why are there so many trannies in music edition
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can we have a normal thread? not this fb frog bullshit.
>/prod/
>normal thread
dilate
GIVE MY FUCKING YOUS GODDAMN IT
heh
bump
im starting to learn, which daw should i should
You should fuck off should you
All good things must come to an end. The golden years of Lunga prod are long gone
Renoise obvs
does your mother tell you that everyday ? Im here for you user. I can imagine our hard it must be to be a disappointment to your parents
just get like 5 second hand sm57's lol
What's the best way to organise your projects folder and why? I've realised the sheer amount of unfinished loops clogging it up is stopping me from ever returning to the good stuff
Will dynamics really do the job better than the right condenser?
The best way for me is to be ruthless and go through and purge the fuck out of those projects, I do the same with samples I’ve made... only the strong survive.
Either that or catalog and metadata all your samples, stems etc
sm57's just work for anything and require basically 0 effort especially when you don't have any experience
condensers require a bit more effort (not that much tho) but then u gotta consider if u have phantom/ need a pre amp.
Just do Ableton or FL.
>just do Ableton.
ftfy
I've got an AI and a reasonably well set up room in terms of damping and diffraction, so I'm not opposed to putting in a bit of effort.
Just wanna find the best option I can for recording some stuff on the fly to then work with.
dynamics can work for that, but you will be disappointed trying to do more modern sounding genres with the sm57s
for rock/lo fi/indie/experimental etc they can work ok, but you will miss all of the 'air' modern recordings have with em. especially on vocals.
if you for some reason want to use dynamics for everything get a sm7b + a cloudlifter. that will get your highs back
otherwise save up and get a good large diaphragm condenser - the cheap ones (like that AT2035) have awful tinny qualities you will never quite be able to EQ out
well in that case I would get the p170's (if i couldn't find anything on like gumtree for cheap)
being able to record in stereo especially for guitars is always handy. and im sure they aren't terrible for vocals either (i'd still get an sm57 for those unironically, you can get them for £30 second hand easy)
Do you have any recommendations for good large dia condensers then? Assuming price isn't an issue.
depends on the goal
if i wanna make music i use ableton, if i need to make money i use FL and shit out 10 beats a day
an sm7 second hand, plus a cloudlifter cause they are stupid quiet.
if u could find an at4040 cheap then that too!!!!
how would you guys resolve this chord progression
Dunno when this was written but it's all I've got on the subject.
Okay this has helped a bit. I think I'll pick up an SM57 and then keep my eye out for a something like the 4040.
Appreciate the help!
what is 'good' depends on the style, instrument, vocalist... this is why studios have mic lockers, it's tough to have one mic for everything t b h
some mics I've used and like for that price point-
blue bluebird/baby bottle
sm7b + cloudlifter (the absolute best for rock vocals)
rode NTK
AKG c214
would not rec anything audio technica, they are just too bright imo
If it's to any illumination, I play almost exclusively fingerstyle classical with minimal chords. I probably won't do much vocal stuff but the potential to record them for fucking around with and testing out concepts is a pretty big appeal.
where do you guys obtain plugins for free?
okok what do here? The worst shit for me is making a good intro -> build for my beats. pls. help. brainstorm.
you'll want something pretty delicate then, so the condenser is still a good choice. depending on how your room sounds you could get one with several patterns and use an omni mode to record right up on the hole. gets all the nice natural sounding room tone and some of that fingernail click. at least for soft stuff that works great.
most recordings like that also have a few mics going so you won't get an album tone with just one. not to mention it'll be in mono unless you double. but you're on the right track
damn, this is cool man
feel like it takes too long to get to the meat of the track though.
The part where the drums come in for the first time could be used as a break, I'd put the start of 1:30 after 0:45
clyp.it
liquid drum and bass wip
I'm trying to write a chorus for my song. Don't know how to wind it back down to get back to the verse though.
>feel like it takes too long to get to the meat of the track though.
yeh probably gonna scrap the slow start altogether and bring in some beat/percs to lead in to :45. I'll get back to ya thanks for listening :)
wow man, that's crazy
sounds a bit tacky imo
too much break edits for being liquid, it sounds like concord dawn trying to do break core but bad
even though it just works you should drop the amen and make something more unique
what's stopping you from shitting out 10 beats in able?
what's stopping you from making music in fl?
truth is you can't do either of these things boy
a slow arpegiation of the Imaj7
I was worried about that. I want to keep the piano but as it is it sounds like a generic Nexus piano plug in. I don't know what to do to change it though. If I make it brighter it'll just sound even more generic. More mellow and it'll lose itself in the mix
>more unique
How so? The drums are sampled from the amen break, but they're all hand-sequenced.
See this is why I was looking at something like dual P170's to capture the guitar with something like an xy setup. Do you think that would do a passable job or am I just looking too low end?
>hand-sequenced
>The drums are sampled from the amen break, but they're all hand-sequenced.
woah
like said
it doesn't flow enough for liquid, it's in a weird place where it's not glitchy enough for breaks but too much for other things.
simplify and at the very least layer in some higher quality kick and snare samples
I can't tell if you two are memeing
How would I make them more unique? Is it the samples themselves? Does the arrangement sound bad?
the amen break itself is basically a meme you should really sample something else for this genre unless you're willing to process it in a way that will make it impossible to recognize it
How to make good DnB in Ableton?
Not a bad choice.
Hi, sonic poster here, he/him pronouns.
What you posted would've been acceptable 30 yrs ago. Please consider making your own breaks, layering them with old ones, and overall enhancing the sound instead of playing back slices or amen break.mp3
while I haven't used the p170s, I can tell you from my experiences that those cheaper small diaphragm mics will do fine in xy for room/overheads/ambient duties but will let you down for close up and exposed lead type stuff
higher quality pairs can get the job done but you'll probably want a few different types of mics to do solo, exposed instrumental recording. if you're not processing it in a mix context you can't get away with as much editing unfortunately
something like a matched pair of shure KSM137's or sm81s would be a good start. I hear good things about the wa-84s also
that said if this is just for demo/fucking around purposes the p170s are absolutely fine. just know you'll want to upgrade if you start releasing anything
>hasn’t heard dawn wall or Mohican sun
was meant for
it can work just gotta mix that shit
I guess calling it liquid drum and bass wasn't a good idea. I'm not trying to shoehorn it into the genre, nor am I looking to make it sound more like liquid dnb. That's just the closest thing I thought of next to breakcore but it's not quite intense enough for that.
I'm more going for a squarepusher feeling than liquid dnb for the most part.
I've thought the drum samples were a bit too muffled with not enough high end for a while now. I like how they sound otherwise, but I'll throw some other stuff into the sampler and see what happens.
Yeah it's just a real rough draft so far, the song's not even finished yet. It absolutely needs more mixing and mastering but first things first.
I don't get the hate for the amen break anyway
I'm trying to make comfy music.
help me fix this.
should I clean stuff out or add stuff?
what filters should I use?
In LMMS if that helps
clyp.it
daily reminder that most professional producers switched from FL to Live. why haven't you?
a little more cohesive now?
>clyp.it
>Sorry, you do not have permission to view this content.
if you've got the money Logic Pro x, if you want something cheap then FL studio is the best
that's processed and even like that is still overused
>suggesting Logic before Live
oh lad
youtube.com
>imagine thinking skrillex even comes close to this
bro can you stop trying to force these arguments?
it's fucking up the threads and i'm :(
not forcing nothing senpai
way before that he was already better
youtu.be
god this was such a banger in high school
i wish he would just go back to this
Yeh this is fucking bonkers
Thanks my man, I will take all this into account. This shit always ends up being more complicated than expected lol.
youtube.com
how do make this pls? sry i am very not good at smart
I accidentally had it unlisted. Fixed now. Sorry
Because I don't use a DAW like a massive faggot
>the amen break itself is basically a meme you should really sample something else for this genre unless you're willing to process it in a way that will make it impossible to recognize it
Fuck off
>tfw making worse music than I did when starting out
this doesn't feel goods lads, someone help me cope
Just wait until you’ve been doing it for 20 years
You might just be more aware of what you're doing wrong/what sounds bad.
The first music you made was also shit, you just couldn't tell
it's a meme, like using the 808 or modern talking
fender P bass is such a fucking meme HAHAH
this is a good start
however
you need to add more elements to the song, small sampled sounds or split the melody to different instruments
as it is now it is cozy buy quickly becomes boring, which would be solved by having more variation in the soundscape
its a good start though
Learn how to EQ if you want to get into this type of stuff.
wrong, it's a good instrument pic related is a meme in this case
In earnest, I advise you to get checked for autism as you seem to have missed the obvious sarcasm.
Best Regards,
user
clyp.it
alternative metal/electronic
my band w/ dj rozwell :3
So is
>slap bass
>distortion pedals
>power chords
>solos
>snare on 2 & 4
>kicks on 1
>circle of fifths
they are actually but I guess avoiding all of that can be quite difficult for most people myself included so I guess that user can make an entire track using nothing but amen breaks as far as I'm concerned
clyp.it
I sampled a glass cup on my desk
this is 1000% true (except distortion)
that doesn't mean you shouldn't have fun and experiment with those sounds
but obviously dont release a track with a break and expect people to be impressed because anyone with a bit of experience can explain why anyone can use that sample
the only exception i would say for the Amen break, is if you are making an electronic song and only utilize the break for a few bars while still utilizing OTHER ideas at the same time throughout the song.
i think what you want to avoid is relying on the sample. most people use it in a typical, cheesy way so just mix it up and do your own interpretation.
Trent Reznor made an entire album without using a cymbal on the down beat
What do you mean "Do your own interpretation"?
the entire previous argument is completely retarded but as a NIN rip-offer i'm curious, what are you talking about?
vocaroo.com
time for feedback fags
>guys do something new and creative with the amen break
>just not like that
what did they mean by this
do you really need a moog and a bunch of pedals to get that tranny sound
Looking to upgrade my computer.
I am thinking about getting the current generation MacBook Pro 13". I want to be able to run Ableton with a ton of plugins in real time. Anyone here use the current MacBoo Pro and could weigh in on the performance of Ableon?
Check out the Pensado's Place episode with Charlie Clouser. Apparently on The Fragile, Trent didn't let anyone use the crash on the downbeat trick for transitioning to new sections within songs.
"trick"
wouldn't really call it that, that's just like a standard transition to most people.... defaulting to it is lazy of course
>The Fragile
that actually makes a lot of sense given the context, like there are so many more creative ways to signify a "release" in the songs from that era.
listening to TDS/Fragile made me think a lot more about using non standard sounds for standard functions if that makes sense.....
also for anybody curious there's a giant gearslutz thread with Clouser answering questions about that time, might enlighten you on some shit if you're curious
Dang dude, this is picture makes me feel like a fag gear queen. Didn't need another source of anxiety.
Cute
feet
.
the operative words there were "new" and "creative" user
I will never listen to possessed again i don't wanna end up like that
So I threw a homemade ding sample into ableton's instrument rack so I could play it on my midi keyboard and it's not correctly pitched out across the keyboard. For example, I made the G3 key on the keyboard play the sample as a G but the G2 on the keyboard plays the sample as an A. What's the deal with this nonsense?
tune the sample
That's not it but I figured it out. Thanks anyway
Absolutely. However your music will still sound forced unless you actually transition. If you aren't ready to commit to Moog ownership I suggest you buy a Chinese knockoff and pretend it's just as good.
ok I actually didn't figure it out. ocatves 2 and 3 are identical but octaves 4 and 5 are a whole step up. what the fuck
Should I fucking kill myself?
only if you take me with you
why would any one buy FL when lmms does what it does and is free
do you have any controller plugged in?
I have a cheap midi keyboard but it does the same thing even if I unplug it and use the on-screen keys
I assume you're this user?I also had some problems with pitch and sampler recently but instead of solving it I just replaced that particular sound with serum, i though it was just the sample having weird harmonics but maybe there's some nasty bug behind it
yeah I've pretty much given up at this point
>weird harmonics
no, that's pretty much always it.
you can't just look at a tuner and assume it's going to be right every time, pull of a freqency analyzer and see if you can make sense of it and if there's actually any kind of fundamental
it's what I did and the fundamental was wrong, I will take a look tomorrow and try other plugin samplers as a comparison
Looking for a bro to make dubstep with. No charging of crystals though.
Ay.
I’m making a sample based beat, and I’m trying to tweak it so it’s on tempo (that tempo being 77bpm). The problem is that I can’t get it to completely be on tempo, but it does sound on beat to my ears personally.
Should I continue to try tweaking, or does it actually need to be completely on beat?
possibly interested
completely song dependent, there's no rule
better than trying to get the sample on beat is to play the beat to the sample tho
How do I write music like MGMT or Animal Collective? Asking for writing and composition tips, not hurr just use synths and reverb
do covers.
harmony: analyze what chord progressions are featured in their songs.
melody: listen to some of their melodies and jot them down. understand the melodic contour.
rhythm: identify time signatures, and understand the rhythmic structure of the songs. take note of things like syncopation, etc.
I'm starting to feel more like a real producer but I get bored and sick of my beats by the time its time to mix and arrange them.
Also, what are some things I can to do to help my ears? I was front row at a rock concert (pic related) two weeks ago and I don't hear a ringing or anything yet but my ears still feel sore. The opening acts were really loud and the speakers were at the edge of the stage.
which one's the cutest? my fav starts at 2:14 :3
bro wear earplugs at concerts, ear health mang
i like the last one too... i'd say the first is "cuter" though
I didn't expect to be in the front and I don't really listen to rock music or had been to a rock concert before so I didn't think about it. I'm going to a Tyler the Creator concert next month and I doubt I'm going to be that close but maybe I should get earplugs for it just in case.
rate
Whats it conditional on my dude?
earplugs always. ideally you'd want to keep the full range of your hearing for as long as possible
punk concerts>
if you're the first guy: if we're roughly in the same skill range/musically compatible (i'm not "into" dubstep but am very interested in related genres/sounds)
if you're the second: what sounds good/the style of hip-hop. "sloppier" genres like boom-bap closer to dilla can pull off flamming notes and mismatched rhythms, trap, not so much.
Thanks for the advice. It is a boom bap song so I guess I have nothing to really worry about. It’s not abhorrently off beat or anything anyway.
Also, when I did tweak the loops so they were exactly on beat, they didn’t really sound right anymore.
In my experience personally, Condenser mics are actually very durable like Dynamic mics, and really the only big difference is sound clarity + price, bare the details of pop filters and phantom power. And I also personally trust all Rode mics. They make super good products, I have an NTA1 that's lasted me 8 years and still sounds like they day I got it, and for spending $400 on it, I definitely have got my moneys worth out of it. The upside to having a dynamic mic, is really just live music and transportation. Even sound proofing isn't much of an issue these days with condensers.
I'm not gonna make Justice music no more
34st.com
What do you consider the related genres/sounds to be? I love the energy levels of the shows and seeing the headbanging puts almost all current metal concerts to shame. I appreciate the sound design for sure but it isn't my main takeaway. The grooves and aggressive nature is something that can work within other contexts easily and is my focus, from a live show/live sound perspective dubstep/riddim translate better than almost any other subgenre of the more popular and current styles of dance music. Overtime it optimized itself for the festival scene but that sound design worked just as well for the basement shows. So there's this weird duality of mainstream and underground that can exist at once. Tempo wise it hits sweetspot for live shows but doesn't completely overwhelm an audience which is a good starting point in itself. Skill wise I'm fairly capable of anything after 8+ years of on and off stuff but I'm super lazy and get stuck in loops of unstructured workflow which doesn't go anywhere.
what does free run mean in a synth
Could you please show me an example of a crash cymbal on the downbeat being used as a transition element?
I like the one at 1:09. Very Aphex-Twin-ish.
What's the effect on the vocals?
>related
i reaaaalllly fuck with the future garage burial type rhythms
and it's not directly related and idk how people who make dubstep really think but the idea of writing the song based on the sound design is something i do quite often. i'm quite sound focused generally, though "chasing" the sound of dubstep artist in general seems like an easy way to stay sounding dated to me
you've got 3 years on me so i'm not sure if i can add anything to what you can already do
...
the shows i go to are 99% rock- what you're describing sounds dope but i haven't ever written electronic music while thinking of the live experience because i haven't been lol
Free running means that the oscillator is running at all times until turned off or unplugged.
I don't know what kind of shitty music to make. Halp me pls. Someone said minimalism is the future of music and they're probably right from what I can tell online. As genres become popular the music becomes more and more simplified. Everything gets deconstructed. Rock music is dead. Justice moved away from their first album and went arena rock (I guess in a way, they're the new rock or nu-rock). Daft Punk used live instrumentation to make a modern disco album (they didn't really innovate in any way). Dubstep came along around the same time and destroyed any sort of innovation in electronic music. Everything is ambient or dark minimal like what that Sophie tranny does. It's all literally falling apart at the seams.
my renoise brother from another mother
thanks!
just make what you think sounds good you whiny fucking faggot
this is pathetic mate, even being a complete fucking ripoff of an old band is better than this indecisiveness and defeatist attitude. shit's like the incel version of musicianship
fuck off then
clyp.it
trying to do future bass but im not even sure if i got it right, (last part is temporary). thinking on adding some snare rolls and risers...
Okay /prod/, what are some good ambient/experimental music labels I can send my music to?
I've never done this before, what are some things I need to keep in mind?
NEED ANSWER TO THIS AS WELL
what do u call a software that uses samples as the sound 2 compose stuff
do i make sense
wow you asked that question in a profoundly stupid way but you can make sample-based music in pretty much every daw you'd like
granular synthesis?
a sampler?
DONT CARE DIDNT ASK
the first one yes thank u
stop being a nigger
I'm contemplating buying a Tascam dp-24sd multitrack recorder to record, mix and master my tunes because i have no discipline with the computer after years and years of playing and conditioning. I play instruments and don't need vst sounds as much and my music isn't edm by any means so no super fancy loudness mastering is needed. Question is: Do the tascams really work? Are they just a meme? I have such a hard time using a computer productively.
all that gear brings me back god im such a boomer
imagine being this retarded
i think maybe you should try and discipline yourself into actually working infront of a computer. i used to feel the same but when i started actually using a multitrack (bear in mind it was only an 8 track so a bit more limited) i realised it was annoyingly painful and was happy to be in front of ableton again
I'm afraid you might be right. Any advice though?
Hardware mixers are well worth having I think. The idea of having all those knots and sliders at arms length as opposed to using a mouse and keyboard just makes sense to me
just forcing yourself to stick at it lol, wether it's on the pc or on the multitrack. really no other way :/
Need help understanding headroom and maximizers. So I keep reading on about headroom and how you want to leave -3db minimum, but I've also read and mixed going at -12db since I use a maximizer to take my -12db all the way up to before it clips. Can someone explain to me what headroom is and how the maximizer comes into play between these stages?
maximisers just make it louder without the fear of clipping. and headroom is just how many dBs you have left before the track hits 0dB
Got it. 2 more questions. As long as my mix sounds pleasing without reaching 0db, a maximizer will just make things louder dynamically provided I don't set the threshold to compress the shit out of it? And when it comes to processing, what would a workflow for adding vocals in look like? I imagine the workflow should be something like this
Make song > mix instrumental > record vocals > mix vocals in > maximizer/mastering shit, correct?
Would it not be better to not use a limiter and leave that to whoever masters the tracks?
any feedback
headroom can be a bit of a meme in digital audio in 2019 imo.
the most common number you hear is the magical -6 db peak before sending to a mastering engineer. this is mostly just there to stop people from sending over clipped mixes the -6 is largely arbitrary since as long as the number is below 0db they can just change the volume with a gain adjustment with no consequence (unless you make the quietest music ever).
there are, of course, analogue gear and analogue emulation considerations and those usually like audio coming in to them at certain levels for peak performance, but again, a simple gain adjustment will do.
32 bit floating point audio, which your daw probably works in internally, further complicates the situation by literally letting you clip and keeping information over the 0db mark. you could send a clipped to shit 32bit file over to a mastering engineer and they'd still be able to turn it down and keep all their information. don't rely on this though, it's mostly just there to make daws work better.
basically, in digital audio, noise floors are so low that you could mix at absurdly quiet (or loud) levels and it doesn't really make all that much of a difference.
what you want to care about at the output stage (both mix and master) is measured loudness numbers and (imo slightly more importantly) dynamic range measured in loudness units.
well i don't really know why you would mix the instrumental first then add vocals on top.. why wouldn't you just mix it all at the same time?
then once you are happy do all of your mastering
Appreciate this information, so really it's just about nailing the mix, and an easy way to do that and preserve dynamics seems to be less than -9db for someone that knows that they're doing mix wise, but it's easily possible for someone that's not a retard to handle something as high as -4db at least. And then to compete in the loudness war, the Maximizer in the mastering section brings up the volume, prevents clipping, increases dynamic range, and allows cohesion throughout the album making process.
I've not really ever done vocals before an instrumental, and am getting ready to record my first vocals, so I guess it makes logical sense to also have the vocals ready to mix in with the instrumental.
can someone recommend me some NIN, for the productions sake. I really can't get into their top mainstream stuff do they actually have some decent shit?
there's a flowchart in the wiki you dumb
TDS/Downward spiral are considered the best, everything after is "post" oldschool. They've a very similiar sound but if you're familiar with it there are distinct differences
.... i was about to type out a whole fucking explanation
just listen to any one song from TDS or Year Zero, every album's got a distinct sound. PHM is very dated but it's synthpop-fun. With Teeth-Hesitation marks pales in comparison to everything before (production wise) with the exception of year zero
the preservation of dynamics and dbfs levels don't really have too much to do with each other.
you can easily have a too-dynamic mix peaking at -9 and too-compressed mix at -4 db. since digital audio noise floors are so low, they make it possible to have massive dynamic ranges at relatively low peak levels.
loudness also, should not be left solely to the mastering stage. it's far easier to control dynamic range at the mix stage than it is at mastering.
as the streaming platforms have now enforced strict loudness limits, the traditional, burning hot rms numbers are somewhat less important. i say somewhat, because despite the fact that streaming platforms will turn these mixes down, the listening public has been conditioned to their 'sound' which is largely a function of the reduced dynamic range that results from chasing after those loudness numbers. which leaves us in a situation where, despite spotify saying -14 lufs integrated loudness is the cap (theoretically encouraging more dynamic masters), masters still come out targeting -10 to -9 integrated and just get turned down at the streaming stage - there's just a certain sound and a character you get when targeting those numbers and mastering engineers just find it easier to achieve that sound by targeting the rms numbers and -0.3dbfs instead of measuring dynamic range and targeting -3dbfs.
year zero is the best desu
u had 2 reply twice huh ? Coward
lmaoing @ your life dubbi
Does anybody here have Little AlterBoy by Soundtoys?
I just installed it and tried it with a saw wave, and while it initially sounds fine, the more I change the parameters, the more it glitches, until the LR channels are completely different-sounding.
Is it a bug, a feature (for "character" or whatever), or an anti-piracy measure?
it appears to happen on legit copies as well. couple of reports here complaining about mono compatibility.
gearslutz.com
i've never liked the sound of the soundtoys stuff weirdly, they get such a good writeup though.
Ah, good (or not so good) to know, thank you.
What do you dislike about them?
Fuck it guys. I'm making mainstream big room house. Downloading Vengeance and KSHMR sample packs now
NOOOOOOOOOOO YOU WERE THE CHOSEN ONE
can you spare me some change when you make it please
kinda wanna buy UVI Falcon kinda don't
iirc you can just pirate the eventide bundle and get the H3000 vst straight from there as an alternative.
Ah cool, thank you.
I got Manipulator in the meantime, which seems to work pretty well, but I'll keep that in mind in case I want a second option.
Is a good set of core instruments/sounds the best foundation? It seems like being comfortable with those building blocks really reduces the mental barrier
I’ve been banging my head against the wall trying to make something listenable, is library building the best way forward?
All my research led me to this. Electro house is the least popular genre now. Justice has a pretty small but loyal fanbase, and on Google trends their time in the spotlight has long since past. French house is even less popular than electro house.
I made a distorted guitar sound with the Juno 106 that sounded really similar to the synth they used on "New Lands", and as I played, going for a classic rock sound, which is what I wanted, I realized they picked out the absolute best notes to use in that song for that sound. It was in Dorian mode with a D drone and a passing B note. When they sampled Cross, they used all of the perfect samples for that kind of album. Everything I try to do similar to them I end up copying. They truly nail all of the best sounds for their style. I love them and I always will.
I just wanted to make an upbeat timeless album and to be respected for innovation (not money), but there can be no new innovation in electronic music... Everything's been done. I might as well make music within one of the popular subgenres.
I think its overrated. Its fucn to make sounds but redundant nowadays. You could get omnisphere and few expansion packs and be set for a decade. Add an effect or two to a sound and it changes things a lot also. The road of making every sound unique on your own
is torturous masochism and no way to make tracks which is the whole point of it isn't it. Also sample packs are excellent these days
Mouse wheel doesn't work in Serum anymore.
f
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k
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f
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p
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a
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dial 8
ok sure
bought renoise here we go lads
Just make some ambient then, it's pretty much the easiest genre.
>knot
owo nice Freudian slip
Good lad, enjoy.
At least you have two hands to deal with the knots
straight from our favourite forum
audiosex.pro
i always get a good lel reading through this thread.
happy days
happy days
that thread is an incredibly depressing read on so many levels.
This. Still can't believe I used to ask the same old beginnee questions a few years ago and now I'm posting from Ibiza.
Holy shit you managed to become a mainstream EDM producer in just a couple of days?
Is it really that easy?
omg i'm such a fan
twitter.com
Too dark (low highend), too much low end?
any bitwig 3.0 torrents?
any feedback
wtf these threads dont even give feedback anymore, whats the purpose then?
To wait for summer to be over.
I snatch the clips up for sampling or to have a laugh
no.
your snare sounds bad and your levels are off.
probably.
is that to me or that guy
yes.
I unironically only give feedback to dungeon synthers
hi
hey
you ok?
no
gotta love all the people suggesting to go indie even though it's useless if you're a literal who
drums are too loud and dark
I’d only consider giving feedback to junglists
why??
where ma concrete junglists @
I'm back in a state of mind where I question the validity of my opinions on everything. Maybe it'll clear in a few days or last all month, who knows.
Right next to my akai
I think the pad or lead should have a big ol reverb tail, on it to add some space, gives me a very sci-fi vibe but is too narrow
what a peng ting
pretty reperitive but i guess it is supposed to have some vocals over it
snare seems way too loud and drums are not mixed with the sample, they just go their own way. maybe try eqing them a little bit
i like the synth that comes later, but everything sounds narrow, maybe add some reverb or stereo chorus? try stereoexpander from maudio for that, great plugin! i know some people that would spit some shit over this beat so keep on working!
How do I make ambient-ish music like FKA Twigs and Arca? And how do I make music like Radiohead?
Honestly wanting to be respected for innovation and being in it for money are basically the same thing. You just want notoriety you're not actually interested in making good or meaningful music. I hope you know how much of a fucking faggot you are.
are you D? are you trolling?
I want to reply to this seriously but that's such a huge question
accurate, it's sad to watch
>are you D? are you trolling?
Yeah and I'm not trolling. I know its kind of vague I just don't know how else to ask. I feel like I'd get ignored if I got too specific.
>I feel like I'd get ignored if I got too specific
there aren't a lot of people here who know how to approach that music, and as one of them i'll tell you that people who are into it are likely going to ignore you for not knowing what you're talking about (being a waste of time because there's prerequisite knowledge to explain) unless they just REALLY happen to be in the mood to flex their dicks and show how much they know about it....
i mean that about arca and deconstructed shit in general, ofc he produced quite a lot for fka twigs.
Izotope iris gets touted as his main thing and i'm sure he uses a great deal for "basic" (to him) sounds but what sets his sound design apart is granular, so get into both of those
This is half intuition/experience/completelybaseless but the way i'm assuming he writes is basically to fuck around until he has a bunch of random sounds, start printing and then resampling and chopping shit until it starts to resemble a song.... or more so for mutant but yeah
if you mean stretch/earlier stuff, get into wonky music, particularly Flylo/Dilla (lol yes) and darker trap...
Radiohead has multiple sounds.... and i know you don't play guitar lol.
Autechre's LP5 and EP7 as well as Miles Davis's Bitches Brew were the big influences on Kid A/Amnesiac and clearly continued being an influence as they delved more into electronic shit- i haven't bothered confirming this but I read they (or Yorke at least) is on Max now..... I think I read Johnny Greenwood has been primarily influenced by some composer that I can't remember the name of if you're more interested in that.........
not responding anymore for at least a few hours because i haven't written shit today and I need to get it together, l8rsk8r
have been making shit tier music for the past 8 months, I honestly feel like offing myself, not sure what to do.
off yourself
dead thread
My song is too big to upload to clyp.
Wat do
splice out the part you want feedback on
this
Make minecraft drum and bass remixes
gabba minecraft remixes
Alright, well what are your suggestions then? Become a tranny and make ambient/dark techno? I don't like big room house at all but there aren't a whole lot of options. As I've said, my main goal is to make a timeless warm album that could still sound good in the future. That's why I'm going to make use of analog emulation synths. They should better for the sound I want. I messed around with the guitar sound I made and it's close to how I want it to sound, but I can't come up with an original concept, so I aimlessly make music. I don't know what I have to say musically! I need a good concept!
fuck off justicefag
i bet even demarcus will be better than you in a few years lmao
Bach is literally, quantifiably more timeless than any of the digitally synthesized music you are attempting to emulate. Why don't you try copying him?
you just need to listen to more music, get out of your comfort zone
There was a guy a few threads back that said he used IRIS 2 to make some actual decent shit. Did he ever post the samples and that?
Would love to know
Is it still /prod/ if I only made the vocals?
MEH :S
i did, it was just a quick improv with the few presets i made.... it's actually like my least used vst lol; upon revisiting what was actually saved idk if this really qualifies as "decent," what i've made with it that I actually liked was typically just ambience for trap songs and shit, but i can't remember where i've used it specifically outside of what i already posted in that thread
not even that guy but I love this I might have to try it
Shit man love this, thanks for the reply.
I guess it’s jusr getting used to it’s meh sound really, very useable though
was fully expecting complete disinterest, glad you found it helpful though
Now this is the dark and modern dungeon synth timbre palette justicefag can only dream of inventing
Justice already did that.
I've been listening to a lot of new and mainstream music. It's all really boring to me. Actually, music in general has become really boring to me. Everything in electronic is about 80s throwback, something about computers, about AI, or ayy lmaos with lots of pads. All really slow and predictable.
I'm putting together as much as I can. Justice already did the neoclassical thing in electronic music. Some fans didn't like how they used synthesizers in place of guitars. They didn't like the direction they went in their second album. Justice fell off the map. A few copycats did the original Justice sound and didn't get anywhere. Electro House is the least listened-to genre of electronic. French House is dead and not even SebastiAn can save it.
Electronic music is therefore dead to me. I either make big room (and probably not get anywhere like that guy posted above) or try to come up with a completely new concept for an album (but I can't).
you are so fucking arrogant about what you think you know about electronic music it's ridiculous
why are you so dead set on mainstream music
>people are still giving justicefag the (You)s he so desperately craves
when will they learn, bros
This. Why don't you just make something you like?
he makes me feel better about myself though lawl
I've been a bit of a justicefag myself in the past, everyone at some point had the dream of chasing a particular sound, now he's losing it as he realizes that even if he gets that sound his dream might not happen. I want to help him finding a purpose to make music even if he doesn't realizes his retardation yet because I see a bit of my old self in him
we all have been there, that's how most people start- he's been doing this for 8 years though lmao
like this is what Sammy is going to look like in 5 years if he every gets past covers
why everyone hates justicefag? the band is awesome
>(even if he doesn't realize his retardation yet)
sorry for my awful grammar, also he's a great source of memes
What's a good cheap mic for recording vocals and guitar?
A lot of it has nothing to do with music, from how I interpret their posts. It has more to do with how a speculator would behave when looking at past sales figures and product features, trying to find a trend that can be projected forward in time to suggest a new product that would sell well.
A decent analyst might manage to come up with a few usable ideas without having any interest at all in the product and that's what our user is hoping, that they can do this.
If you've ever watched I'm Alan Partridge it's the equivalent of his "Monkey Tennis" TV show idea
FKA Twigs is just taking a vocal part and slicing to midi in ableton to find good chops and use pitchbend.
Arca is like all eurorack - check out 4ms DLD, 4ms SMR and Verbos Electronics Harmonic Oscillator.
Radiohead is all about adding notes to chords that don't fit in the scale, write an entire song on the piano that way, then convert everything to full band instruments with a super repetitive drum beat.
SOPHIE is better
>Radiohead is all about adding notes to chords that don't fit in the scale
Really? Their music doesn't sound out of tune, or maybe I'm used to it.
>4ms DLD, 4ms SMR and Verbos Electronics Harmonic Oscillator.
Can you elaborate? These all look like analog effects. What do they even do?
dudes talking out his ass, radiohead uses a lot of modal interchange but it's not just random
wrong on all fronts
>people who are into it are likely going to ignore you for not knowing what you're talking about (being a waste of time because there's prerequisite knowledge to explain)
Yeah, that makes sense.
>start printing and then resampling and chopping shit until it starts to resemble a song.... or more so for mutant but yeah
I want to make stuff like S/T. And I never really got into sampling, maybe I should try to practice it more.
>Autechre's LP5 and EP7 as well as Miles Davis's Bitches Brew were the big influences on Kid A/Amnesiac
Whoa, really? How did you know? Kid A and Amnesiac are exactly the two Radiohead albums I had in mind. I'll definitely check those out.
>i haven't bothered confirming this but I read they (or Yorke at least) is on Max now.....
Everybody I like uses Ableton. I feel like I should be using Ableton. I was going to finally take the plunge and dedicate time to learning how to use it but I don't know, it might be redundant. I'm finally getting to a point in using FL Studio where I feel like I'm actually creating and I'm actually a producer.
why am I so devoid of anything resembling creativity?
>A decent analyst might manage to come up with a few usable ideas
Yeah I should probably have also made it more clear that the "Monkey Tennis" ideas come from shitty analysts, who can do nothing but string all of the past product features together in random combinations, and who are then surprised when they find out, what? I'll tell you what. They find out that all of the good combinations of past ideas have (join in for the chorus now!) ALREADY BEEN DONE.
>radiohead
learn a few of their songs on piano and you will see what I mean
>eurorack
they are essentially used as effects, but used in generative ways. Also Mutable Instruments Clouds is all over the last 2 albums
youtube.com
oh, I guess the methods you mentioned are totally the correct way.
checking a new daw never hurts, ableton looks alien at first but it's really simple and has decent guides when you open it for the first time
one day I'm gonna try renoise just because of the different workflow and I would try reason if it was cracked
I would also switch to cubase if I could at least for a while, it felt so much better for managing audio files
i'm actually getting better at singing guys
this is awesome
but have you gotten better at NOT playing covers?
>I read Johnny Greenwood has been primarily influenced by some composer that I can't remember the name of
greenwood's just ripping of pendericki and to some extent scelsi
until a month ago i was really into feeding my brain with musicality and freeing myself on the guitar and it was working but i did nothing with it and as a plus my playing has deteriorated
naturalsciences.bandcamp.com
how to get a similar percussion sound
by getting gud
elaborate on that
practice, practice and practice. it's an old saying, but it's a truism.
heavy distortion / saturation > blend to taste > low pass. be careful when distorting
my lack of info is still better than your blatantly incorrect info
Over the years I’ve probably used all the big daws. I started out with Cubase on the Atari ST and OctaMED on the Amiga back in the day then went onto Cubase on pc, then Fruity Loops, Buzz, Logic, Reason, Audiomulch and ableton, then back to Logic X a few years back when I bought a Mac and more recently Maschine and Renoise.
Most Daws tend to have a pretty similar workflow once you know a bit of how they work, but standouts for me are Cubase, Renoise and Audiomulch. Cubase is a fairly standard daw that works really well, but AudioMulch and Renoise just have something about them that make them inspiring to use. Audiomulch is all about signal and fx flows to me and i mainly use it for sound design, I just click with it like nothing else. Renoise is great as it pushes you to work way differently to a standard side scroller.
That said I mostly use Maschine now as I like the stripped down approach of it not quite being a Daw and that works well for me.
how could one even possibly go daw-less? the processing/routing advantage you get in the box is ace. like does daw-less music just sound rough around the edges, or do these people have crazy routing with tons rack mounts to process every signal?
I haven't been doing it for eight years. I started in the summer of 2013 when I did Daft Punk stuff from Discovery, looking for loops. Then I discovered Justice a few months later. I quit after about a year, and every now and then I came back to try again, making about a total of three tracks here and there for about four years. I started up again when I started posting here. I never spent much time worrying about EQing and mixing. You know nothing.
Now I've realized that pursuing Justice's sound is a lost cause. I could easily look up, say, "vaporwave synth and samples" or what have you and make music like that, but I don't want to. You never see an accurate recreation of the Cross album sound. NOWHERE do you see that. I'm practically a one trick pony. I can reproduce Justice's sound because that's what my production ear is tuned to. The only good electronic music is Cross. That album was the peak of electronic music. It never got better.
He's boring and he sucks. His name is not Sophie.
>discovered justice in 2013
I'm out of here.
zoomer infested board
that's still not much better, i guess i'm remembering that you said you were 28....
so not a zoomer
Really not worth it these days unless you have TONS of money, hate being rich, and want to open your own professional studio and rent your time out to shitheads like Sammy and his drug-addicted bandmates.
clyp.it
>thoughts and prayers?
ffs just quit it's obvious you don't have anything to say artistically with the way you talk about music so either:
go full autist and become a mix/mastering engineer
find a new hobby
>an hero
are you using fl studio?
You're a passive-aggressive little shit, aren't you? You're still suggesting I suck. I don't listen to electronic music and I hardly even make it because the vast majority of it is trash that will be forgotten with time. All that garbage that gets spewed out to be a part of an "ambient chill mix" or a "vaporwave mix" or a "big room house mix": that shit will not be remembered. There's too much noise today. Too much music and zero originality. Because it's no longer possible to have a unique sound! It's all been done! Now everything is moving BACKWARDS
Read this:
nah, i'm using bitwig 3.0
>suggesting
...you think you're good? dude come on, you're a gigantic faggot solely based off your views, but don't give everybody more ammo just to insult you lol
all i had to do was look at the bold parts lol, i know exactly where that's going and i'm well aware of this viewpoint- it extends far beyond music and to look at it from only that angle is telling of how narrowminded the people who write those articles are.
This shit's fucking sad, there needs to be some kind of internet sociology class to teach people about confirmation bias and cultural fracturing so they don't get sucked into this shit
>acceler8or.com
this fucking retard thinks you can "produce and mix professional quality tracks" on a iphone his opinion is meaningless, besides there's plenty of room for innovation we still don't have a flawless midi guitar design after so many years
I'll let both of you just let it sink in for a while.
You can produce and mix pro quality tracks on an ipad, and it's been done several times in the last 2 yrs.
get good
citations needed
trackers
Sounds fun.
It's okay, I feel as thought you could improve the sound design.
90's trackers that aren't renoise or openmt
I tried switching between two scales before and it sucked
please kill yoursef
I'm assuming he means aug/dim chords. I don't listen to Radiohead though.
this is all I have for a bump, sorry
funny image
black people look like poop