/prod/ - Music Production

What does that mean?
That you sold it to someone and can't tell us about it?

Attached: CzEIKQy.jpg (900x1200, 353K)

nah, it's work related to a licensed property.
they were nice enough to provide some resources i wasn't expecting, saving me hours of work recreating someone else's stuff. the material's pretty cool as well.

What kind of resources are we talking about?
Sampled libraries? Instrument recordings? Serum presets? Custom software?

sfx, non-music

Like for use in a videogame, soundtrack or something like that?

Honestly that sounds great. But if you want a crisper sound use crispier synths, high pass your oscs and use and exciter on the high freq

something like that, yes.

Cool. I assume you're not gonna tell us what it is.
Is it your job or a hobby?

Sorry for the interrogation, but nothing ever happens around here and what you posted seems to be interesting.

it's contractual work.

Alright, thank you. I'll stop bothering you now.

How do I breakcore?

What do I strike drum pads with? Are we supposed to use our fingers or actual drumstiks?

hello folks made somethin when i woke up this morn

instaud.io/3Tx4

Chop drum samples until it sounds good or get renoise or redux

instaud.io/3Txx
closest thing i made to breakcore today

little pads finger. big pads sticks.

I'm not sure if this can be answer here and even in such a short post but how do I make my musics end production sound normal. I simply don't know the proper word for it but it sounds like its completely raw and in a professional recording you can hear a reverb and probably thousand other things that make the whole song not sound like its alone in a small room. It seems like there is some really really quiet ambient pad going on that makes the whole song not sound cheap. Its probably called better mastering in general but is there some easy way to do that?

its called mixing and mastering. use auto master, and pan the tracks

love synths desu lads

mixed:

instaud.io/3Tym

your kick has a horrible knocking quality to it in the 5-600hz area.
it's could also be trimmed back a few db.

mastering is 1% of your question, forget that
there is no short answer to your question: that "pro" sound that everybody is used to is the culmination of doing every little thing in your song well. Your problem may be that you're ass at mixing or it could extend to your song is a mess that even good mixing can't fix

trying to start a song by not starting with drums is painful for me yet i greatly enjoy theory and write arguably great progressions
what the fuck is wrong with me

>what the fuck is wrong with me
well everything about the first line of your post makes you sound like a huge faggot for starters
that's not a big deal if it works though, it shouldn't bother you

yea fuck me for actually enjoying this shit right?
fine drums it is then, enough slamming my head against a wall

oops, better one here

instaud.io/3TyQ

So when is this bland trap beat fad finally going to end?

There's a video where Dr. Luke showed the Pro Tools projects of a couple of his songs and they had hundreds of tracks, most of them almost inaudible but in the mix they added up to a fuller sound than without them.
That, and layering. Instead of making a single synth sound or instrument for the lead/bass/whatever, make different sounds that play the same note (or an octave apart or whatever) and make them play as one bigger sound.
Just make sure each layer has a purpose and they're not all the same thing stacked for no reason.

After that is composition and arrangement, which is knowing when the song needs X element and when it doesn't, and it's one of those skills that are in great part intuition, so you develop them by listening carefully to good music and making music yourself.

And as the other user said, "sounding pro" is all about understanding how every little detail works so you can do everything right and all those seemingly insignificant differences will add up to a polished sound (or an unpolished sound that sounds good, if that's what you like).

better, still a little loud imo, but approaching matter-of-taste territory.
you synth is far too wide for what it is and there's other problems, but the tune's not worth stressing over.

yo r8 my tune pls?
wrote it in 1 hour and trying to figure out if i should keep it for later or trash it.
kinda going for btb&m's cover of three of a perfect pair vibes?
instaud.io/3Tz8

What do you guys think of this beat

clyp.it/pm2112jw

The Dr. Luke video should be this one:
youtube.com/watch?v=pS8jjGDDQa0

It's good keep going
boring

i heard your tune in 5 seconds and i think it's trash. come back once you've put some effort in.

unnecessarily discordant, especially that riser thing (which sounds okay, poor note selection). ugly modal(?)-synth bell like thing, change it. you need another rhythmic fill to tie things together. it's just hits on downbeats or smth right now. no funk. sexless.

hats are too low in the mix. the noise build during the middle is bad, throw it out.

kys cuck

...

beat block type beat

>dismisses the one with soul as trash
>gives a real response to the pretentious soulless atonal drivel
fucking trap kiddies

>white-boy indietronica with deafeningly loud arpeggiated synths and half the track having an undelying melody that someone forgot to finish
>soul

one of those people put a little bit of effort in and therefore warranted a proper response, even if it was largely a telling off.

stop turning prod into a dumping ground for your unformed ideas, bragging about it, then getting butthurt when getting told off.

>undelying
what word did you mean to say here?

underlying

>instaud.io/3Tz8
Take that fucking arpeggio garbage out you no talent moron

yes it has more soul than the other one because it sounds like he enjoyed making it. Shit, maybe I'm wrong but when I listen to the other guy's it sounds like he's trying too hard to make it sound professional instead of doing what sounds good.

stop turning prod into a dumping ground for the exact same boring ass "beats"
I'm so fucking sick of hearing fucking "beats"

Soul or no soul it still sounds like shit.

i don't care about how much 'fun' someone seems to be having or how authentic their music appears.

/prod/ is a place for technical critique (imo songwriting critique doesn't even belong in here, but people do that so w/e) as far as i'm concerned.

if you want to post a bathroom recording of yourself gently strumming a ukulele and brushing your mustache into a microphone, go for it - i'll be here to tell you that the your compressor attack times are killing the transients on your brushing sounds.

instaud.io/3TAb

Not overly proud of this but I think it constitutes a finished product.

Attached: rainbow anime grill.jpg (682x700, 169K)

more better:
instaud.io/3TAg

is this track mostly in mono to represent the superiority of 2d girls?

it's a trance song

Attached: 8fddf2f2188f1c6.gif (800x450, 199K)

Probably around when the lil zoomies graduate college and realize they won't become overnight rich as a "beatmaker".

What daw should I pirate if I’m trying to record rock music? I like fl because it’s easy to implement digital effects since I don’t own any pedals, but I feel like it sucks dick for recording and exporting. I’ve watched some of my friends use protools but it looks like a pain in the ass and 90% of the time is spent trying to figure out why something that’s supposed to work isn’t working.

Sounds like part of a really early Starfucker demo.

protools

bruh ur just mad you can't 7 and 12 polymeter
it's "unfinished" because it's in 7/4 probably, i am intentionally going for an off-kilter vibe
ok maybe i should have gone to the more songwriting based thread...

>if you want to post a bathroom recording of yourself gently strumming a ukulele and brushing your mustache into a microphone, go for it - i'll be here to tell you that the your compressor attack times are killing the transients on your brushing sounds
kek, you're not too bad user

>/prod/ is a place for technical critique (imo songwriting critique doesn't even belong in here, but people do that so w/e) as far as i'm concerned
Until there's a place for writers to go we're going to have to live with each other here.
Plus, having both writers and producers here we can (ideally) make up for each other's weaknesses.

Attached: 4858e6302b8122537577928e9a838cdc.png (420x420, 426K)

"/muma/ - Music Making" board when

eh, you're fine here. i just didn't like the tone of your post. 'here's this thing i barely spent time on, please provide opinions' just comes across as a little arrogant. turn the arpeggiated synths way, way down though. it's really hard to listen to as is.

yeah, that cool, my dude. i just overreacted a little. i think the other dude who got shat on by people trying to defend loud-arps user probably deserves an apology from some people.

>i'll be here to tell you that the your compressor attack times are killing the transients on your brushing sounds.

holy based

yeah i kinda didn't make a very good impression, thank you for the advice, i've been working on the song almost the whole time since posting it, i've turned down the arps, and am probably going to fade them in and out a bit
may i ask you another question about the song?
also
i wish the buzzing sound in the main parts had more decay i think? and i was expecting that anime opening when i heard the first few notes of the middle bit, is that part supposed to be like the fly getting really close?

>may i ask you another question about the song?
go ahead, but i've walked away from my monitors for the day.

nvm sorry was a dumb question

it was about composition lol

ask anyway, someone else might be able to help you out.

shit i am full of dumb today

would starting with just the drums be ok? might sorta outline the 7-ness better?

Extremely underrated post

soundcloud.com/floruit/reallyhappyjam

bells or something

christ those bells are shattering my eardrums

i do apologize

>soundcloud in /prod/
kys

...

>he uses Ableton, FL Studio, or any other trash DAW instead of Serato Studio
audioz.download/software/win/157933-download_serato-studio-v100-ce-vr.html

Enjoy never becoming a famous DJ and fuck every girl on the planet

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Redpill me on T-Racks

Attached: t-racks.jpg (800x413, 120K)

When you're ready to fuck every girl in the Universe you know what to upgrade to.

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instaud.io/3TBF

going for an anxious and off kilter song, using 7 and 12 polymeter type stuff for the arps, with a 21/16 bit in there because it just felt right.

Nice meme
We all know Reason is the superior DAW

Reaper is the best DAW for everyone that isnt a faggot

audacity is master race

At least faggots, by virtue of not having children, have enough money to pay for a real DAW instead of having to subject themselves to the torture that is making music with Reapoor.

youtube.com/watch?v=05AZexfGmkY

What kind of reverb/overdrive/effects should I use to make something similar to the dark piano sound at :13? Using Ableton

god damnit i actually liked that until the dude started singing

low pass reverb, send/rack delay and put a phaser on the delay. dynamic tube never hurts for natural distortion but i didn't really hear any there

r&b lyrics are usually shit tier but r&b instrumentation/production will never be bad

that's a really weird generalization to make user lol

live drums + delay = fucking heaven, boys

uhm... it's great, yeah, just great

this is honestly some of the worst shit I've heard uploaded here. are you tonedeaf? tonedeaftest.com/

you know what this is actually a pretty good idea

We've been shilling for it for years (well, only once in a while, not continuously, but still).
It would be great. We'd have generals for composition, mixing, mastering, sound design, instrument playing, inspiration, a proper sticky, and everyone who has a specific question wouldn't need to be lucky to ask it in the same window as another user who knows the answer happens to be in the thread, since the generals would last long and any thread that gets made wouldn't have to compete with a million kpop, melon, and other music listening threads.

And most importantly, people would have an incentive to get in, since we know for a fact that there are tons of Anons around Yea Forums into music making who don't come inside /prod/ for one reason or another.

Where can I find those drum samples that are used a lot in breakcore? Is there a name for them? The kind that go " dum dum tss dum dum dum tss"

amen breaks

>88735659
this is a real life post, by the way

For real i was a complete fucking idiot and managed to find all the big break packs in my first week of producing still lmao

g o o g l e probably

i just came upon some vox packs im actually happy with, i usually need to wait for me to stumble on something in a movie
feeling comfy though

What melody lol

clyp.it/o0gipxom
Suite thing I made a bit back. user said I should take out the shitty beat so I did. I might add piano bass movement in the future, but for now it’s just a synth in the background.

instaud.io/3TEf

here you go.

what do?

How the fuck does 'Wisp' do what he does?
Im not just talking about the intricate programming, I'm talking overall controlled prevalence of his sound throughout each track

Anyone got ideas on this genius' sound sources? You know i'm talking about that signature synth sound

>youtube.com/watch?v=vAJT3UCGqao

youtube.com/watch?v=fA69L_7nRKU

how do I get that really spacey rhodes piano effect starting at 1:02?
I've tried a phaser and LFO low pass filter but that's not doing it

He probably mixes it and stuff

You might just be right.
But to what extent?

how do people get their breakcore to sound intense and spontaneous

I try and every time it just devolves into drum and bass, I don't know where they find all the samples, pull them together, and then make them sound coherent for 5+ minutes at a time

lots of practice, lots of time, fast brain processing speed

were you the same person who posted this?
if so I could give some advice

No, but let's pretend I am so that we can both learn.

No, but lets pretend I am so we can both learn.

I'm aware the melody structure is horrific, there's no buildup or actually feel to the track, just a load of mashed amenz with no thorough thought process put into it.

Advice I'd appreciate dearly is how to get the track to move, sound intense and spontaneous like said.

Like, what are the goto plugins and overall rules for making frequency's get lost in others, and how to balance everything.

meant for

youtube.com/watch?v=TgoAgYR4584

How does he make this sound so g00d

Sure.

I overall like the "silly" vibe and random high pitched sounds/synths in the background and think they should be more prevalent and there should be more of them with progression.

When it comes to the breaks though, I find the mixing to be a little weak with not much going on. If that's the sound he was going for then of course it's not an issue. People have their own styles, and personally I would've thrown on/off distortion here and there, maybe filter ramps, etc.

One other thing I would note is that the loops are a bit repetitive for my taste, which makes it sound a bit more like dnb or something rather than breakcore or whatever. I like to never repeat a pattern more than once unless it serves a purpose or has something else going on.

So my tip for you/him would be to just keep building your loops as you go and mess with distortion and filter ramps, and avoid repetitiveness unless you like it.

Idk it’s peobably like a big deal to him I think

Just what I wanted

>Like, what are the goto plugins and overall rules for making frequency's get lost in others, and how to balance everything.

Oh and i didn't read this part until now.

In terms of plugins, you would obviously want a lot of distortion plugins to mess around with like bitcrusher etc. Use all of the ones you find and throw out the ones you don't like, keep the ones you do. Also using compression on breaks can bring out strange sounds if you throw it after the distortion, so mess with that too.

If you throw reverb on breaks, be sure to use a small amount and have the lows cut. Sometimes I like to have heavy reverb come on for a short pattern though, and for those moments I resample the breaks to do it. I find it a lot easier that way.

Frequency stuff is a bit more complicated. Just make sure you're EQing everything. Don't let anything be by itself, tweak everything at least a little bit so that you are getting an idea of how it all works together. It's something that takes time of course, so don't be afraid if it ends up sounding weird at first. Just keep at it.

>I've got all the tools i need exept a decent filter. Any recs user?
Well I don't really use any plug-in filters personally, so I don't have a recommendation. I like to use a parametric EQ and automate the bands myself. Throwing a limiter after this can prevent any hard peaks.

I think any filter plugin will work just fine. The classic filter ramp would be a low-pass going up or down, then turning off once it reaches a peak or low. You can do some fun stuff with this though, so dont be afraid to experiment.

I want to make a true sequel to Justice's Cross album by looking for samples the way Justice did.

Anyone want to team up and create our own sound?

oh and let me post a few things I've made on here. I don't like to post any of my official stuff here so these aren't the greatest things ever, but maybe you'll like them.

I made this one using only a set group of samples or something. Some shitty break loop was one of my samples thankfully.
instaud.io/private/2bd24ecfb2b0508b9e1ced45c184d7df79f220d5

This I made with someone on here. He did all the synths and stuff, I just threw on the percussion.
instaud.io/private/7911494a587d965e5ececac773e13a5a36408505
Been meaning to work on this one again but been busy.

This one I sampled someone's shitty guitar song on here. It's not really break focused at all, just beats.
instaud.io/private/65c6fa84ed76509205367cc1c286e323d1d31d1f

I've been testing this song around, one of my friends said the delivery is too grating, admittedly I was trying to be gimmicky. Thoughts?
instaud.io/3TEW

Criticism on the composition and mixing would be nice too.

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now I feel obligated to post something so here's a breakcore ditty I made in like 20 minutes
I was going for "squarepusher" but it still sounds like liquid dnb to me
instaud.io/3TF5

I'm a lot of the frequency mixing stuff is just going to come from basic sound design, compression, multiband compression, eq, and sidechain compression

as for actual arrangement, you need, need, need to use a tracker. My stuff sounds a lot more breakcore-y and my drum and bass has improved by orders of magnitude since I've started using Renoise. I know it's daunting, but it's really worth it.

I like it. It does sort of sound like its in the dnb direction, but I think that has to do with your synth structure and possibly lack of distortion on the breaks. The synths really give me that dnb vibe moreso than the percussion.

it's a tb303 clone vst and it's entirely because I have absolutely no idea how to program it to sound like a breakcore tb303 lol
I have a feeling I'll never quite get that breakcore sound until I figure out how to program a 303

>I have a feeling I'll never quite get that breakcore sound until I figure out how to program a 303
You could try using samples instead then. I find my sampling to come out a lot darker than my synths ever do.

i can tell it was made in a short timespan, but it's still decent. although the chopping sounds too rough around the 13 second mark

>justice
>own sound
uh so which is it?

tbqhwy i am shite at actually putting together dance music, probably because i barely listen to it, but i can do sound design and all that weird shit pretty well.... and all the technical stuff.... so if you're more of a songwriter than maybe, but probably not :^)

no offense intended but you probably shouldn't be giving mix advice and in the same post point out that you can't make your own music sound how you want....

though i generally agree with the sound design thing. the "mix" starts at songwriting and arrangement, then sound design/recording

no offense, but mixing/mastering and programming a synthesizer are two very different things

here's another memey dnb-borderline-breakcore thing I did in like 30 minutes a while back
instaud.io/3TFr

this one sounds more like breakcore to me.

u got potential

What genre would you call this? clyp.it/krbfefry

that was probably a polite way of saying you suck user lol
programming a synth to be inappropriately huge in the context of a song overlaps into being part of the mix

>delivery is too grating
was thinking the same at first but it grew on me
sounds good to go

the FAQ says
>Download from audioz otherwise, they'll have you covered for most vsts as well.
What does that mean? What is "audioz otherwise"?

if your teeth are crooked you'll never make good music. give up.

It was written by an ESL.

ok, but could you explain what they were trying to say? where is the best place to get vsts?

audioz.download my negro

if you make up a bassline or a melody or something, how do you figure out what key it is in? you have to know that before you add other musical stuff, right?

>Need a free Daw and don't want to torrent for some reason?
>Otherwise, if you don't want to download Reaper or audacity, go to audioz and get Ableton, FL Studio, or whatever you want.

audioz otherwise rutracker

i write in the key i want the thing to be in, that may be your best move
minor keys will inevitably end up sounding sad if youre following proper progression, and vice versa
unless you key change, which is easier than you realize

Anything you would've done differently?

but like, what if you just hum something that sounds good and then play it on a keyboard?

I know there's some sites that let's you select certain notes and it'll show you what scales in what key they'll work for.

wasnt me but he isnt wrong
if you have a keyboard, record the hum on your phone and dont stop fucking around until you find the note your hitting, will help you do it on your own eventually
notes don't tell you key though

completely subjective but I don't like skreets.
same with the swag, maybe replace them with another word so you still keep the sound? be original with it.
>Anything you would've done differently?
If I were to make a modern hip-hop/rap song I would try to avoid the trap sound completely or distort it to the point it's borderline unrecognizable.

I'm pretty good at coming up with melodies in my head, but then have to noodle them on the keyboard because I can't play/don't know theory. Does that mean there's no real point to try to make music because I won't have the required knowledge to flesh out whole songs? (That is, once I come up with the premise of a song, without musical theory/playing ability will it be impossible to add other parts to it that sound in key/tune or whatever you call it)?

saying there is no point is a bit harsh
would it be incredibly easier if you knew common progressions to abuse, ways to make creative progressions with key switches, and all the other things that are possible with theory?
of course
you can slam your head against a wall and get inspiration too though, not claiming to be some savant in theory
i finished a song just today because i knew the key, knew how i wanted it to sound, and knew the direction it would take
its not billboard top 100, it is what i wanted though
its a good feeling
learn theory, it isnt painful

thanks!

To add on to this user, a lot of theory can be picked up as you go. The most important thing to start doing is training your ear to pick up notes that sound good together and learning your DAW inside and out.
Your ear, for the most part, is already trained by the music you listen to. There's nothing wrong with using crutches like scale builders when you're starting out, but the more you produce, the more you'll find yourself not needing them.
I agree with user that learning music theory is important and will help you a ton, but I'd argue for learning mixing and compositional techniques first.

im gonna hold with this one here
you can develop basic aural recognition doing this, at the very least getting the correct octave

thanks for the encouragement!

I'm definitely going to change a lot of the adlibs. I was playing around when I first recorded it.

>I would try to avoid the trap sound
Most of my stuff is actually lofi/vaporwave vibes. I just did this song for fun and it actually ended up doing good.

Look up key signatures and match the notes you use to a key signature.
Bonus if your bass/melody is simple enough to fit multiple keys it gives you ideas of what you can modulate to.

instaud.io/3TH7

pretty proud of this

If you can imagine the notes in your head, and haphazardly fill them in correctly in the DAW, you can make anything.

I can imagine the notes in my head melody by melody at a time, but I'm worried about the part of having multiple elements sounding good together. That part is hard for me to imagine -- I can think of a bassline and think of a synth line (or something), but making sure they actually sound good together is the hard part

Everyone is diff. Do one part at a time and tweak. You aren’t Mozart. But you’ll get better as you keep doing it. Best of luck to you. And I’m not the other guy.

thank you!!! the people in this thread are really cool and helpful

>why yes we do pay for our software what gave it away

Attached: 0.jpg (640x648, 65K)

I only pirate hardware

are you..
An ACTUAL PIRATE?!!?

is reading the dance music manual a must? shit hurts my brain, especially the audio interface bit, still don't get sample rates and stuff, i just dom't get it it's annoying. I understand everything else easily but chapter 2, I don't fucking understand it.

No haha, I just go into guitar center and steal shit when they’re not looking. Dumb crackers, don’t wanna be racist so they won’t say shit.

If you don't understand computers and math you won't ever be a great producer. You can do good by yourself, and probably have a very fulfilling life, but at the end of the day you'll be simply less capable than the class-A guys in the field.

>math

kek. You can even be a good computer programmer without understanding much of mathematics.

Seriously though, what do you mean by "understanding computers"? Building your own DAW?

I don't think many of the producers of old could build themselves their own compressors and other hardware: they were literally called magic boxes by many back in the day.

But yes I do feel that when you are a working song with +100 tracks in DAW with various vsts/effects and trying to make the different songparts work together it has some similarity to making a program to work with its different parts that need co-operation and communication.

That being said, music is much less forgiving in a sense that sometimes mistakes can even sound good "let us leave it at that" and "it sounds good"

pls crit br0s i'm an amateur

>instaud.io/3Txx
if you were going fo breakcore, i think making it a bit faster would have been a good idea. the guitar part is too quiet.

I want to make remixes of existing songs, and I don't want to go through the hassle of asking for permission.
What's the worst that can happen? That the original copyright holders get 100% of the generated revenue? Because I don't care about that. Is there anything else they can do?

How big artists are you talking about? I finished a remix/tribute song not long ago and contacted the artist directly through email. I sent him the finished track, he liked it, and we agreed that I send him a physical copy if it gets released.

it is for a rap actually
i wasnt going for breakcore

Can anyone recommend a good free program to start with? I downloaded ableton free trial but it doesn't look like i'll be able to continue on it, not spending that much on something that I'm not properly in to yet. Only want to get in to it as a hobby but would like to become good.

Big. Like Daft Punk and stuff like that. There are plenty of remixes of their songs on youtube, and I'm quite certain most are unlicensed (Kanye West's being an exception). So it can be done. What I'm not sure of is the repercussions.

>late night
>writing a song in tuxguitar
>alright just finished this cool pre-chorus
>let me copy paste the verse before it another time
>alright cool, let's save and go to bed
>next day
>mfw I copied over the pre-chorus and half the chorus instead of placing the verse before it.
goddammit I hate this program

Not a must but very helpful.
You're gonna need to know those things sooner or later, so you might as well focus a bit now and get over them.
Otherwise you're gonna progress and learn things without understanding them because you won't have the basics covered.

I think he was joking, but "understanding computers" could just mean understanding how digital audio works and how computers handle what you're doing.
It doesn't need to involve math or programming if you don't want to go that deep, but you should at least have the info in this video memorized, as it's the very foundation upon digital audio works:
youtube.com/watch?v=cIQ9IXSUzuM
Hopefully it will make the chapter you're reading easier to understand.

I tried playing guitar for the first time.
clyp.it/lnudnzz5

Attached: dannymanic_kibbles.jpg (200x292, 12K)

>You're gonna need to know those things sooner or later
i'd argue that 'later' is appropriate for most beginners.

most people can get by for a very long time on basic rules like:
>44.1/16 for consumer exports
>48/24 for sharing with other producers/engineers
>recordings at 48/24 for most cases. 96/24 for limited sample mangling scenarios.

even if they don't necessarily understand what a nyquist rate is.

>pastebin.com/p2QUqMzj
>audioz and rutracker
What about magesy?

>written by an ESL
ESL? You do obviously not mean Electronic Sports League.
Americans and their shitty abbreviations man.

i think he means 'english as a second language.'

>audioz otherwise
just ignore the otherwise.

clyp.it/stohxhwd
clyp.it/grzxpm4w

trying rap production, which is better?

Not the guy he was replying to. So i'm really asking what people think of magesy.

>i'd argue that 'later' is appropriate for most beginners.
Not really, since learning without understanding will lead to misunderstanding things and learning them wrong.
Almost every time I've argued with someone about something is because they didn't take the (short) time to actually understand what they were doing, and got by on memorizing "rules" which never work properly for their particular situation, so their music ends up having all sorts of problems.
This "I don't need to understand how it works if I can memorize how to do it" is a harmful mindset to have that will lead to more problems than benefits.

Really, the only benefit is that you save some time in the beginning and that's it.

I used to get by on memorizing rules and it was a fucking mess, and it required so much effort to remember all the rules for every situation, but then I spent some time actually understanding how things work and I never have to remember anything because I know exactly how to do what I need to do the same way those who created those rules did.
Now whenever I learn a new rule I don't memorize it but instead I add it to my understanding of how the thing works and I won't have to remember it.
It's much easier and it works much better.

>most people can get by for a very long time on basic rules like:
>even if they don't necessarily understand what a nyquist rate is.
If that's the extent to which all this knowledge is used then sure, but it actually affects so much more.
For example, by understanding how digital audio works you understand how waveforms interact and how processors alter them.
Basically all digital mixing and mastering, as well as sound design, is built on this foundation and the results you'll get will improve so much by actually understanding what's happening to the wave.

Obviously I'm not talking about getting into advanced DSP and whatnot, but the (super basic) things in the DMM or the video above don't take much to learn and are very beneficial.

i agree with the general sentiment, but i make a very limited exception when it comes to sampling rate and bit depth theory.

while it's true that those theories are by their very nature the underlying basis for all digital audio, imo concerning yourself with audio on a per-sample basis is largely unnecessary for most processing.

even in the very specific case of sample rate or bit-depth reduction for effect purposes, i'd argue that learning to recognise aliasing noise or bit-depth distortion by ear is far more important than knowing the process by which that aliasing noise is produced.

again, all this is just my opinion re: how beginners should approach things and i'm not suggesting your approach is wrong, but i'd rather they focus on getting higher level fundamentals down first.

besides, that chapter in the dance music manual is poorly structured imo. throwing that at someone in an introductory chapter just to tell them to buy an audio interface seems misguided.

Sure, learning the practical application of these concepts is 100% more important, but if you learn why these things happen (only to a surface level, no need to go in depth), your ability to perform the practical application will greatly improve.
For example, if you understand what aliasing is and why it happens, you'll never make a mistake in recognizing it and avoiding it, while if you don't understand it you won't necessarily be able to recognize it in those cases where it's not immediately apparent [insert reference to the Sadowick/KVR fiasco from a couple of days ago], and even learning to recognize it by ear will be much easier, because your brain will have an actual concept to encode it with, instead of just trying to memorize a sound.

There's a lot that a beginner shouldn't worry about in their first months/years, but I don't think this is too complex, so the benefits outweigh the time/effort spent learning it.

But yeah, I wouldn't have put it at the very beginning.

i haven't used magesy in ages. afaik they're mostly mirroring stuff from audioz.

The last few times I've tried it (a couple of years ago) all the links were only downloadable by having a rapidgator (or whatever the filesharing site was) premium account.
But when it wasn't like this, the files were legit (probably mirrored from AudioZ).
Another legit site is flsaudio.com (haven't used this one in a couple of months so it may have gone rogue or something).

will i get shot for posting a sc link?
i want criticism

>being aware of and avoiding aliasing

You can’t avoid aliasing in digital lol

didn’t get a instant vitriolic response so
soundcloud.com/floruit/primitus
first full release in this style, let me know what to make more interesting

FL Studio users confirmed preset junkies once again
youtube.com/watch?v=ZKVlcndvePU

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i hum the root note in my head, and from the note intervals i'm able to figure out pretty quickly if it's major or minor. I dunno, guess i'm just a musical genius huhu

Party's hoppin' boys

clyp.it/kd4vqnl3

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as facetious as you’re being, if you’re frustrated with learning try

i will prove I'm not joking, send me a list of like 10-15 songs and I'll reply with all the keys in under 5 minutes

I'm first gonna have lunch though, so in like 20 minutes

schoenberg's string quartet no 3

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yes

is there a way to trigger samples with a qwerty keyboard in LMMS?

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I'm looking to make an album like Cross by Justice since they've left the trashy style of it behind and are doing arena rock now. I'll be looking for samples to make new stuff out of. Who wants to join me?

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Use your ears.
If you played the original bassline you know which notes you used. Start improving over the top using the same notes then try adding more notes and LISTEN to what works. Don't write, listen.
You can also just read theory for a while if you prefer that over practical learning. Most scales are just go up a semitone then a tone a tone a semitone etc. or whatever.
Keep practicing and you'll get the hang of it. practice practice practice. Never expect immediate results this shit takes ages.

thats right, it took me over 1.5 years of daily ear training but now I can reliably tell the key of any song written in a heptatonic scale

Way to misunderstand the post and project your cope

explain to me how i misunderstood your post, and what i'm projecting exactly, I don't seem to get it.

You can always get it for free, know what I'm saying?

actually stop using LMMS if you want to produce anything of value, go try a tracker if you really need a freeware/foss program for writing music

You seem to think I'm telling him if he trains his ear he'll suddenly become mozart. I'm not saying that. I'm not even saying he'll be able to tell which key is which when blindly hearing them. If he played the bassline then he knows the notes already. He just has to use his ear to figure out the rest. Process of elimination. Say I made a bassline using E G B and A, if I then play an A# or a D# or something it might sound weird unless I'm going for something jazzy. Everyone can hear this if they're not tone deaf.

>what i'm projecting exactly
Your post reeked of butthurt "lol just train your ear and you can pick out every note played in real time when listening to the most complex classical pieces lmao"
You sound mad that you can't do this or something and you're putting that butthurt on me.

I think this says more about you than me tbqh. I'll leave it at that.

So wasn't ironic and you actually can tell the key of any song written in a heptatonic scale? If this is the case, then forgive me, I never forget where I am.
If this is wrong ^ what the fuck is your point? You can't improve your ears?

>he doesn't use musescore

how's the vibe and pacing?
instaud.io/3TM3

wip obviously and more or less a scratch track, ignore the false start when the beat drops back in.

i will trade art for criticism

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.1/16 for consumer exports
>48/24 for sharing with other producers/engineers

What's the point? None of the professionals cannot even tell the difference by ear

Different sample rates affect processing differently, so while they might not make a difference in merely listening to the files you send them, they might make a difference in the end result after they work on it.

can you recommend me a tracker which allows me to record inputs from a qwerty keyboard?

Ignore "free" trials. They are not free.
Either go FOSS or just use Reaper, which is winrar type free.
I personally love Reaper, but it doesn't come with any synths, so you'll have to find some VSTs elsewhere (just google free synth VST, there's loads of pretty good ones).
Or if you want to dive into the deep end with synthesis, download VCV Rack which is a free modular synthesizer emulation with tons and tons of free modules. You can hook it up to your DAW too and record the output.

Guys, how do you get on a label that doesn't have a demo submissions link? Just go to their events and hope to bump into the right person or some shit?

Renoise does this

How do I have fun reading? I feel like killing myself reading the DMM.

I can spare a (you) for the painting but the music'll get ignored till you go to your thread.

Fucking mail it to them you zoomer tard.

Do you have to read the DMM to make it?

i did already, they dont like talking
all good though, heres another

Attached: 1549931274262.jpg (1160x714, 327K)

and if they don't have an address? Or at least a public one?

demo priority by descending order for such labels:
>established/upcoming artist invited by label head or a&r
>friend of label head
>friend of a&r
>friend of a friend of someone on that label
>the promoter that booked the label head / a&r
>the opening act for label head / a&r
>the promoter that booked someone on that label (multiple times)
>the opening act for someone on that label (and did well)
>the scene regular who bumped into one of these people for the nth time
>the dude who bumped into one of these people on a smoke break that one time
>the dude who annoyed them while they were trying to get a drink

wildcard
>the dude who sent an email to the general contact / twitter mention'ed and asked if they're taking demos
>the stalker who worked out where they live/their office and mailed them a dubplate
>^ but usb

realistic path
>look at every other artist on the label
>look at every other label they came from
>look at emerging labels
>get on those labels
>pray that the promo-pool comes back with more than 'downloaded for r hawtin'
>progress up the label ladder

Do some legwork kiddo, be creative. If they have a phone number call them up and play your shit through the receiver.

>call them up and play your shit through the receiver
kek that's just a mad lad enough move to actually work

no, bad idea, phone line compression will make your song sound like shit.

That makes it even better
>sorry it sounds like shit, where do I send you a proper version?
Done.
They'll know that you can't show them a proper version through the phone so obviously they'll ignore that aspect and instead focus on the music itself.
If they don't like your song based on that, they wouldn't have signed it anyway even if it was produced excellently, and if they like it, you got yourself some of their attention.
You literally cannot lose using this move.

it's less about it sounding good and more about "holy fuck, the balls on this kid" To the right person it wouldn't matter if your songs were shit, you'd have the attitude to make up for it. There's plenty of acts out there for the last 60 years that sounds like ass, but have an attitude to get away with it.

is there any bigger headache than trying to get remote midi control working on antique hardware

shut the fuck up. no one asked you to post. just shut up.

The one I left your mom with this morning.

@88747832
show me where I said you could respond to my post

so how is one supposed to read the dmm? do you read it like an ordinary book or do you whatever chapter you want to learn about?

I read it from start to finish, but if for some reason you don't want to learn about specific topics you can just skip them.
The chapters are pretty much self contained IIRC.

>dmm
What is this? I've seen a few mentions of this now.

instaud.io/3TP6

Wrote a song and slapped some free synths on the midi (secretly fucking love SQ8L but don't tell anyone) to get a rough idea of the different textures for each instrument.
Can't really play guitar and bass right now cause my wrist hurts like a bitch, but the idea is clean guitar, overdrive guitar, bass, moog-like synth and drums. I'll get on that later.

Anyway, green light on the song structure? Any comments?

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i could respond cuz i said so, bitch nigga

its pretty straight forward as long as you actually understand midi

what gear are you working with?

how long did it take? did you understand everything?

Reaper user here for years, but I only use the DAW as a multitrack recorder as well and all hardware, even FX, and the midi environment is an ecosystem outside of recording and record only audio. I use the best of midi but I am a player not just a button pusher and jam along to pushing more buttons. Ableton Live has always pleased the kiddies though.

how can one man be so pretentious?

low IQ. Literally too dumb to think they're not the shit

dance music manual

Why does this seem like a fucking meme you're all wasting your time with

its ok but its aimed for newer people

because they told me i need to read it to git gud. im a brainlet so still stuck at chapter 2 (audio interface) and I don't understand a word, youtube videos didn't help either.

what is a bit? why is sample rate important? who is nyquist? what are those waveforms? only thing i got is that i should buy an audio interface.

yamaha PSS480, I've gotten it working now but you can definitely tell how the MIDI standard has changed over the years just working with it.

fuck off mate it's too hard for beginners who are brainlets like me

Just put four on the floor and go Fm to Cm bro

>what is a bit?
It's the smallest amount of information a computer can store/process. Either a 1 or a 0.
A byte s a sequence of 8 bits, a kilobyte is 1024 bytes, etc.
A sequence of bits can be used to encode stuff in what's called "binary code". The longer the string of bits, the more information you can store in it.
The bit depth is how many numbers you can use to represent the position on the vertical axis of a sample.
Digital audio is recorded with these points that can be anywhere between +1 (the top of the waveform), 0 (the middle), and -1 (the bottom).
A system that only uses 1 bit and either be fully 1 or fully 0 because you can only write the value as 1 or 0, the more bits you use to represent the number, the more precise you can be, for example putting the value at 0.3895893487394...

>why is sample rate important?
Because it's how close together the samples are, which in turn dictates the highest frequency it can record without artifacts.
The rule is that any given sample rate can reproduce as high as half its value.
Meaning that a 44100 Hz sample rate can reproduce as high as 22050 Hz.

>who is nyquist?
One of the two guys who made the "nyquist-shannon theorem", which explains a lot of this stuff.

>what are those waveforms?
What waveforms?

I should add that half the sampling rate (the highest frequency it can accurately reproduce) is called the "Nyquist frequency".

oh my sweet baby jesus, how good is this thing.
dmg audio are low-key the best plugin developers on the planet right now.

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bump

Trying some breakcore the keep with this threads theme
Opinions?
instaud.io/3TRe

>instaud.io/3TP6
Sounds nice my dude
Not so crazy about the into, kinda dissonant
Love the drum fills and song structure
Overall pretty cool!
Intro is nice
The vocal recording sounds like ass
That piano is annoying af

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I've never used reaper, but use mostly hardware with step sequencers and ableton.

>dmg audio are low-key the best plugin developers on the planet right now
*teleports behind you*

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heh, nothing personal, kid.

Attached: massive X.png (847x553, 446K)

>Massive X
Enjoy making brostep and shitty techno forever, plebboi

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Which one of these do you guys think would make for a cooler music video?

instaud.io/3TRM

Or

instaud.io/3TRP

pfft i'll take bread n butter utility plugs over a fancy modal synth any day
on a serious note though, how is chromaphone 2. i played around with chromaphone 1 ages ago i think. never really found a use for the things though. mutable's elements can be fun to fuck with tho.

Does anyone really like Massive X tho desu? Like, even the brostep crowd is kind of disgusted by it.

Both are boring and generic
If you really HAVE to litter my internet with a music video no one's going to watch, pick the second one

native instruments did it to themselves they announced it too early and then when it release its still not ready

I've seen some people on YouTube who totally creamed themselves over it
I guess you can slap the modular meme on anything these days and retards will buy it because
>wow modular sooo advanced sooo next level rn

>brostep and shitty techno
what fucking year is i that people are still associating massive with that shit?

a lot of people like it and still hate native instruments lol

>i'll take bread n butter utility plugs over a fancy modal synth any day
Was referring more to AAS being a great plugin developer, not Chromaphone in particular
>on a serious note though, how is chromaphone 2
Pretty nice. It's very versatile and generally fun to play with.

>what fucking year is i that people are still associating massive with that shit?
Skrillmeme killed Massive forever, deal with it

are you also a meme forcer of /prod/ and or caustic in general? not fun man

>AAS being a great plugin developer
everything they've made for ableton is pretty overlooked, great shit though

It's funny because wasn't most of his signature shit made with FM8?

what is the difference between massive and massive X

the x

and isn't free

>wasn't most of his signature shit made with FM8?
maybe but all those """"producer"""" kiddies on YT trying to emulate him sure weren't

that's because spamming modern talking is easier than learning fm

a lot. Just stick with the original. It's better

With how much headroom do you guys mix?
I usually go for 6db, sometimes 3

trips of truth

what's headroom? Red means loud and loud means good, no?

>Red means loud and loud means good, no?
Kek

>spamming modern talking
You asked for this

youtu.be/eNvUS-6PTbs

youtu.be/4kHl4FoK1Ys

Remember the old Yeah Dubz videos? Those were the days. Peak producer memes those days were

youtube.com/watch?v=bY4UFEZFRpg

>how noise producers master their tracks

Was this post helpful or you just gave up?

I think you scared him off with "Nyquist Frequency". We didn't touch on it until I was balls deep in my EE degree so I can't imagine what it's like for someone just trying to learn how to produce.

But I'm sure you learned a bunch of other more complicated stuff.
Is anything in my post too difficult at the level it's explained in?

But maybe you're right, considering he asked what a bit is.

Not him but I agree, you don't need to know that if you're just starting out.
Not that complicated though, I found bit depth more complicated to wrap my head around

>We didn't touch on it until I was balls deep in my EE degree
Did doing EE help you with your production at all? I read Aphex Twin studied EE in order to learn how to really fuck his synths up.
I'm a developer in training with focus on embedded systems and modding freeware VSTs like Helm is tons of fun.

I really don't see how any of this can be hard to understand.
I'm a certified dumbass high school dropout who can barely understand 11th grade math and I understood all of it immediately.
Sure I only learned the information that's relevant to using audio software (nothing too complex like what's needed to make the programs), but that's the level we're talking about anyway, right?

Or are you guys actually learning it at a college-level depth?

>Or are you guys actually learning it at a college-level depth?

I studied it in order to make my own VSTs, had to go a little more in depth for that.
But even if you dive in a bit deeper it's really not rocket science

>make my own VSTs
I'm interested in doing the same. Assuming I know nothing more than basic computer skills and music production, what do I need to learn?

>need to learn
graphic design would probably be a good thing too, unless you have someone doing the gui for you

I legit went into EE specifically so I could learn how to make my own synthesizers, break other people's synthesizers, and make anything I want into a synthesizer; so I can modify anything, make any and all sound effects, make new ones, just do all kinds of crazy shit that wouldn't ever had occurred to me if I'd never done EE. My specialization is Signal Processing... aka, manipulating signals (which includes sound!)

For example, as a pet project, I'm essentially turning an old shitty portable cassette player into a really lo-fi sampler. I've made it so I can control in real time the motor's speed with a potentiometer using PWM.
Next up on the docket is to hook it up to some sort of microcontroller and program a midi interface so I can hook it up to my computer. After that, I'll program some kind of VST or something that will let me control the PWM voltage as midi data, so I can then essentially play the cassette player as a sampler, with whatever is on the cassette as a monophonic instrument.

I never knew Aphex did the same thing, I never paid him much mind. Looks like I'll have to listen to his stuff.

At the college level, you go into the actual calculus and differential equations behind it all, doing the fourier transforms and going into way more detail than anyone else besides a signals processing engineer would ever care to know.

Ok but a gui alone would be useless.
What do I need to learn to be able to make music software?
I'm assuming some kind of math and programming, correct?

C++ at a decent level and Projucer.
Also all that audio production theory (as mentioned in previous posts).
Also, mathematics is very important in audio programming (some pretty advanced topics are frequently used).
Check out the books by Will Pirkle, they're pretty good and he has various books on various topics (i.e. effects, synths, ect.)
They're pretty expensive but I think you can find them online.

This channel should help you get started:
youtube.com/playlist?list=PLLgJJsrdwhPwLOC5aNH8hLTlQYOeESORS
youtube.com/playlist?list=PLLgJJsrdwhPxa6-02-CeHW8ocwSwl2jnu

Not that essential in the beginning really, Projucer has some build-in UI libraries and that user won't be making anything he can actually publish for a while.

Absolutely essential if you want to distribute your stuff though, I agree

Thank you very much.
Please ignore this post >Also, mathematics is very important in audio programming (some pretty advanced topics are frequently used).
What kind of math?
Can I learn it on Khan Academy or do I need to go to college/uni for it?

well, you're talking about actual sound/signal synthesis which is getting into electrical engineering territory. I haven't ever tried to program my own VST, but you're at least going to need to know fourier analysis and transforms which involves calculus and differential equations.

You might be able to abstract a lot of it with a higher level music programming language like Max, though

It's yo boy TJ Hertz aka Objekt aka the Greatest producer on the face of the Earth just checkin' in and remind you all of my greatness.

Electronic and information engineering? Yeah, I did that shit, boys. From muthafucking Oxford University, no less.
DSP? I'm fucking ace at it. You know your favourite Native Instruments plugin? I probably wrote the DSP code for it.

Boom. Just like that. Minds fucking blown. In and out. Back to making the greatest music the world has ever seen. Check it.

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That's very cool user, I want to do the same thing but with softsynths and effect plugins, one of the reasons I chose software development as a career.
>After that, I'll program some kind of VST or something that will let me control the PWM voltage as midi data, so I can then essentially play the cassette player as a sampler
So basically a MIDI to CV interface? I saw someone doing that with an Arduino on YouTube once, maybe look into that. Only have basic training in electronics, so idk

usually like 12

when I do final limiting shit sounds obnoxiously loud to me but hey at least my ears won't disintegrate

I see...
And what about a general timescale?
How many years would it take for an average person to go from zero to being able to make something usable (but not too complicated like a DAW) using Projucer?

I'm assuming that taking code from Github or StackOverflow like web developers do wouldn't really work here, right? So I'd need to understand every part of it, correct?

To answer your question no, I found your descriptions easy and accurate. Problem is you're trying to help what may literally be a crack baby.

What said, start with Calc 1, maybe Calc 2. Do ODEs afterwards (I don't think you'll need PDEs).
Do Fourier last, as it depends on the previous topics, like user said.
Some basic Linear Algebra won't hurt either (i.e. matrices, always useful in programming), not essential though.
>You might be able to abstract a lot of it with a higher level music programming language like Max, though
Not a fan, personally. Max might have a low barrier of entrance but I think working with JUCE from the getgo will pay off in the end as it encourages improving you C++ instead of relying on visual programming.

Holy fuck did I just get laid?

Okay, topic of discussion for the next thread, what producers do you guys like and listen to: No bully edition.

Exactly, I'm going to DIY a Midi to CV interface.
I'm hoping it'll get me some brownie points as a gimmick and be something noticeable, people tend to like unique hardware. On top of it being a genuinely interesting instrument too, of course.

>I'm assuming...I'd need to understand every part of it, correct?
Since I don't have experience doing audio programming, I can't really say.
That's why I brought up Max. It essentially lets you chain together various modules to make synthesizers without having to know any of the math behind it.
Then there's the actual music programming languages where you program synths in text. Again, I don't see why you would *need* to write your own synthesis and effects algorithms instead of them having their own libraries to use, but if you really want to do that and make truly unique VSTs, you're going to need...

Assuming you've only taken up to Algebra II as is standard in the US HS curriculum, you're looking at having to learn (and really, really know)
>Trigonometry
>Precalculus
>Calculus I
>Calculus II
>Calculus III (Possibly)
>Ordinary Differential Equations
>Linear Algebra

and everything past precalc is what I'd consider "serious mathematics", not trivial to learn.

Thank you very much.

Still trying to figure out the natural evolution of Justice's Cross album. They said they made it like a disco-opera album with elements of baroque. I can't find my own style, nor do I want to, because I think Cross is electronic perfection. Where could I go? Jazz? Electro-swing has already been beaten to death so Jazz is out. I know music theory so I can come up with lots of stuff, but it all sounds derivative to me because all music that can be made has been made. There are only so many catchy melodies.

Thank you very much.

Are you a beginner?

it's alright. bit too sparse composition wise for my taste, but to each their own. I either like things to be completely ambient, or to have intricate drums and basslines. no in between kek

Then use the uncatchy melodies.
Fuck brah, that's like Jazz 101.

Well, there is a small community of devs who share code snippets you can reuse on stackoverflow but for the most part you're on your own, yeah.
Projucer has some great libraries and templates that do a lot of the work for you though.
>How many years would it take for an average person to go from zero to being able to make something usable
Depends on who you are and how much time you're willing to invest really.
If you study for, like, 1 hour a day for example, I'd say you'd be at a decent level with C++ and general OOP in like 1/2 years. Projucer is user-friendly and pretty much works like any other C++ framework, I'd say it'll take you like 2-3 months to reach a decent level, assuming some mastery of C++.
The basic signal processing stuff you can learn in a few weeks imo (don't kill me pls EE-user)
The part that will hold you back the most is the mathematics

Also, you should learn to maneuver an IDE but that won't take that long either.

new when

I could do something about that. Didn't spend all that much time on the bassline so I could make it more intricate easily.

No. I have a little bit of experience making electronic music. I made this cover of Helix as best I could with stock Ableton

soundcloud.com/user-121410862/justice-helix-cover-wav-3

I'm just trying to come up with a concept for a Justice-style album using all the tricks they used on Cross. I think a lot of it was volume automation to create a punchy sound.

I'm just trying to emulate Justice's Cross album, simple as that. I think that album was the natural evolution of Daft Punk's work.

>To answer your question no, I found your descriptions easy and accurate.
Thanks

>Problem is you're trying to help what may literally be a crack baby
Eh, at least he's trying to put the effort to learn, which I can't say for many other Anons.
Maybe he's just being overwhelmed by all the new information he's getting at once.

clyp.it/onvrnlku

Trying to rip off Machinedrum, how did I do?

Have you ever heard of SebastiAn? in particular his Total album?

>The basic signal processing stuff you can learn in a few weeks imo (don't kill me pls EE-user)
depending on context I may spare your life.
It depends how deep into the juju he wants to get with signal processing.
If he wants to really learn it, he's not going to learn trig, 2 sessions of calc, and ODEs in a few weeks.
If he doubles down and spends a good few hours a day he can learn the basics in about 6 months. He won't be good at it but he'll have a decent working knowledge of the fundamentals behind it all.

If he's just learning "this is an overview of fourier transforms", "this is a derivative", "this is an integral", "this is a sine wave", "this is how you make a square wave using sine waves", etc, yeah it'll be about a month. Though it won't give him any working insight into how to apply the stuff.

I made a little Space Invader game using Scratch 5 years ago, so being an already experienced and knowledgeable programmer I guess I'll master C++ in a month or so.

But in all seriousness, thank you very much.
Would you siggest learning the programming or the math first?

And when learning C++, should I just focus on learning the language doing various projects even if they have nothing to do with audio, or should I focus mostly on audio stuff from the beginning?

What about learning just enough to take other people's code and using it in my Frankensteined programs?
Is that possible? (assuming availability of working code)?

>Though it won't give him any working insight into how to apply the stuff
I don't think I know that much more about signal processing myself, trail-and-error goes a long way in audio programming.
I'd say user should just learn the basics for now, he can pick up the rest over the years as he goes along.
The best thing you can do in programming is play around, try different things and have fun

please turn your music down.

Yeah, I like his stuff too, but I feel like everything that can be done has been done. I feel like there's no room to innovate. Genesis off Cross is the perfect opening track. I'm going for a particular sound, but I'm not quite sure how to get there. I don't want to use the same instruments and rewrite Genesis, or remix it, for example, but I need as badass an opening track to set the mood for the rest of the album. That's kind of why I want a music partner to see what sound comes from two people. It would help solidify the music style.

Would buying Logic end all my problems? I'm tired of fuzzy sounds and error messages. Is your life easier when you actually buy your DAW?

What DAW are you using now?

You won't need much math for that at all. And honestly, like says, as with music, it's mainly going to be a matter of playing around. I managed to make nifty things before knowing anything about EE.
Just watch the khan academy series on trigonometry and algebra, and then 3Blue1Brown's "Essence of Calculus" videos and that'll honestly probably be more than enough math to get you where you need to know for a long while.

>Is your life easier when you actually buy your DAW?
its the same except you get to ask support for help if you paid

Reminder that you can ask for support on the Ableton forum and they don't check if you have a license.
Hell I even voted on their "wanted features" site for both the Live 9 and Live 10 beta, without ever buying anything from them.

Logic, my mac is not the best but Logic performante is always so frustrating.. I can't load 4 tracks I hear fuzzy sound n get ovweload errors
Thanks, well that's something at least

Yeah, Genesis is an all time favorite of mine as well.
I think it's mostly a matter of taste. You can replicate the sound but you can't replicate their vision, which is why they're living legends and all the copycats sound like a knockoff version.

>I guess I'll master C++ in a month or so.
Kek, prepare to be surprised.
I know you're joking but Scratch isn't even remotely comparable to a low level language like C++. I'm sure you'll get the basics down relatively quickly though.
>Would you siggest learning the programming or the math first?
I'd start with the programming, a lot more rewarding right away imo.
Maybe use 2/3 of your time for programming and 1/3 for math in the beginning, find a routine that works for you.
>should I focus mostly on audio stuff from the beginning?
No, stay away from audio programming until your C++ is decent.
I'd recommend buying a book (just go to a local book store and look for one, there's literally thousands of them and most are good) and watching YouTube tutorials, maybe do a Udemy course.

>3Blue1Brown's "Essence of Calculus" videos
My nigga, just how good is that channel, right?

>mac is not the best
That's probably the bigger issue desu. If your computer isn't up to scratch, don't blame the software.

>Is that possible?
Probably but where's the fun in that?

I barely passed high school algebra. I hated math. I didn't think I could do EE when I started college, I was ready to settle for some sort of basic bitch degree.
I found his channel, and for the first time I saw the """"""true beauty of math"""""", and for the first time I wasn't afraid of it but truly inspired and figured "Fuck it EE is my dream degree". Now here I am doing stuff high school me never dreamed he could do.

fuck yeah it's a fantastic channel

I'm afraid you are right. Damn facing reality is rough on this one though.. macs are so damn expensive..

>I'd start with the programming, a lot more rewarding right away imo.
>Maybe use 2/3 of your time for programming and 1/3 for math in the beginning, find a routine that works for you.
>No, stay away from audio programming until your C++ is decent.
Got it.

>I'd recommend buying a book (just go to a local book store and look for one, there's literally thousands of them and most are good) and watching YouTube tutorials, maybe do a Udemy course.
I got "Programming: Principles and Practice Using C++". From my short research it seems to be a well regarded book for beginners, and it's made by the creator of C++ so I guess I'm in good hands.
I'm installing Visual C++ later.

I don't really care about having fun programming. I want to have fun with the result of my programming.
If I can take shortcuts I can have more fun using my programs.

And my Audio Interface is RME fireface 400 from ages ago and everytime I plug it it gets so hot I swear it could melt.. poor of /prod/ raise your hands

>I hated math
Same here, got a whopping 1 out of 15 points in my final exam.
Numberphile and 3Brown1Blue got me interested and now I deal with math in my job on a daily basis.

Math is usually taught so terribly in HS and having good visualizations like 3B1B really helps a ton

Then get a PC and get Ableton or FL Studio then. It's comfy and we have a lot more free VSTs

>poor of /prod/ raise your hands
Present!

Attached: 1515551223238.jpg (460x288, 16K)

Seriously considering this, thnx

Then you might as well go with Max tbqh as there aren't as many resources for audio code as there are for for general application development.
>Programming: Principles and Practice Using C++
Haven't read it but I heard good things about it, sounds like you're set

As an Abletonfag, it's pretty comfy. Especially if you're more electronic styled. Logic is good for recording live stuff, but Ableton is where it's at for more dance type stuff. Also, there's Bitwig too, don't forget