/prod/ - Music Production

wtf stay away from my secret weapon!

turn your kick down. your bass is probably tuned too low as well.

I don’t understand? They’ve even recorded through like a distant phone why would you use them for anything?

This is why I use zebra cause nobody is smart enough!

100% not feeling it, I feel like the chord progression is a bit meh, I like the sounds and mix tho just the progression itself

I mostly just use the free modules. Vult is really good, and paid versions add a bunch
of features. The paid analogue drums look interesting but I haven't pulled the trigger on it yet.

So I recorded a sample of a piano note (middle C), loaded it in a regular sampler, and I'm playing several octaves with it.
Obviously it sounds like shit and the farther away I get from middle C, the weirder the note sounds.
So how would a hypothetically perfect midi piano piece be?
Here's what I came up with:
>each piano key sampled individually
>multiple samples for each note (played round robin or with some sort of randomness)
>all notes sampled in every combination of "una corda", "sostenuto", and "damper" pedal modes
>midi programmed with appropriate timing (slightly unquantized in the right places), velocity, and aftertouch
Am I forgetting something?

Attached: pianofig1-l.gif (491x291, 11K)

I have komplete 9 but tomorrow im getting komplete 12 select (included with the keyboard a61). How will this work?

I should add that I know that using a Kontakt library would be better, but I want to do it this way as a learning exercise to get better at making more "realistic" midi instrumentation (both with real instruments and synths).

i would try playing with different recordings, maybe theres frequencies hiding in there you dont know about

Thats just the 5 or so room mics at the top of the sound atm. Its not as if the mix has started i’m still editing, but it’ll probably end up being a gated snare kind of deal that i go for.

>different recordings
What do you mean?

clyp.it/4jqw3gel

This is the sound of the close mics desu.

clyp.it/etcq0frz

Any feedback on this?

yeah, the hora drum stuff seem nice, but i generally prefer to do my drums in a daw so i've got very little interest in em. the new stellare stuff seems interesting, but i'm a sucker for sequencing modules.

Ah ok, nice. What mics and positions did you use?

you're mostly there. ideally you want velocity-specific samples + round robin within that velocity subset as well.

mutiple mic positions, hammer sounds, pedal sounds. there's other harmonic interactions as well i think - cross string resonation etc but i'm not sure how anyone would go about sampling or programming that behaviour in.

>ideally you want velocity-specific samples + round robin within that velocity subset as well
Oh yeah that's right. I forgot that velocity in RL doesn't just lower the volume lol

>mutiple mic positions
Let's say I'm recording in an anechoic chamber with close mics only, and I never need it any other way than as dry as possible (so I can ad my own reverb). Are multiple mics still useful? If so, for what?

>there's other harmonic interactions as well i think - cross string resonation etc
Interesting, didn't know or think about that.
I'm definitely gonna research it (any resource suggestion is welcome), thank you very much.

Alot of mics, certainly more than I wanted running into the console.

Usually I like having a small kit with alot of mics (gives me more flexibility later on) but the drummer came in and decided to add an extra snare, some congas and about 10 different cymbals. So the drum room pretty much became a cluttered death hazard.

But yeah it was mostly standard stuff, 57s on the snares and 421s on the toms.

U87 Overhead pair, measured to the centre snare.

U87 high wall room mics (crushed) measured to snare

U67 Low wall room mics (which i need to print through an 1176 when i get around to it), again measured to the snare.

And a AKG414 mono room/talkback mic which was crushed. This one sounded really fucking great imo.

Pic related was the set up

Attached: IMG_3138.jpg (4032x3024, 2M)

Feed me a torrent already

>Let's say I'm recording in an anechoic chamber
should be fine in that case i think. no resources on hand, sorry.

Ah that’s a chill set up, I used to record drummers like that who insisted on bringing so much gear... then you’d spend ages getting the phasing right and then the drummer plays say the bongos once during a single song.. really used to annoy me. I love u87s as overheads but no one else I ever worked with ever really did odd desu

How are you finding the phasing on such a set up?

I guess like this but for keys:

ikmultimedia.com/products/mododrum/

So the multiple mics are only for the reverberation?
Now that I think of it, is it possible that having multiple recordings of the same thing and adding them together would give you a "richer texture" because of all the details of the different parts of the piano being added by the mic closest to them?
Kinda like layering slightly different synth sound to make a richer one that's the sum of all the properties of the individual layers, if that makes sense.

Cool, thank you.

Well I make pretty much everything (within reason) equidistant to the centre snare. The truth is with room mics and tall overheads you can't expect perfect phase because of the reflections in the room. So the trick is really knowing at what parts of an arrangement you want a really tight in phase sound, and then at which parts you want a wider sound, and then using that to create a dynamic between the 2. I'm not sure if that makes any sense but its how i approach the problem.

kek. I was using Coles 4048s for my last 4-5 projects. They're good but they're v heavy mics, and one managed to tip the whole stand over. and fall right through the kit. Not my proudest moment.

Anybody know how to convert an audio file with chords in it to midi? It's only playing 1 note and note the chord when I convert it. This is in FL studio 20

The 4048s are ribbons aren’t they? And it didn’t break? I know it’s a hardy mic but I thought ribbons were fragile as fuck.. or am I thinking of when you put phantom through them

Ableton has it as a built in feature idk about FL
I’d not Melodyne has a really good audio to midi feature just steal it from somewhere

Well luckily the Coles heavy ass design actually make them quite sturdy. I think it was total luck that it didn't damage the ribbon *noticeably* .

>Melodyne has a really good audio to midi feature
You can export the midi?

genuinely. fuck the demo, how soon do these things get cracked

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yea but only the $500 version has audio to midi lmao

Yep it’s in the files somewhere literally says export to midi

Love them, wish I would afford some. I unironically like using cheap as fuck mics and seeing how good of a recording you can get. Gives me way more pleasure for some reason

Ableton or melodyne?

ableton

Meh just steal melodyne then, the audio to midi on that is much better anyway.

audioz.download/software/win/157793-download_native-instruments-massive-x-v100-ce-vr.html
>almost 1 gb

Nice dude, dling. Does it include crack or just program?

the issue could be with the source audio

Download this but don't install it for a few days if you can.
VR are a bunch of retards who fuck things up almost every release.
Wait to see if there's a revision release after this one, and if nothing comes up, it's probably ok.

Or just buy it and don’t be a black person

What site do you use? Torrent trackers are always late

Yeah, but what do you mean with "different recordings"?
Like different takes?
And what do you mean "playing with different recordings"?
Like checking which one's best and removing problematic parts?

vr is always pre-cracked install and forget
I will try it just for fun I know their releases can be wonky, now I'm too busy solving a whine problem on my interface

It's not about the site. It's about the team who makes the release.
AudioZ is fine. It's just the Team V.R. that fucks things up.

Anybody know of any good Analog battery-run Field Recorders??

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ty user

iPhones unironically have a good mic, honestly though the cheap zoom recorders are good enough for 99% of things

Thoughts about the Behringer MS-101?

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Amazing for the price, as with all of the behringer stuff. You can’t go wrong at all.

You're welcome.
V.R. are usually the fastest but they rush things (reason for the fuckups), and R2R are usually solid but publish their releases a bit later.
So you'll likely have an R2R release of it too in some time, which I recommend more than any VR one.

Still, download this even if you don't want to install it right away, in case it gets deleted from the site and nothing comes up to replace it.

Just buy it u thief!!!!!!!!!!!

When I'll be able to afford it I will.
Until then I don't care enough about the morality of pirating to give up having it for free.

ye that's fair enough I don't blame you, i only buy stuff because i can afford it and i don't wanna fill my pc full of R2R trash i will probably never touch

That's the life my man

pianobook.co.uk

I've got the Roland Boutique version. This looks a better buy tbqh.

Wow, this seems exactly what I needed, thank you so much.

np. I liked "The English Classic".

>clyp.it/etcq0frz
Surprised nobody replied, you deserve feedback + a full band and a comfy place on a small label. I can imagine teenage white girls shedding tears to this - that sells. Good melodic sense too, keep going you'll make it. Just tighten things up a bit and don't be afraid to trim any fat on future tracks. 10/10 tho good job my guy

kick too loud. hat's too quiet. The drum programming is good but the piano is corny.

Trap music is built on smaller motifs and phrases than other genres. This rambly chord progression won't help a rapper 'lock in' and find a catchy hook. It doesn't instantly outline some notes or create a "vibe" like the genre requires. This is why a lot of trap producers simply arpeggiate 1 minor chord with like a flat9 or something. Easier to improvise over. In the future try not to overthink the chords, maybe drone 1 note and find a small melody on top of that as a starting point.
--> just dicking around before work, quantized the sound of me scraping the strings on my bass and looped it. instaud.io/3SgH

the boutique version is still pretty good, but ye the behringer one is FAB

Monosynths are cool but the capabilities / dried-up kiddy pool shallow range of the SH-101 means you better be really sure you are out to recreate whatever house/acid shit, and won't settle on a VST for one of the most key sounds of that.

If you just want a cheap basic analog monosynth I'd argue the Model D is the one for pure sound qualities and the Neutron for depth. That "Roland" diode filter sound is cool if you want it but for overall versatility the model D is much better.

I'd also really say though that Neutron isn't actually that deep by itself, people just see a patchbay and shit their pants and just assume it must be 100x deeper than standard synths when no, not really, not standalone. Semi-modular is just that - by itself it isn't anything super beyond what you normally get in standard synths with a mod matrix (less if anything compared to say a Sub 37 which runs laps around Neutron), and, if you already own a modular synth to begin with the semi is just a barely-useful toy in all likelihood or will soon become one as you expand the modular.

>tl;dr get a Model D unless you want a gimmick in that price range, or have a very exact need for a 101

You are forgetting recording all of the above, but with different mic positions simultaneously so you can dial in the perfect mix later.

What exactly are the differences in mic position other than reverb?
Is it possible that having multiple recordings of the same thing and adding them together would give you a "richer texture" because of all the details of the different parts of the piano being added by the mic closest to them?
Kinda like layering slightly different synth sound to make a richer one that's the sum of all the properties of the individual layers, if that makes sense.

Mixing close mics + room mics is extremely common. As far as Kontakt libraries go, most of them will offer you a few perspectives. The most extreme example is Hans Zimmer Piano by spitfire audio which has a shit load of mic positions and a shit load of multisamples. The entire library is about half a terabyte. For a piano.

You could certainly try to artificially create room mics (or further away perspectives) by starting with a very close and dry mic perspective and applying convolution reverb, or something along those lines. but its not quite as good imo as real tree mics or the real thing. Its passable though, I use it all the time in orchestral mockups (starting with dry / close mic perspective instruments and then placing them in a room).
If you imagine certain mic positions are going to capture the different qualities of the piano, and there can be a tremendous amount of variability even between close mic positioning.

Got it, thank you.

How would you go about placing a completely dry piano library in a room?
Do you just put a reverb plugin on it?

And what about an orchestra made of completely dry instruments?

panning an orchestra is the first step, to get it where it needs to go to.
there are some really good reverb emulations that emulate orchestra halls and stuff, i'd stay with those and see what you like.

how did they make massive's UI even worse lmao

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look at this dude of uncertain ethnicity
youtu.be/fpm4mBkbuXQ
look at his face when he's really feeling it

lol i was watching a video of him earlier when i was looking at uh-e's Bazille

Yes, If you go back in the archives (maybe 2 threads ago?) you can see me ranting a bit about convolution reverb and some thoughts on placing dry instruments in a room.
I typically do use only dry close mic'd orch libraries and then feed them to convolution reverbs. Once the thing is balanced I can put it in any size room i want. You can also apply this technique for small rooms, using smaller reverbs, to emulate capturing a band in a small room. You will also need to give some thought as to how to emulate the way a mic captures the audio in the room.

he's gonna blow any second

i prefer that UI, the thing that pisses me off though is what they're done they could have just updated on the old massive, instead of creating another one for nout reason :/

And how do you apply the reverb?
Do you put an individual instance on each instrument? Do you put a few different instances on busses and send the instruments to the right one? Or do you just use a single reverb and send everything to it in the appropriate amount?

literally up to you, i'd start with a send and see how that feels and if you want more then put it on the track itself...
i'd probably just use sends though especially if i have over like 50 tracks in use, to save cpu

I'm not confident enough in my ear to tell what's best.
Where would you use one reverb on a buss, several on different busses, or directly on each track?
Like, is there a thought process behind the choice?

The below assumes you have already panned the various close mic'd virtual instruments correctly and mixed them level wise appropriately:
For orchestral, I typically think of the orchestra as being in 'rows' of distance. So strings and harp for instance might be the first row. Brass might be in the back row. I will send each row of instruments to a common pair of Reverbs- one for early reflections and one for the 'tail' (think of this as the main bulk reflections of the room). I use predelay on the early reflections (sometimes u apply it to the tail- with certain convolution reverbs- but in general its the ER)- to emulate the time of arrival difference for reflections from closer instruments (to the listener) or further instruments (to the listener). This helps you localize the sound in space. So strings, on the front row, get more predelay (longer time to bounce off back wall and return) than distant row percussion do.

Then, I sum the close mics + the reverb pair for that row into a bus. I can do corrective eq and such if needed on this bus. You may also find yourself needing to roll off or eq the 'close mics' to emulate losing a bit of signal on the way across the room. So what you end up with is a sum of "All the instruments in this row close mics, their Early reflections, and their Tail reflections. Using these intermediate summing channels/busses will allow you to do more corrective eq and such when required. The amount of verb you even apply or the amount of tail will also depend on the distance, and wether or not the virtual instrument library had any reverb baked into the samples.

To reiterate: 3 distinct rows of instruments, 2 reverbs per row (ER and tail) rows get summed, then each row sum get summed to yet another channel. Now were starting to get what the "mic capture" would be. if you are insane you may even try to emulate mics or running completely parallel chains of reverb and shit to emulate extra mics. No 'correct' way. Just experiment.

youtube.com/watch?v=07irxR4ML8U&feature=youtu.be
Here's a old video showing what the close mics sound like vs the reverb contribution using the above method. I didn't know as much then as I do now so its not a very balanced template. Will give you the idea of why I'm doing the intermediate summing stuff. Control.

Nice, thank you very much.
Screencapped the post and downloaded the video for future reference.

Only one thing isn't clear:
How do the settings differ between the ER and Tail reverbs on the same instrument?
And why are you using two separate reverbs instead of using the early reflections setting on the same instance? Is it to fine tune them separately?

maaan companies are real scummy for gating key features under the "standard" version so you pay hundreds of more dollars for one thing...

Yes I'm separating them just so I can independently adjust them. this is not even something you will have to do with certain reverbs- some of them are advanced enough to give you control over them individually.

In this SPECIFIC example, I was using altiverb- which is a convolution reverb (sample based reverb)- one cool thing about it is, they will record IRs (samples of the room reflection) from various distances in the same room. So I feed the strings the 3.5 meter reflections, the woodwinds get the 8.5 meter reflections, and the brass and perc might get the 15 meter etc.
So I'm soloing ER on one copy, and soloing tail on the other. I can mix them exactly how i want , too.

You don't have to do this. Some people get great results using a single reverb and simply adjusting the send % from each instrument (french horns might get a shit load, violins 1 may get much less for instance).

In general I like to use busses to make intermediate sums along the way, so I can just do some eq and shit.

>So strings, on the front row, get more predelay (longer time to bounce off back wall and return) than distant row percussion do.

why would the front row have a longer predelay than the back row? the sound from the front row would hit the back wall first, surely?

>So I feed the strings the 3.5 meter reflections, the woodwinds get the 8.5 meter reflections, and the brass and perc might get the 15 meter etc.
This is the "a separate reverb for each row" you were talking about, or is it a more "precise" selection of individual instruments?

>Some people get great results using a single reverb and simply adjusting the send % from each instrument
Is doing this cleaner than using several different reverbs?
I assume all te frequencies from each one add up and make it harder to mix.

what program you on about lad?

Yes- but the idea is the direct signal will handle that for you- but its those first return reflections off the back wall that we are primarily emulating with the predelay. So the closer the instrument is- the more time it will actually take to return to you from across the whole damn room. Its counter intuitive AF. Its always a good idea to use a actual recording of an orchestra and put the sheet music in your daw just so you can dial in what actually works- and test your theory experimentally.

Imagine a hall seen from above, and two instruments (one in the front row and one in the back row) playing something at the same time.
Now imagine the ripples in the air from the sound they generate.
Which one's going to hit the back wall first? The one that's closest to it (back row) or the one the farthest (front row)?

are we talking about the wall behind the orchestra or the one behind the listener?

I'm and I thought we were talking about the wall behind the orchestra.

The wall behind the orchestra just like the wall behind your studio monitors that fuck up your mixing in your studio room. I mean its pretty clear that this is all a level of abstraction that eventually divorces itsself from reality.
There isn't a physically real solution, besides actually recording the orchestra- maybe one day we will have that. All of this stuff is just hacky attempts to emulate it at least a small fraction of the way.

Simpler would be better. And convolution reverb has a major problem with that low frequency build up ypu alluded to. You find yourself 'preparing the signal' on teh way in to counteract its effects when you use a convolution reverb to emulate a big ass space. That is part of why I have moved on to algorithmic reverb and am using altiverb less and less. Its harder to actually design a good orchestral hall preset on an algo reverb than it is a convolution one, but I think its a worthwhile goal in terms of simplicity.
I think theres always going to be some instruments you spend more time on, and maybe get their own unique preset for the verb. The french horns are one that you really spend a lot of extra time on because getting that lush roomy sound starting from a extraordinarily dry sample is challenging AF- and if you get close, its not likely to be the same preset that the percussion wants.

That's pretty fucking good, don't give up

fair enough.

> I mean its pretty clear that this is all a level of abstraction that eventually divorces itsself from reality.
i was going to say, this seems, simultaneously, like a gross over simplification as well as overcomplicated way of accounting for what is probably a max variance of 9-15 ms delay in an eventual soup of reverb.

path-traced offline reverbs when.

Got it, thank you very much user.

Allow me to also shout out 2cAudio B2 for being a fucking awesome algorithmic reverb while we're at it. If you are afflicted with reverb autism you will love that one.

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How many people would notice the difference between having a finely tuned reverb instance for each instrument and a single "global" reverb on a send?
Would they actually think "that reverb doesn't fit all instruments properly"?

yikes it better be good for $350

What do you think about Fabfilter Pro-R and its ability to affect the timing of different frequencies separately?
Useful feature or gimmick?

99.9% of the population would never notice. so its up to you whether you want to cater to the 0.1% who are never happy anyway, or the 99.9%

its a useful feature if you can find a use for it, i wonder how many people actually use it genuinely though

fun gimmick.

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>the 0.1% who are never happy anyway
Who are they?
Experienced mixing engineers?
I make electronica. How many of them are probably listening to my music?

Are A&R people part of this 0.1%?

I should have just boiled it down to "try using some pre delay to alter depth" or "try giving the distant instruments a unique reverb"

Yeah, that's my impression too.
At first it seemed great, but thinking about it I don't know how would I use it in a practical application.

I don't think it's meant to do that (otherwise it would be a fixed value that's baked into the algorithm itself), but more for putting different frequencies at different distances in space.

ye mixing engineers, so probably less than 0.1% desu, a&r people only care about how much money they could get from you, so i doubt it

the only thing i could see it used for, is some weird sound design trick or something, i can't imagine anyone using it for mixing

>Are A&R people part of this 0.1%
in the electronic space, they're far more likely have hearing loss.

I can't reply because all I do is talk about reverb. I agree though. Ive heard that lead to good results especially if u are using less 'dry' starting samples.

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>especially if u are using less 'dry' starting samples.
So the "embedded" reverb mixes a bit with the global one, making it somewhat richer?

I think its a good rule of thumb to always move ---> longer when ur applying reverb to something that already contains room shit. You can get away with embedding a 'smaller room verb baked into sample' into a 'larger space with a longer tail verb' more than u can going the other way. Thats just my intuition tho there may very well be arguments the other way. I know for instance, that even on real orchestral recordings, its not uncommon to throw a bit of bricasti reverb on the whole mix, a very small % of contribution.

True.
But maybe used subtly it can be helpful in giving that last bit of polish, kinda like having a corrective EQ on the master for very slight changes.
On a reverb like that you could potentially fix some issues when using it as a single global reverb, so it would effectively be a mix of a single fixed reverb for everything, and having different instances with personalized settings for each instrument.
Now that I think of it, you could potentially also automate it so it acts differently during different parts of the song (like when an instrument comes in you alter the range it's in to create "moving in space" effects).
So yeah, I guess it's more of a creative sound design thing than a tool for realistic reverbs.

What do you good people think about Serum?

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I made this in serum
clyp.it/vjtw3c5r

But wouldn't stacking reverbs like that create that buildup problem in an even worse way?

What sets serum apart form the usual suspects is that you can make your own wavetables. It also has an actual modulation matrix which is always a good thing. Every digital synth should have one, not some convoluted bullshit where its drawing little rings around teh knobs n shit (looking at you, massive). It also has a decent filter selection, but unfortunately hides its 2nd filter in the FX menu. Huge oversight imo.
I still use massive more than serum because I am just much quicker due to the simplified UI, and the two main filters on front page. But serum is a great wavetable synth that has surgical tier options (either a good or a bad thing depending on ur preference).

Yup, but if ur doing that shit ur just working with a much smaller reverb % contribution overall. You are just trying to provide some sauce to unite libraries recorded in much different spaces, to give the illusion that they are at least related.

Don’t forget about compression and stuff for helping tracks feel together btw

Ah I see.

What do you think about automating reverb parameters throughout the song so you can use one as if it were multiple ones, depending on what's playing in the song?
Like in the verse you can have a wetter bigger reverb and in the chorus a drier smaller one for a more "in your face" sound?

How do I promote my track ?

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Sounds like a fun thing to try out! Theres so much cool creative shit u can do with verb. Heres another one to try---> use some delay to throw some FAST delay taps to extreme sides of the stereo field and then feed that shit to ur reverb (with the original dry included). Neat trick I have been fucking with lately. Makes shit wide as all fuck.

What do you mean by "delay taps"? like a 32nd or 64th note length?

yea like some slapback type delay stuff, maybe not even quantized at all- except ur really panning the individual delays around where the original dry shit wasn't Just a neat effect. Each of those little taps start birthing out new tails when they hit the reverb and they are gonna be all over the place. Try it on drums. mixed in a bit.

Cool, I'll definitely try it when I can. Thank you.

be a soundcloud rapper and the clout just comes

OK BOYS its been awhile.. whats the verdict on Massive X?

Objekt here, just reminding you that I'm a better producer than all of you combined.

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>youtu.be/WflrnZ3WU3Y
dunno how these artists can still be making shit like this in 2019, andy stott was making better dub techno than this a decade ago and he moved on to true art

>and he moved on to true art
Link?

>soundcloud
>actually getting views

Choose one

just listen to any of his last 3-5 LPs

this was the song that made me end up listening to all his music
youtu.be/9BIYV3BLcno

>he moved on to true art
More like moved back to fixing dents on cars because no one will book his boring ass anymore.

This is a pic of me when someone asked me what the worst record I'd ever heard was.

Me on the other hand, m8? I make magic. Timeless tunes. I'll get bookings off the back of em till I'm 80.

youtube.com/watch?v=sGYzpBoxa-w

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he is doing shows all the time, the fuck are you talking about idiot

Could they be biting aphex twin any more?

My first thought and idk who any of these people are

Doing shows in the back of his garage maybe, bruv. Me tho? I'm booked up for the next 3 years.
Quality sets. Berghain don't even impose exclusivity on me.

Nice grandpa music, son. I'm the future. The way, the truth, the light. A shining beacon in a sea of mediocrity. Nice of you to not presume my gender though.

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what is this autism

What do u guys think of ramzoid

Can’t tell you anything about his music cause it’s not my thing but as a person he’s just too annoying for me

I remember listening to a few of his SC tracks and thinking it was pretty was good (particularly the more sound design oriented tracks), but immediately after that he started making the most generic forgettable shit possible, wasting all his skills/talent.
I don't blame him because he's probably much more successful this way, but from a listener's point of view it's sad.

Also his YT gig is an excellent way to gain popularity.
>popular remixable thing comes out
>make a remix and film the process
>post the video on YT where you tell people about your other stuff
>???
>profit

What's the point of being the best producer on the planet if you can't flex once in awhile, bro. I'm out though, gonna make some aural gold. Boom boom.

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>best producer in the world

*blocks your path*

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Bitch please

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The GOAT

Guys... how do I into tech house?

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Learn to make techno while under the influence of normie.

that... is oddly accurate. Thanks, user.

Glad to help.

What kind of instruments or sounds manage to give a track a "spacey" feel? Like in another planet, traveling through solar systems, etc.

ARP 2600

any with shit tonnes of reverb, delay, echo, phasing, hyper/dimension

*bounces behind you with his chair*
heh nothin perssonell bro

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The other person is right the arp 2600 is a space synth. In general tho- dark saw-y filter evolving Arpeggiatos (No I'm not saying that cus I think the ARP 2600 has anything to do with arpeggios) on beds of pads that slowly evolve are another trope that conjures up images of space. Ringing resonant glass-like tones you might get out of physical modeling synths could be a good one for space pads too.

And if you want existential dread, aleatoric string clusters (notes that are literally next to each-other in pitch and beat against each-other, not even proper chords)- in the same vein as what u hear in György Ligeti's atmospheres. Woodwinds are a good marriage to that technique too... I know Ligeti gets associated with space because of the use of his scores in 2001 a space odyssey but I feel like the connection was there anyway. youtube.com/watch?v=JWlwCRlVh7M

>other person is right the arp 2600 is a space synth
I was literally just memeing.

Anybody here use EQ 3 on ableton 10? I'm looking to buy the intro version but that's the only EQ available with it and I'm a little baby and need the graph to EQ lol

You can pirate it on audioz.download

too far

eq3 sucks whether it has a graph or not, desu even eq8 sucks, they really should update both of them cause they're pretty naff at this point.

I mean, u could have said any 1970s analog synth and It would be true

Stock garage band synths and cluster chords.

eq3 is bad and you should only use it if you're feeling like the laziest person on earth and literally don't care about how something sounds.

>I'm a little baby and need the graph to EQ
stop this shit. if someone's bragging because they're only eq'ing blind or using channel strips throw all their opinions into the trash.

i mean I don't really have a choice if I'm going to buy the intro model and idk if it's worth $350 more for the EQ

Well this guy already brought up the clusters. But yeah that and a synth with a lot of reverb and maybe with a rising effect.

>desu even eq8 sucks
eq8 is perfectly fine for most things.

Its hard starting a fanbase but theres several ways to go about it depending on your sound.
If your a producer then its mainly constantly collaborating as your acts get bigger slowly.
If your an artist then you need to figure out your demographic first. Then figure out how to reach them or just people in general.
Trying to get people to play your songs as intro music or something might be a way.
Another example is my band that pays for promotion on spotify like 900USD for up to 200,000 plays over a 60 day campaign. Mainly because were radio pop and dont release stuff so often so its mainly trying to actually be seen by audiences thats hard.
Theres tons of resources on music marketing today but I'd recommend you start with a Music Marketing plan. yeah

Mixing on headphones sucks

>eq8 sucks
I've never understood this meme.

save your money and pirate suite till you can afford it.

ableton intro is a total joke and standard isn't worth it either (unless you're migrating to ableton and bringing a vst library with yourself).

If you're really that desperate and strapped for cash, just go and download engineers filter. It's free and a certain producer with millions of dollars to burn and probably millions of dollars of gear still use it on their master chain

vst4free.com/free_vst.php?id=951

>total joke
why do you say so? what makes suite so much better?

suite is sweet

>16 track limit
>2 return limit
>zero synths
>no decent eq
>no multiband compressor

it's garageband+

free vsts >>> ableton stock vsts
ableton stock vsts sound like ass nigger

track limit
return limit
fuck, I forgot about that. Big RIP to non-suitefags

Is it hard being this pretentious? Or do you just get used to it like weightlifting?

doesn't seem bad at all if you use VSTs

16 tracks is quite a lot

no the stock vsts sound so fucking airy and thin in my opinion. its gay. i know so many good free vsts.

>Sub 37 which runs laps around Neutron
Are you saying that you can get more types of sounds out of a Sub 37 versus a Neutron? I've been thinking about getting a Neutron but if the Sub 37 can do most of what the Neutron can but more, I might just go with that. I know the Sub 37 costs a lot more but that doesn't matter to me. I just assumed it was over-priced moog machine that just does basic sounds with not much in terms of modulation.

Alright, now I know you're just talking shit to sound like you're better than you are. Fuck off

instaud.io/3SlV
hello, mind if you give me feedback?

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You're shit is all over the place. Don't use so many premade samples all at once like that, and learn to mix.

>doesn't seem bad at all if you use VSTs
it's bad value for money. i'd go to reaper instead.

>16 tracks is quite a lot
i'm not going to sit here and tell you it's impossible to make a track in 16 tracks, especially when you can effectively hack around those limits with drum racks and instrument racks, but in most cases it would be a cramped, messy project with a destructive workflow. for larger, more layered productions and some other genres it's completely unworkable.

nah man i got suite. i havent heard a good synth in this thing that isnt supposed to emulate a shitty real life instrument. not even those are good. really bad piano stocks.

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>Don't use so many premade samples all at once like that,
The only sample is the vocals
>You're shit is all over the place.
can you elaborate on my shit being all over the place? it's too vague for me to understand

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>instaud.io/3SlV
This sounds like some anime intro medley playing over one of Demarcus's spooky Halloween tracks. Make that two sppoky Halloween tracks.

bruh, if you think operator is a bad synth, then you're retarded. And the sampler/simpler are great too. The rest I don't mess around with too much because I'm spoiled and use vsts, but I'm sure if I spent the time to figure them out they'd be alright.

Not that guy, but do you hate all the stock effects, too? I can't stand most of the synths (operator is the exception), but the effects are incredible for sound design imo

>all over the place
None of it feels like it goes together. The bassline and lead line are just aids, the vocals are covered up by everything else. And there's about half a dozen sounds going on and I can't distinguish any of them because they're all fighting each other for the spotlight.

I'm not that guy, but I think some people are taken aback by ableton's flagship synth being a FM synth. Its just a bizarro choice and a lot of people probably have no idea what the fuck they are doing with it. I like operator tho, even tho I use logic.

The bassline alone isn't aids, but combined with everything else it is.

no operator is fine. sampler is awesome, i use it several times a track. simpler doesnt need to exist. its dumb and gay. its bloat. but if you were to actually try some of the stock sounds you would hear how bad a lot of them are
yes, this. sampler, operator, and ableton's effects are great. nothing else of the stock is though.

how do i fix this?
better mixing?

>stock sounds
Oh, I figured it out. You're just a lazy bitch. Take your Nexus and get the fuck out, you fucking wanker

mixing, but also learning some basic theory helps. And really listen to whatever music you like and are trying to make. Figure out what makes it work and how the sounds meld together. Mixing is a big part of it, but the sounds themselves and how you process them are the other half of the battle.

>simpler doesnt need to exist.
simpler is fine for slotting into drum racks. you don't need sampler's bloat to trigger one shots

also:
sampler still hasn't been updated to timestretch i think (i haven't moved to 10.1, yet).
simpler's actually ahead in this regard.

>buying anything behringer
>ever

nexus is overrated.

Thanks a lot

What VSTs will I need to make techno and for post-processing?

U can make compelling techno with all stock plugins. Just make sure you have a good subtractive synth, and that you level up your synthesis game so you can make compelling sounds. The genre was championed by people with really basic stuff (at the time).

Fuck VSTs; download a tracker and use samples.