from there senpai.

route out from the phone output or the rca out? also not hearing the amp/distortion while playing affects the way one plays, even if he can play without hearing.

instaud.io/3ADD

there you go

Is Behringer DeepMind the best "modern" synthesizer in terms of bang for buck?

Can I get some feedback on this? Mostly on mixing and mastering? I wish the critical user was here since he gives good critiques under all the negativity.

Hardware analog polysynth i mean

There really is no 'best' when it comes to this sort of thing. It's certainly got a lot of features for the price but wether they're the features that you want or if you like the sound are up to you.

for 12 voice poly? absolutely. I've got one and use it often
for 4 voice? ehhh there's stuff like the minilogue, mopho x4, novation peak (used)... that all have different strengths.

that said I use the dm12 in 6 voice poly usually as the OSCs are a bit weak sounding on their own imo. the filter rocks however

Please don't get a mini or monologue. They're unbelievably limited and I sold mine only after a few months. If you're looking for something similar to that just get a used ms20. I've used it on nearly every song. Extremely versatile.

i liked it though I wish it were faster for the main theme and then the middle part were the same tempo

anyone have feedback for this? I made the beat live on sound forest for ios and then freestyled over it all one take. What do I do next with the track?
instaud.io/3AEa

what would you do with a yamaha dx7 if you had one?

Play it and record the sounds.

it's kinda busted and I haven't been able to figure out how to save my changes except for one time...no cartridge. Sometimes the audio check fiddles in and out

huh, why would anyone get 4 voice?
sounds extremely limiting

Whenever a synth has 4 voices it creates a nice robotic sound every time the note gets cut off and reset to a new note.

Are physical drum machines worth it? If so, is this a decent starter budget one?

Attached: Korg Volca Beats.jpg (1500x918, 187K)

What kind of interface are you using? Just route out from one of your front facing ones into your cab with your DI first, then pedal chain and into head and you're good to go. As for not hearing your amp, just use a VST profile over your DI. While I am wholly aware of the need to hear one's distortion, I am also keenly against in many cases when tracking rhythm guitars.

Thanks senpai, will give you something tomorrow when I go to work.

There's very little to give feedback on user, please flesh your idea out to allow us to get a better picture of your song as, while it does comprise of what features you'd like, the limited mixing and provisional recording for the vocals gives me little ability to give any honest feedback.

umc404hd

im not sure i got what you just told me to do

Thanks for the feedback and especially for listening

Okay, what DAW are you currently using? You'll need to choose the input/output within the DAW for your respective track for the reamp process.

reaper

That's fair. I suggest getting on the computer and setting up your tracks and concretizing your idea. As for maintaining the original essence, I suppose you can't-- but at the end of the day that's but a passing qualia that occurs in the act of creation and is often, if unequivocally, lost in the translation between listener and creator. I appreciate your desire to preserve this but unfortunately I think it's an impossible thing to preserve. I have the most fun when ironing out or finalizing my ideas, and doing the little nitty gritty I suppose. As for recording saxophone, I have had the most luck with brass with a single SM7B + Cloudlifter. However, unfortunately, the only time I have done this was for a very bad trumpet player.

Okay, nice. If you can see a button that says "Route" click that and send to your preferred input/output. You should also click the upper right hand side and set second array of options below the first two switch boxes, and set the two below those to the entire range of your inputs. If you have a 10 input interface, then you select (1) to (10) and you should have audio out.

(I should add that saxophone isn't a brass instrument, for those who like to correct small incongruities, but this is simply a recount of my experience.)

do you mean routing the recorded track to the alternative output of the interface and sending that to the guitar amp

Affirmative. You will be able to choose the outputs at this point-- though my experience is solely with the Fireface 800

oh...i was just going to chop samples, I don't own a sax anymore. Interesting that you would call the essence or soul of something a passing qualia though. I'll see what I can do. I have another track that's similar.

Thanks again and I hope to see you around

I mean, I have no other way to put it. The touchy-feelies are certainly evoked by music but I can't do it every time. One man's trash is another man's treasure. Otherwise I think chopping samples is completely useable and can lend to a cool ideas.

I made this vapour ambient song
what do you think? how can i improve it?

instaud.io/3A7i

i'm afraid it wont sound as good as using a directbox, whatever is the way a directbox works (what is it?)

It's definitely vaporwave. I mean just verb bus on the master maybe or a low pass on your background pads? End of the day, most mixing decisions are solely personal.

Maybe, we use the J48 and I haven't had much trouble doing reamps. I just reamp straight into through J48 and now with the Precision Drive Kemper however and was taught to kind of not even mess with trying to reamp with actual amps unless you've got a room worth a shit. If you ever want to experiment with lively bass tones I think that the Precision Drive, or better yet, the Darkglass B7K is absolutely spanking.

Precision Drive to Kemper*, sorry. I've been told this is ass-backwards though.

i want to mic my guitar tube amp, not a bass, but thanks for the recommendation of bass amp vsts, i was looking for some, rn i only have the sansamp bod and the sansamp psa

Oh, unfortunately, that's not a bass VST, that's a pedal. Though, for bass VSTs-- for the longest while I was using Cory Brunneman's Texas Grind. I like it, sometimes we still use it but for the most part you're better off just quantizing your own bass if you like that kind of sound.

i have no idea what youre talking about

all i know is it sounds good and the synth design is full and sounds great

The Darkglass B7K is a bass pedal, I apologize for the confusion, senpai. As for bass VSTs I really don't know exactly what VSTs are solely used for base but I will check out the Sansamp bod and pod.

ah got it, you meant "reamping" with a (real, not vst emulation of) pedal instead of an amp.
why did you talk quantizing bass

Because Texas Grind is a pack that works within Damage and has an array of settings within it that mimic most VSTs and has led to me, most possibly, mistakenly calling it one. It is much alike to Drumforge or Steven Slate Drums in that respect. I like it for quick tracking quite a bit and for setting up backtracks when I am in a pinch. As for emulators of the Darkglass, I'm not sure if they exist but I'd probably entertain trying one if I found it.

>whatever is the way a directbox works (what is it?)

A direct box for your application takes an instrument-level input (from a guitar for example) and matches its impedance to a mic-level input on a mixer or interface that has no Hi-Z instrument inputs - if your interface already has Hi-Z instrument-level inputs (and if you're using a 404 HD, it does) then you don't need a direct box.

If you want to split your signal to run to two different inputs (ie an interface and an amp at the same time) you want a splitter - some DI boxes will let you split an incoming signal to feed two outputs, but both will be at mic level and that isn't what a guitar amp likes, a splitter will alow you to feed instrument-level to your amp as intended, and to an instrument-level input on your interface, also as intended.

ah so it's a splitter that i want, thank you, i'll buy one now

In what case is this useful, I'm interested as to why one would want to do this exactly. Wouldn't there be latency issues considering the sample quality needed for recording? Wouldn't the output you would need to set for the live monitoring of a recording cause a poor quality output from interface to amp?

No worries - make sure the one you buy passes instrument-level at the outputs, some will have buffers that pass mic-level signals at the outputs.

A splitter marked for guitarists should do instrument-level.

what's wrong with mic level

I stopped asking Sammy why he wanted to do stuff ages ago. I just give him the info he needs now to make his own mistakes.

But by the grace of God goes he.

would this (pic) work? lmao

that's i want to use a splitter instead of reamping. stop fuckin demoralizing me.

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I understand your plight now, Sammy, I apolgize for any demoralization had thus far. Best of luck.

stop mocking me

>splitting
ignored this question earlier because it was so simple but this is just funny- I swear we had this exact same discussion around a year ago and he likely got mad at me for explaining what reamping is and how easy it is just to split with any basic pedal with two outs

maybe that actually happened, but i had a reason to reamp instead of splitting

oh i know the reason. if it was a year ago as you say, i didnt have an interface yet so i couldnt record mic + di at the same time.

Mixed well but honestly sounds like marching-band-does-techno. Do people actually listen to fairytale sounding stuff like this? Imo drops should sound mean and ugly, not sparkles and sunshine...

Feedback in the beginning is ear piercing, I skipped ahead and liked the rest.

On that feedback track, I’d suggest putting some big reverb on a send (pre-fader) and automate between the dry signal and wet send signal throughout the track. It will make that part come to life

Bit too much mid-range in the guitar, and synth too loud when it comes in

creative sound design, but short lived and gets repetitive. Also, tame your melody writing - be more concise with your note choices, use rests.

40 second intro is asking a lot.
Sounds too clean imo, like it’s all sample packs and presets.

Sell it and buy a k2000 instead

Depends what you want out of it. It’s a completely different experience than programming in a daw. Drum machines are more about programming and modifying patterns in real time and recording the results, not really a set-it and forget-it machine.
That’s def a decent starter, but will likely outgrow quick. for around the same price you can pickup a used Korg er-1 and it’s a lot more versatile. Or if you want more modern check out drumbrute impact or moog dfam.

Pretty. besides my personal distaste for clearly sampled strings trying to pretend they are not sample strings, I’d say it’s needs some more stuff happening. Nice though

Guitar amps don't like them, especially with long instrument cables, reduced gain going into the guitar amp and choked high frequencies if using longer cables.

but condenser mics are pretty loud

post what you've made

Actually that is all hogwash folklore, you can run 100ft of cable and still sound fine

it's all buffer makers' lobby

Also, I've got this laying around the workspace and have been yet to use it: anyone have experience with this potental gem?

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Yes it’s very nice

Damn it user, you skipped my track

That may mean it didn't need criticism, perhaps :^)?

Lol don't be salty dude.

He's hoping that you can lo-fi and 'experiment' worse than him. Here's to hoping, none the less.

Well in that case, thank you, maybe

I didn't say I liked it or it was good cunt
sounds like shit dumbass

Relax user, I know deep down you liked it

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It's not the 1800's anymore Clarence.

So, the toy DAW can finally play with the big boys? OH WAIT, what's that you say? vst3 isn't supported?
Oh well, maybe in another few years kiddo.

instaud.io/3AHc

Looking for honest feedback

literally who uses vst3 lmao

Steinberg is trying to kill vst2

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>
I was going to buy Reason when it was $100 off last month but I didn't; you're making me regret that.

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Damn son so you need to borrow an "oof" from me or can you supply your own?

...can i borrow some "oof"s

>in ableton
>alright this sounds alright ill bounce this all to audio and export it into a new live set
>export the tracks
>import them into new live set
>surprisingly louder than usual but i dont think much of it
>spend hours mixing and realize theres a track at the bottom that i never noticed that is a track of the complete song unmixed
>apperantly when i exported the tracks it exported the full song track as well and i didnt notice and imported it with the others
>muted the full song track and my mix was so awful. drums barely there and synths and vocals were so dull and lifeless due me EQing a decent amount of high end in the track.
>have to start all over at step 1 now
REEEEEEEEEEEEEEEEEE

And this, kids, is what happens when you don't read the manuel.

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?este hombre es manuel?

Don't worry user, it'll be on sale again next month.
They just had an update that made everything run more efficiently (although it caused a few back-compatability and workflow issues for some users) and their usual May sale is right around the corner.
No word yet on v11 but it's likely to be at least announced this year.

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Yeah, he's an Anime (mostly One Piece) and videogame streamer on Twitch.

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>instaud.io/3Aow
Each part transitions well into the next and I like the kick, makes for comfy background music. Not sure how I feel about the melody overall.

clyp.it/zneh34jg
WIP
I want to add bit more to it, would this work well as a loop? Going for a vidya game music kind of feel.

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boring and the timing is all fucky

can reason do just as much as ableton in terms of chopping samples editing, simpler type sampling, etc?

I've been using ableton longest out of all daws but reason appeals to me too

there's not enough substance for it to work as a loop

Does it need to be longer or more melodic?

Not him, but i would say more melodic. Maybe add something near the end. The beginning and the end sound the same, so if it were a loop it would get repetitive

Stop switching daws and just masts one fag

Depends what you mean by "simpler type".
You can drag wav files right on to the sequencer and chop, stretch, pitch, and otherwise manipulate them (and turn them into rex files if you're in to that) which I understand is like how Ableton works.
There's also an old style sampler RE called the NN-XT(and the even older NN-19) which you can load samples into and use it's interface to do older style sampler chops.

Ex.
youtube.com/watch?v=rIoGj9fOfQ4
youtube.com/watch?v=jeyehM7wWKo

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Imagine a Reason rack programmed via a tracker.
>muh
I suppose you could do this if you rewire Reason into Renoise, right?

Dunno, I've never tried.
Quick lookaround for you on the ReasonTalk forum seems to imply you'd be best off getting Redux.

|nigga|

all I use for 5 years is ableton and audacity. Though adobe audition looks appealing for mixing + mastering.

But you're right, I gotta marry the daw.

like pitched samples with glissando and controlled by midi controller etc.

I'm mostly curious about it because it looks like a little easier/attention keeping of a work flow without the live clip launch.

I also like using figure on my phone, so I was wondering if that same synergy would come from switching to reason

>pitched samples with glissando and controlled by midi controller
Yeah I think so, either NN-XT'll do it (although it pitch shifts by changing playback time) or Grain can do granular pitch shifting stuff like this:

instaud.io/3AIP

Can't comment on Figure, I've got an Android phone.

Writing a verse. It can either be very emotionally impactful or it can rhyme but it can't be both. What's more important?

Emotion always. Breaking rhyming structure can be very useful to emphasize ideas.

How do you fix a muddy sounding bass?

Remove the muddy frequencies

It can be both and it can be neither wtf
Rhyming flows are lame af imo that's some old head shit

>Rhyming flows are lame af imo that's some old head shit
>i prefer to listen to mumbled syllables from a child crying about his xanax addiction

I'm about to buy a shitty bass and install some custom bass pickups I built. Not sure what kinda shit bass I should get though. I was thinking ibanez. Any advice?

Are there any places I can learn about instrumentation and expanding past a few instruments?

Listen to more music? What do you even mean, like just literally knowing instruments?

It's probably fine but the "default" bass sound is obviously squire/fender

Go listen to more hip-hop, there are more styles than cheesey and mumbled whining

>Go listen to more hip-hop, there are more styles than cheesey and mumbled whining
meanwhile also thinking
>Rhyming flows are lame af imo that's some old head shit

gtfo you dont know shit about hiphop faggot

>i've never listened to actual music and base all of my opinions off of what i hear on forums: the post
real yikes ya got there, bud

t. soundcloud rapper scared to show face

Geez wow you're advice are useless

Been using Finale Songwriter for years, just got LMMS. I'm not used to this type of sequencer but I'm having fun writing more rhythmic music in it. I like very intense "battle" music so I am curious what you guys think of my pieces. Also whenever I try to import a MIDI to LMMS it crashes, except for very short ones (like less than 30 seconds), is this normal? I bound an SF2 file and all that but it's made my computer BSOD sometimes. Maybe just very processor intensive? I had no issue importing Midis into ableton when I had the free trial. I have a lot of pieces from Finale I'd like to "remix."
So if anyone has advice on that, or advice on how to bring LMMS presets into Vienna to try to make an SF2 I could use in finale and "remix" that way, that'd be nice.
Or I guess I should just stop being cheap and get Ableton.
Anyway I'd love some thoughts on this piece:
streamable.com/28dss

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use this wiki. find whatever site is hosting the file. take the links from audioz and paste them into these leechers. it will download at the premium speeds.
filehostlist.miraheze.org/wiki/Free_Premium_Leeches

>instaud.io/3AIP
that resonated so much with me to be honest with you. my diet is something I don't put much thought into. I like eating though so I eat what's available.

wow, music

not really.

snagged a TR-8 on black friday for $300 and it's pretty much useless. A dedicated drum machine is only good for live performance setups IMO, so unless you produce by emulating performance, you're probably better off investing in other hardware.

Samplers, especially those with built in sequencers are a much better bet, as they give you that same performance feel but you aren't limited to PCM/synthesized drum samples. the Volca Sample is honestly not bad, but it's a complete fucking pain in the ass to actually load samples into so you're better off investing in a sampler that makes it easier. You can get some classic rack mounted samplers for the same price on ebay or Reverb and those give you a much wider range of modularity than a Volca would be.

That ain't the Volca Sample tho, it's the Volca Beats. Not the guy you replied to btw, but I quite fancy the sounds the Volca Beats makes. Most other drum machines kinda try to replicate drum sounds but I personally feel like the Volca is just its own little electronic thing.

Guys, how to get into sampling? I would like to work with samples not just putting piece of song that fits as intro, or looped fragment for chorus, but fully constructing musical structure with this small music bricks. Not going full planderphonics, but something like Burial — Archangel or Crystal Catles — Utrust Us.

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>Crystal Catles — Utrust Us.
is that a sample? it's just alice chopped....
Archangel is basically just pitching the acapella and putting the metal gear thing in the right spot...

it's just placing audio. use fades, cut, paste. not much to explain if you already know how to do that.

DO IT FAGGIT

chopping up your own vocal track and sampling it is still sampling tho is it not?

i mean yeah but that user used that as an example while explaining that he wanted to make whole songs from samples...

i mean regardless, "chopping" is pretty straight forward if you know how to use your daw. Only tip i could possibly give is to not overlook the slice mode in abletons sampler just because i did personally for years lol

best sites/trackers to score some VSTs?

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any general advice on mixing low end?

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voxengo span and reference tracks

Tune your fucking kick
High pass other instruments if needed
Saturate if hard to hear
Envelopes/transient shapers/printtoaudio for more control of bass track

Eh I used to do the overlap thing but now I just use my ears... it's kind of useless unless your shit is a straight rip off.

Must have plugin still, tune everything and analyze harmonics (:

it's good to see and compare at what values the sub sits in other tracks obviously your ears should always be the final judge

I have an audio clip where the instruments are hard panned left and acapella vocals are hard panned right

how do I extract or solo only the right side so I can just use the acapella?

on ableton btw

rutracker has been good

Utility -> "Right" in channel mode

You mean like orchestral arrangements?

Mix in mono.

How would you go about expanding your musical memory? Everything I make lacks comprehensibility due to focusing on only one measure/section and mostly forgetting what I've put down before.

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Instead of composing every part of a short clip, compose one element at a time (like just the chords, bassline, drum beat, etc.) for the entire length of the song.
Try to give the song a direction just with one element alone (I suggest chords if it's melody or harmony driven, and drums if it's rhythm driven), and once you complete that you suddenly have a skeleton that you can build the rest of the song around.

Absolutely slaps.

clyp.it/wtefkrxz
Crit my intro

Your snare is a little loud, and this really needs a lead melody to overlap it. But otherwise very nice crash bandicoot music

My dad is getting a MIDI keyboard, and I'm looking to make using Kontakt libraries with it as simple as possible. To do that, I'll only be installing the standalone Kontakt player, without any additional DAWs to run it in.
My question is - how can I get the standalone Kontakt player to have effects like a guitar amp if there's no DAW? Does stuff like NI Guitar Rig 5 have a standalone program where you can route it to the standalone Kontakt program?

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>clyp.it/wtefkrxz

I really do like the dissonance you create in your tails of the riff due to the overtones produced by the slight disintonation of the guitar-- there's somthing surprisingly charming about it and I don't think you'll ever be able to reproduce that. I don't really like how the chord sounds 1:08 due to the poor intonation on your guitar. Otherwise, if you could repatch that and the chord at 1:28, the suspended note in it is lacking in the intonation department-- otherwise. I really do like what you're doing and I think you should maybe lower the mix bus on your cymbals. Quite honestly this is the first song I've really found in my two days of playing /prod/ that I was actually impressed by but that may be because I'm a grandpa who likes guitars. Then again, the quality of the electronic stuff some people have been putting before us is questionable but I appreciate their willingness and authenticity to show it to us all.

Also interesting morning news:
my mentor's mix got put into a fucking efukt video I'm so god damn proud to call this man my fucking teacher efukt.com/22791_Unexpected_Fetish.html?fbclid=IwAR2mOe-A-9TWPI-TqV6uApLTmlQOv4LdtoQLcK22SgWCOMnqxZlZ3OlcGZw

Like I'm trembling right now this is fucking incredible, I was in the room when this was being made. 508k people listened to this.

Sorry, lower the mix on the (I think?) high pass bus on the overheads you've got for your cymbals

Also, I meant to say dissonance that occurs from the overtones that are produced from the lack of intonation*. What a fantastic accident.

you would have to put like jack audio or soundflower to route to guitar rig but I don't know how to do it specificaly

>jack audio
Thanks, I'll test this.

Bangerz

That's a BOUNCE

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Why the heck do Clyp and Instaudio still not support FLAC uploads?

FLAC is for worthless audiophile jerkoffs, that's why.

The real question is, why does instaud.io allow WAV files but only up to 15MB?

What's your favourite plugin that's not too well known?

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So my friend and I want to about making our own black metal shit. How should I go about making it as shitty and raw sounding as possible without sacrificing too much clarity in the instruments? We're taking influence from early Darkthrone and Bathory but we're trying to create something more unique and less derivative. and we don't want to sound like a copycat.

As an electronica/EDM guy, I think you should consider using digital effects.
You can use digital distortion of all kinds and run it in multiband configurations for a clean and on-point sound, and you can have different kinds of emulations if you want the analog sound.
It's also much cheaper (or free if you're willing to pirate) and offers so many more features that it's night and day.

Serum

leapwing audio dynone
really everything they make is best in class though

melodic flow

does anyone know of a free drum pad vst that lets you load in your own samples? but has the layout of a pad?

>asking for secret weapons
Nice try kid

Sylynth 1

Massive

A I R W I N D O W S

Try Serato Sample.

Fabfilter EQ. Literally best EQ you will ever use, ever. I also really like the Steven Slate Virtual Mix Rack for some of the impossible to ever get in my human existence compressors and whatnots. I like the London compressor as it compliments vocalists with higher timbres.

the only actual secret weapons are hardware desu
otherwise it's just unique processing chains
and neither will save you from your garbage writing

"not too well known"
>literally one of the most popular digital EQs

Man, coming after me when you've got yahoos saying
:(

never mind. found one. Sitala for those that might need it too

Aside, you can say the secret weapon is hardware but it's getting to a point with some of these suite hybrids like the VMS microphones, or something like the Kemper-- it's hard to say whether or not you could ever tell. But yes, you're very right, at the end of the day, you cannot polish a puddle of diarreha. Also, I might have a lesser known VST-- d-lusion's Rubberduck.

good point. they also get the wall.

if you like the london comp you should check out the UAD 33609, now that's a ""secret weapon."" sounds real smooth. though I'm more into the SSL sound, it's tough to beat the neve top end.

the kemper/other hybrid units are basically hardware in the scope of this debate though- after all, they need their own external box and processing to work. that said the kemper does sound phenomenal. vms mics are a gimmick

Nerve

I've ordered one of the ML-2's to try out and I will be back with you on whether or not it really is a gimmick. I'm pretty excited as I was certainly tricked in a side-by-side with SM57, and I like to think I have a particular appreciation for mic distinctions. I've been on a Vienna kick for a while and I really like the glitter that the mic has. I am a little iffy on the VMS vocal mic, though. They may be a gimmick but I haven't heard them in person just yet.

>the only actual secret weapons are hardware
Is this a fucking joke lmao

Not at all. Good hardware is a great tool in your arsenal. A great place to start is finding a tape deck worth a shit quite honestly. The sort of character you can bring to your stems or masters, in the case of the tape deck, though I know people crazy enough to run vocal stems through them-- is completely worth it if you want to just kind of learn the nuances of real-deal-mcbeel hardware. While it may seem pretentious, things like Sweetwater do allow you rather gracious and affordable payment plans that, if you want to arise beyond dillettante hobbyist-- it's a worthy thing to do.

So you're using "secret weapon" to mean something that improves the quality of your sound, not in the /prod/ meme way, which means something that allows you to make something very unique and hard to replicate.
Correct?

I actually still use my Ampex 1260 that I picked up at a garage sale.

I mean, there's always more than one way to skin a cat at the end of the day user and I wholly empower you to find whatever means necessary to get to what you want. It's not that it's hard to replicate, it's just that it gets a little bit of you. I can physically fudge with my tape deck on the process of a recording, so lets say I prep some delay sends and I wanna play with some time effects, I can throw it on my tape deck and kind of fuck around with it. I don't do it all the time but sometimes the mood strikes and I like to do it.

Here's my gayness showing, I like to think it's rather intimate sending, like-- lets say I have a clean DI of a guitar, maybe I wanna actually sit and do the wah wah instead of automating it. It can be done either way, but, I like to think there's a level of human that gets stripped away when I am setting up these beautiful and consistent curves or automation arrangements. It's not to say that those won't get the job done, but sometimes I just wanna jam the track and fuck around on the fly, I can't really do that with automation in the sense that I can with a physical pedal. I mean yes, I could use a MIDI fader setup but, once again, it's the gayness factor that has drawn me in. It's not to say I'm a gear queer, if I don't use something I try and get rid of it. But at the end of the day I like what I like.

I really only record vocals and some brass now, and I can say the VMS solidly lost to pretty much everything >$200 in shootouts. The vocal favorite is still a Blue Bottle/sm7b occasionally, and I have some ribbons for the brass.
That said... for backing tracks or being experimental? It's pretty fun. maybe you'll be super into it. I found the emulations... smeary? kind of like linear phase artifacts or preringy. I found the regular mics into gullfoss/soothe more natural sounding after all the extra mix processing was done.
returned mine for a baby bottle

HW does both desu. There are some eurorack units that you can't emulate properly for sounds... (make noise comes to mind, also that amazing morhpeus rossum electro filter)

As far as just sounding 'better' there are many options such as: the burl b2 bomber, the phoenix audio NICERIZER, dangerous music D-BOX, clipping converters like the lavry gold...

these make a huge difference in sound... basically they make it so you have to do 'less' to your mixes to get them sounding right. ain't nothing ITB that emulates that (yet)

that said acustic audio's taupe has replaced my 2bus tape bounce finally. thing was a pos

instaud.io/3zE3
Posted a couple days ago without any feedback. I don't have a large variety of listening devices. How's the mix on your speakers?

>ignorant ass rap

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Nono, there's a specific meme here in /prod/ from a guy that was talking about creating sound design techniques that would allow him to make crazy sounds that nobody would ever be able to recreate without knowing his "secret sauce".
That's what people generally mean here when talking about "secret weapon".
Not something that improves the quality of what you do, but something that lets you do something new entirely.

That's true, but you can inject that human "randomness" in the digital realm as well, using controllers and randomness generators.

>HW does both desu. There are some eurorack units that you can't emulate properly for sounds... (make noise comes to mind, also that amazing morhpeus rossum electro filter)
What do you mean exactly with "can't emulate properly"?
That the digital emulations are subpar in quality or that they can't possibly do the thing/s that hardware gear does?

okay so you missed his point
"secret weapon" is a /prod/ meme meaning make ***unique*** timbres, not add character to your tracks or whatever.

i don't think anybody ever is going to deny that a good human performance is going to sound better

>both
show me somebody making rubber with your faggy hardware :^)

okay i'm pretty sure i responded already but you need new pics buddy

I would be interested in backing track situations-- I'm getting tired of using the SM7B for them.

>instaud.io/3zE3
Cool sound selection, but I'm intrigued-- what are you guys doing in terms of vocal recording? It sounds like you've just got a blue yeti set up on a desk and you're winging it. That's cool, just do it after all, but maybe set up some sort of back diffuser at least-- they're cheap and it'll fix a lot of what I'm kind of getting irked by I think.

I've stopped buying the 'new entirely' meme after having done this for my entire natural life. I've spent 20 some years on this earth having been surrounded by all ilk of musician and the like and there's nothing fucking new under the sun, and we're probably not going to be seeing anything new considering the consumerization of many professional tools and the overvaluing of workflow over 'style'.

As for the human randomness, it's not randomness necessarily, it's very deliberate. You should give your body and intuition more credit as many people are more creative than they lend themselves to be. It's just about practicing it and developing a touch that sounds right to good old you.

And to hazard to answer the question you had for other user, yes, the sample rate and algos built into some of this stuff just can't hack it. It'll get close, but you're not going to get those little idiosyncracies and it really does show when you put the whole shit sandwich together.

>I've stopped buying the 'new entirely' meme after having done this for my entire natural life. I've spent 20 some years on this earth having been surrounded by all ilk of musician and the like and there's nothing fucking new under the sun, and we're probably not going to be seeing anything new considering the consumerization of many professional tools and the overvaluing of workflow over 'style'.
Even with all the advancements in DSP?
Besides, it doesn't have to be a new "tool". It can even be a new usage of already available tools that nobody had thought of yet (just like when somebody comes out with a new sound and we find out that it could've been made with stuff that's been available for years).

>As for the human randomness, it's not randomness necessarily, it's very deliberate. You should give your body and intuition more credit as many people are more creative than they lend themselves to be. It's just about practicing it and developing a touch that sounds right to good old you.
I know. That's why I put "randomness" in quotes.

>And to hazard to answer the question you had for other user, yes, the sample rate and algos built into some of this stuff just can't hack it. It'll get close, but you're not going to get those little idiosyncracies and it really does show when you put the whole shit sandwich together.
So it's a matter of quality, and not of "this whole feature doesn't exist in the digital world", correct?

both. for example you can't emulate the oscs from make noise without having their specific processes implemented in a synth. which doesn't exist.
same with the effects... some of the boutique hw units just don't exist in vst form.

as far as the rubber meme goes. that's more a question of signal chains. nothing coming straight out of a synth, digital or hardware, is gonna sound entirely up to crazy design standards like that. the 'secret sauce' meme is more about what you do to the sound post generation. stuff like resampling, FX orders.
basically a modern day equivalent of guitarists trying to figure out how tones were made. "hey man he used a reverb before that fuzz pedal but had it super low so then it's boosted with the compressor and gets this noise shimmer before it hits the bass amp, not the guitar amp..."

>the oscs from make noise
Interesting.
What do they do?
Have any video example?

>there's nothing fucking new under the sun
I wouldn't call things new so much as building on or having a different take on

>nothing coming straight out of a synth, digital or hardware, is gonna sound entirely up to crazy design standards like that

IF ONLY YOU ALL KNEW

I mean, here's what I don't get and I'm probably as old as everyone in this thread: I don't get the obsession with this atomized property, that's loosely defined in these really nebulous terms, and I've been puzzled because I've lurked /prod/ for about a year at this point and yesterday I started playing. I would hope you'd all be more concerned with just writing good songs rather than this ubiquitious and senseless drive for a new 'sound'. Most of what comprises good shit is proper arrangement and just knowing what that, uhhh I'll just fucking call it, the platonic ideal of what your finished product will be. Like, you can sit and chase mad beeps and slamming boops but if you can't find a context for them to live within it's just fucking noise. It's just fucking noise.

>So it's a matter of quality, and not of "this whole feature doesn't exist in the digital world", correct?

I mean if you can make it work you can make it work-- but there's going to be idiosyncracies that exist simply because it's a physical piece of steel and glass, and whatever fucking space dust comprises hardware. Your man just puts it best.

>as far as the rubber meme goes. that's more a question of signal chains
how would you know, are you or somebody you know making that kind of sound or music?

>nothing coming straight out of a synth, digital or hardware, is gonna sound entirely up to crazy design standards like that.
How can you be sure of that?
With all the incredible synths we have today (hardware, but most importantly digital) that can create all sorts of incredible sounds, you can't exclude that something like that can be mostly out of a synth with minimal effects on top.
For example, Serum has a wavetable called ICanHasKick that has that kind of weird slowing down sound.
There are tons of techniques that make all sorts of weird sounds without much external processing or resampling.

>I mean, here's what I don't get and I'm probably as old as everyone in this thread: I don't get the obsession with this atomized property, that's loosely defined in these really nebulous terms, and I've been puzzled because I've lurked /prod/ for about a year at this point and yesterday I started playing. I would hope you'd all be more concerned with just writing good songs rather than this ubiquitious and senseless drive for a new 'sound'. Most of what comprises good shit is proper arrangement and just knowing what that, uhhh I'll just fucking call it, the platonic ideal of what your finished product will be. Like, you can sit and chase mad beeps and slamming boops but if you can't find a context for them to live within it's just fucking noise. It's just fucking noise.
That's true, good music should be the first priorty, but once you get that done? What do you do? You're just one of a million producers/musicians who can make good music, so how do you set yourself apart from the masses if not by making your sound as unique as possible (on top of having great music that stands on its own without any fancy sound)?
Maybe you're from other scenes, but in the electronic music world if you have unique sound design, people are going to be much more likely turn their heads than if you had the same music but without unique sound design.
It's not "good music OR good sound design". It's both.

>I mean if you can make it work you can make it work-- but there's going to be idiosyncracies that exist simply because it's a physical piece of steel and glass, and whatever fucking space dust comprises hardware. Your man just puts it best.
That's true, but it's not what we mean when we say "secret weapon" in the /prod/ meme sense.

your vocal sounds like it was recorded through an xbox headset

the bass is simultaneously too buzzy and loud and yet too clean. drums are flat

that said the writing is surprisingly ok for the genre

bruh I'm not going to copy paste the company youtube after giving you all the info you need lmao

yea. I produce a lot of genres and that's one of them

wavetables are one thing but I don't think that's what people are talking about when they want the rubber meme. at this point most producers can tell when you're just +/- bending a serum patch. though I could be wrong

>bruh I'm not going to copy paste the company youtube after giving you all the info you need lmao
I asked for a video that shows me what you're talking about, not what Make Noise modules do.
Because I see them all the time and I don't remember anything unique about them, so maybe I missed something that you can show me specifically.

stop fucking around and just post your fucking rubber sounds so we can know whether or not to take you seriously

>wavetables are one thing but I don't think that's what people are talking about when they want the rubber meme. at this point most producers can tell when you're just +/- bending a serum patch. though I could be wrong
That was just an example.
Wavetables, FM, granular synthesis, creative sampling, the list goes on.
There are tons of ways to generate weird sounds straight from the instrument without any effect.

You can't really set yourself apart, that's what PR is unfortunately for. I wish that the world could share in the concept of this; but man, it's idyllic to call creativity this thing that experiences temporal progression and 'improvement' as at the end of the day we're just moving side to side. The only thing that's being 'progressed' right now is workflow techniques and that's to wholly serve what you're talking about. It's about making more great music than the guy who is making great music. It's this massive and dizzying dromotological abyss in which the only thing that SSS+++ producers care about is how do I write my next stupid fucking bop in time to go see my kid's kindergarten graduation.

Thank you very much. Still learning, so critiques are a great method for improvement. Its hard to notice things sometimes until its pointed out to you.

Yeah, it was just a cheap no-name microphone set up on a desk.

What would make the drums less "flat?" I'll look it up, too. But just to ask.

my boy, let me tell you about the wonderful world of limters. That will breathe some life into your drums.

If you see them then you know what I'm talking about? Things like the overtone section on the 0-coast. I'm not aware of any vsts that do the same thing as abusing that bit with the rise/fall adsr or LFO patching. if I remember this dude does that in this video youtube.com/watch?v=-EdnWQqlerc
it's kind of like scrolling through a wavetable but... not

a) compression/saturation. pumping compression is great to get some life into things

let me find a project I'm probably not going to put out

Who are the big boys nowadays for amp modeling? It's been a while for me. Is amplitube still good or are they outdated?

Kemper, bud. $300 a month for like six months and you've got a fantastic and top of the line suite. You could go with Axe FX as well, though I can't speak to the fidelity of the machine as I've only heard it live.

>Things like the overtone section on the 0-coast
Isn't that more like a waveshaper?
It's definitely interesting, and you probably can't replicate it exactly in the digital world, but desu it doesn't make sounds that are unique enough to make you want to ask the artist how they made them, if that makes sense.
There's plenty of stuff like that in the additive synthesis world for example.

>I'm not aware of any vsts that do the same thing as abusing that bit with the rise/fall adsr or LFO patching
Can't you do that with LFOs?

just came up with this, what do i do with it now? instaud.io/3AUk

/gg/ is over there >>

>instaud.io/3AUk
Write another.

It loses focus after 20 seconds. Find a way to lengthen it while maintaining a structure. Even if it's just jazz style head > middle part > head

youtube.com/watch?v=qlkRiKk15Kg

The first eight bar phrase he has that egresses into the four bar phrase is very strong. Frankly he should just keep writing because it seems like he wanks pretty strong and he could probably shit out a song within in the hour if he just continues on with another motif to fill out some sort of verse of sorts or-- in the case here, that 'middle part'. But yeah, that 8+4 phrase is very strong and I can tap my foot to it and it's concise.

just posting my progress instaud.io/3AUC

i just repeated the progression two times , maybe i should use the soprano melody as vocal line

Nice.

NEW THREAD

Of all the places in the world and online someone here is saying popularity necessitates quality?

No you moron I meant that it's such an obscure song that it had to be Andrew himself shilling it instead of a random user posting this song with very few views because he happened to know of it (which is unlikely because the guy has so much fucking music that you have to be a huge fan to know it, and we know that there is no such thing).

I posted that and I'm not Andrew dummy

We believe you And-err... user.

I know about that particular track because I saw a video of his sampling a german base, you might get something out of it but probably not

youtube.com/watch?v=cgirVaJo42g

You're not tricking me into watching one of your videos again Andrew. We all know your tricks by now.