/prod/

Honestly I feel that both mixes are not where they should be. The first sounds muffled but it has good bottom, the latter is really bright and tinny but it has decent frequency compression. I'd mix it myself if I had a master of everything, but I don't like to touch other artist's music like that.

I refuse to post in a /prod/ thread with a frog in the OP and no pastebin.

New to production? Check it: pastebin.com/p2QUqMzj

Post what you're looking for in feedback. GIVE feedback to get feedback.

Post WIP's on Clyp.it

DON'T link to Soundclouds or youtube channels

>want to be a composer
>Ear and understanding of theory isn't good enough
>Try to call back on production
>Don't know enough about sound design

Why does everything have to involve effort?

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composing is a lifelong effort

classical music starts from folk melodies and improvisations on instruments

try making electronic music, but with symphonic elements like beautiful melodies and chords

this is how we will shape the music of the future

alright my fellow nignogs I'm gonna try room eq wizard and cara to see if I can unfuck room somehow, are there any other useful programs for acoustic treatment that I should try?

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Spent the last few years moving around the world so my gear was constantly changing and I never had a proper "studio" to work with. I recorded/mixed a short EP
acoutronic.bandcamp.com/releases

Now that I moved to a more stable place I'm setting up a proper recording studio and I'd like to hear feedback on any mixing/mastering techniques that you think I should improve on. I know each song is significantly different (more or less) since they've been recorded with such a ragtag of instruments/DAWs/techniques...
Any feedback is appreciated.

bandcamp links are not welcome here dipshit, there's a bandcamp thread for shilling

op fucked up because he's a faggot but use clyp, stay anonymous for feedback

Sorry I didn't know, I was genuinely looking for feedback though, I couldn't care less about shilling since I don't think this is good quality enough to promote about anyway.

>decent frequency compression
The drums have heavy "bathroom" reverb applied to them despite being precorded in an ancient open-air amphitheatre, the cymbals and hi-hats are increased in volume/treble so much that they almost sound like air is being sucked through a straw each time they are hit, the bass AND keyboard both become nearly inaudible towards the end, and the toms are so loud they literally distort the entire track when they are hit.

You need better headphones or better training if you think it sounds anywhere close to "decent." The 1972 audio sounds like that because it is essentially a film->VHS->DVD transfer with very little work done to it, which is why the 2016 version is even worse than it appears to be.

Someone got paid thousands of dollars to do this.

Attached: 1566412090930.jpg (254x254, 19K)

>I try to do that but then sometimes it makes the melody sound kind of lifeless.
You have to do it in a way that doesn't actually cut the melody but just the unnecessary frequencies

>Also, I can see that you have the melodic elements mixed lower, but they're still loud? Is that the Ozone 8?
No, this is the same beat without ozone
clyp.it/txab1uoy

>I never keep my drums that high up in the mixer.
I think that's the problem. The drums need to be the driving force of the beat.

One way to look if your mixes stand up is to compare the final mp3 with an instrumental from another producer like for example the one I linked earlier

Attached: file.png (1591x369, 168K)

meant for

Do you guys record a single midi track for drums (assuming you don't record live tracks) and mix it by itself or do you split it into multiple tracks for cymbals, crash, snare, kicks, etc?

I always end up splitting

bump

>record midi
I always pattern sequence my drums.

welp the audioz link for cara is dead, is there anything similar? it's a room simulator where you can input custom room shapes and other variables

which is midi

This may be useful to somebody here:
youtube.com/watch?v=sz4YqwH_6D0

mostly separate, but if there's choking involved then midi together and route audio out to individual channels

clyp.it/lldemnqw
is this too bland? its meant as bgm for my game

Man /prod/ really is kill rn

I'm gonna do some music today I think, but I have chores to do first.

great question. depends on if you have a nice drum plugin or not. I usually use something like Addictive Drums 2 which has an interface that allows for EXTREMELY detailed sound design of each kit piece. However, if I want a weird, or abnormal effect on a certain kit piece, then yes, I will split them up into separate tracks (kick, snare, toms, etc). Also, separating your midi drums is a great way to get the most out of standard midi kits that don't necessarily sound great on their own.

im learning this new technique guys, what do you think so far?
vocaroo.com/i/s0vIxA5Udh2h

you going for like louis anderson type thing?

great job user very cringe

>louis anderson
It's PAMELA Anderson you blind fuck.

It's louis ARMSTRONG you vape-addled zoomer

the idea was to do distortion and low notes
vocaroo.com/i/s1aKsjYaQnB8

was that his actual voice or did he use distortion ?

>ARMSTRONG
>lmao the absolute state of curlbros

does anyone have patch & tweak yet?

they uploaded all their example patches as VCV rack setups:
patchandtweak.com/patches/

comments included. wondering if the book is £60 worth of good.

Attached: PatchTweak-product.jpg (700x700, 126K)

>the idea was to do distortion and low notes
you actually don't sound half bad. It does sound a bit forced, since it's a new technique that you're still learning. Practice it, but don't push your voice to the point where it hurts.

>was that his actual voice or did he use distortion ?
that was louie's real voice. same as tom waitts. they just have a voice like gargling hot asphalt while doing cociane

SS won't get you to the moon.

>SS won't get you to the moon
Are you sure about that?

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clyp.it/4ro2k0kv

What do you think of this?

soundcloud.com/user-552005743/smells-like-teen-spirit-cover-1
Because you might laugh

>clyp.it/lldemnqw
alright yawning 30 seconds in where are the epic bass drums bro

congrats on stealing a melody loop from a retarded nigger beat

bump i guess

clyp.it/er2xbv5g i like this song, noise warning the beginning is noisey so adjust your volume accordingly. I'm going to fade it in

I can't believe it took me this long to realise I can't use eJay Dance 2 anymore.
I miss that program lads.

>clyp.it/er2xbv5g
interesting

sounds at first like my ears are dying

then it sounds like a lot of dogs barking

very interesting sound

ran the t-racks tape machines through plugin doctor linear analysis to see what's happening.
static images, but transport modelling means there's constant changes as the plugins run.

MCI JH24 15 ips

Attached: 24-15.png (867x606, 55K)

MCI JH24 30 ips

Attached: 24-30.png (867x606, 52K)

clyp.it/4wpswyd0

bleepity bloopity, i need some mixing feedback on this, otherwise the ghost of xxxtentacion will haunt the next eighty prod threads

Studer A80 Mk II @ 30 ips

Attached: 80-30.png (867x606, 54K)

Studer A80 Mk II @ 15 ips

Attached: 80-15.png (867x606, 54K)

Revox PR99 Mk II @ 7.5 ips

Attached: 99-75.png (867x606, 47K)

Anyone know a book I can read or something that can get me into all the types of audio equipment and how they function?

Is there a pastebin with this type of info?

Revox PR99 Mk II @ 15 ips

Attached: 99-15.png (867x606, 51K)

Thank you for listening

Ampex 440B @ 7.5 ips

Attached: 440-75.png (867x606, 57K)

Ampex 440B @ 15 ips

Attached: 440-15.png (867x606, 60K)

Is it "reverse reverb" that effect that sounds like a ghost?

yes

prove it

How can I train my ear to hear everything in a song and then later recreate it all?

Imo it's good practice to remake.

youtu.be/TEjOdqZFvhY?t=5164
From 1:26:04 to 1:27:47

for starters, you need to be able to hear the lowest note of the chord, recognize whether the chord and major or minor and know which chords you can build on that note. then you can split the chord to actual voices like synth/bass/guitar etc

Would that be a bad thing?

meant for

Hmm okay I see, thank you dude.

if that sounds like a tall order, start with just the intervals. once you get good at them, everything will be easier

oh thats cool thank you

Read your daw manual?
For effects and processors, no joke, it’s a good resource

Surely there are books though, I guess we don’t have a dance music manual equivalent because the vast majority here are all in the box

Post an example of what you want you dunce

Attached: t-thanks prod.webm (1280x720, 2.99M)

user already helped with that issue thanks

i think you answered me with that same video a year ago but i had too much brainfog to understand it
or maybe i didnt make use of it and forgot it

I highly recommend watching it in its entirety. It's as informative as it is weird.

vocaroo.com/i/s0mUuPQoDr9S

By rick snoman? Which edition?

Attached: snowmanwithcigar.jpg (368x457, 29K)

4th is the last one.

But I was just memeing. It's a book for music production in general. If you're interested in audio equipment specifically you probably want something else.

Where can I find a working authorization crack for Ableton Live 10 Suite? I'm too poor to buy it I just wanna make some bangers. :((

Attached: 1527871731899.jpg (733x730, 76K)

>you probably want something else

Attached: 7PhLQGY.gif (426x213, 3.68M)

AudioZ.

Nigga I haven't read a single book in my entire life, don't expect recs from me.

shiiieT

where that sites mad confusing

audioz.download/software/win/156979-download_ableton-live-suite-v1010-incl-patched-and-keygen-r2r.html
audioz.download/software/mac/156976-download_ableton-live-suite-v1010-macosx-incl-patched-and-keygen-r2r.html

thx ur god

today is a non-music-making day
/sounddesign/ and preset making time

been kind of into black metal so i'm gonna make some drum presets, also joy divisions sound has been on my list so imma take a crack at that

any other ideas? I guess.... for drum sounds mainly, can be any genre

When it wants me to use offline authorization and drop that file from the keygen into the ableton it doesn't work...

holy fuck how do i download that each site wants me to pay $20 or download some shady ass software and throw in $20

Did you use the Ableton installer from AudioZ or the original one?
Because the keygen only works with the cracked installer.

Click on the peeplink links. The rest is ads.

Must of been original since I didn't know there was a AudioZ installer.

Could you show me how it's done? This is pathetic to bee bee honest. Couple years ago I used to be in fairly high tier private trackers now I don't know anything anymore.

i feel u brother, hopefully OP can pull thru

also thx for ur help its very appreciated by us

Go on the page linked above (one is for Windows, and one is for Mac, so choose the correct one for your operating system), then click on pic related.

It will lead you to a page with "peeplink.in" in the address bar.
This page contains the links where you actually download the files.
Choose one file hosting site and download from it using the free download option (it will be slower but you won't have to pay).
I recommend rockfile and uploadboy.

Once you download all the parts (I think Ableton is split in 2), use something like WinRAR or 7zip to extract the files from them.

Inside the folder you should find a .txt or .nfo file that contains the instructions.
Follow them and you should be good to go.

And remember to disable automatic updates (necessary, otherwise it will deactivate your key when a new version is released) and to block Ableton in the firewall (probably not necessary but good practice).

Attached: 2019-09-16 01_51_39-Download Ableton Live Suite v10.1.0 Incl Patched and Keygen-R2R » AudioZ.png (669x189, 12K)

Yup, I've done that so far. The files are downloading right now but I do remember how the .txt file was written and it didn't make too much sense. There is of course the installer, I use it, it loads up the DAW in lite version, then they want you to go through the offline authorization and the keygen downloads a file you can put on your desktop that you will drag onto ableton. When I drag the file on top of the offline authorization screen though, it tells me the file is invalid for authentication so I'm a little bit stuck.

I thought you meant that there was some installer I had to download from audioz in addition to the ableton file.

>it loads up the DAW in lite version
It shouldn't do this.
What installer did you use?

Just the normal .exe file that's included when you use 7zip. I'm pretty sure there isn't a 2nd installer when you extract it.

i think he just means the unauthorized version. unable to save/export anything.

Ah yeah, I thought you installed the trial version from Ableton's website or something like that.

I haven't installed Ableton for a long time so I'm not sure how the process goes, but IIRC you had to start to offline activation, take some code from Ableton, put that into the keygen, and generate an activation file that's based on that code.
Have you done that?

Yup, that's exactly what I done. That's when it says gives me the message that roughly to my memory goes like "This file cannot authorize toue Ableton" it doesn't say this exactly but you get the idea.

Alright, so in this case what I would do is:
>uninstall Ableton completely (possibly using something like Revo Uninstaller that removes registry entries)
>disconnect from the Internet completely
>reinstall it
>before doing the offline activation, disable updates and block in firewall
>activate
>connect to the Internet

I'm re-downloading from AudioZ right now. Before I used some public torrent so that could also be a case of it not working.

But I will do all these steps in 1 hour when it gets done.

A lot of times the keygen needs to be run with admin privileges too - right-click the keygen and choose "Run As Administtrator"

I'll add that onto my steps, thank you.

Alright.
I might not be here when you finish, so expect a very late response if you post about it.

Just out of curiosity, what's the name fo the release of the torrent?
Is it R2R?

Yeah, the torrent was also R2R, it was file for file the same torrent to what I'm downloading right now.

cdm.link/2019/09/macos-catalina-will-be-incompatible-with-much-of-your-music-software-heres-what-to-know/

I went on the malwarebytes page they linked and it has some autism about hitler

Attached: 77.png (756x312, 22K)

To guy installing Ableton:
Once you've installed and activated on first run, make sure you go into settings and disable auto update or it'll keep breaking your activation

kek

Yup will do that, thank you.

not him but in the same position. it was r2r, keygen still doesnt work

It worked. Thanks a lot for the help, honestly.

Can you run down the steps you used please? I havent gotten it to work yet.

Sure. It's pretty simple really, I think it didn't work for me because I didn't download from AudioZ and also I had internet still plugged in (Autism).

1. Once everything has finished downloading, unplug your internet then open up 7zip and extract everything.

2. Mount the .iso "ableton_live_suite_10.1_64" one.

3. Go through the whole instillation process.

4. Open up the application, a screen should pop up about activating your Ableton.

5. You click on the "No internet on this computer" tab, or the one that's similar to what I just said.

6. It will give you a hardware code.

7. Open up the keygen, click the screen once so it takes you to the keygen and start typing in your hardware code. (Not sure if this is important but write the 4 digits and then do the dash (-), at least that's how I done it.)

8. It will give you a file that is called "Authorize.auz".

9. You just drag that link onto your Ableton and it should work.

10. Make sure to disable auto update after you have activated your Ableton.

uhh i restarted and did up to step 4. didnt get the popup. can now save and export and everything kEK

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Great!

clyp.it/4pa1dscx

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>clyp.it/4pa1dscx
very good but still unlistenable because its evil nigger shit

try using your cool production skills and especially that bass for the cause of the white man, truth, justice, and free speech

Where are your parents kid?

clyp.it/vn0cdxq3

too hollow?

Attached: come2daddy copy.png (661x661, 52K)

Thank you, user.
t. Dreams remix user

actually half interesting.
awful rhodes tone though. too mid rangey, not dirty enough, too forwards. throw some saturation at it and carve out the middle.
still, probably one of the more interesting things posted in these threads.

clyp.it/user/shub4j3n
Trying my hand at some dungeon synth. I'm pretty happy with Forest Fairy, but the other one is kinda rough.

Attached: water temple.jpg (1354x1538, 352K)

>clyp.it/user/shub4j3n
Alright buddy I like the way you think but I still didn't listen to too much of this. I skipped through the first one and called it a day. The problem I have with your style is it starts with a big loud deep yet faint horn noise. Start off with something ear catching like a beautiful melody or chord. People nowadays absolutely all have ADHD so you need to start with exciting stuff right from the get go. I'm listening to the outro of your first song and it's genuinely beautiful, I just wish you could figure out how to get me there through normal means.

Alright, I'm gonna force myself to listen to this and write my thoughts while it's happening. Sounds very boring and dull. Needs more beauty. Good delay effects on the percussion and good panning. Got too bored at 0:50 and skipped ahead, then went back to force myself to listen to some more (it's just a loop of some panned delayed percussion noises). That's about all I can do for you. If you want my advise: your songs aren't heavy hitting enough or beautiful enough. They need more throbbing base rather than low groaning bass, and they need more beautiful pure sweet melodies and chords.

Attached: apu on phone.jpg (657x527, 37K)

amazing the way you saved the boring ethereal intro with that beautiful synth 2 seconds into this. However, it then deteriorates into chaos and repetition. There's no soaring emotion to this song, just random sad notes. Sounds sort of like jazz.

Appreciate the feedback. What you're saying makes a lot of sense. I think I'll start by condensing the song into a much shorter package and tweaking more from there.

Post songs that were cut from your EP / album / weren't very good. Basically post your bad shit.
Where the FUCK do I even begin with this shit? The toms make me want to hurl and laugh at the same time.
clyp.it/3bhkirim

me
you're very right! it's just practicing around on the keys with a vocal mic, not an actual song :)

I'm looking for feedback on the hollow/"fake" vocal sound I'm using

can i steal this recording?

yo, that's a great pastebin, but why is Reaper listed as free? They just give you a 2 month trial period without getting a license, why wouldn't you link to say, cakewalk instead?

I won't post my best clip until I can find a piano that I can engrave 'kill niggers' into the fall board

it keeps working after that it just asks to buy

Holy fuck my two sessions back after a month break have been horrendous. Today was better than yesterday, but still. I can barely come up with interesting shit, it's frustrating. I don't know if 2 hours is enough but at the same time I overwhelmingly frustrated after 2 minutes so I think I'll keep it that way until I'm in a groove or something. Idk how anyone can stay in there for 8+ hours making music.

oh ok, thanks!

What is the ratio of time for
>writing / conceiving
>practicing / G.A.S.
>recording / piano rolling
>producing / automating and mixing
for a song

im gonna try to make a whole track in 10 mins!
who wants to join me? its now 2:15 in ny time letsago

that's pretty autistic m8, report back with your results

Before I start a song I need to determine the bpm and what key I want my song to be in?

What if I use a vocal sample or even a guitar sample? Do I use metronome, somehow find bpm and also the key the voice or guitar sample is in?

I've seen people stretch out samples too, how do I know if I stretched it out right?

I'm using Ableton.

I wish that guy who gives out long texts of info was around, seems like a helpful guy.

what if you combined asmr, music, and porn

quit watching porn retard

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quit changing your name so much u weirdoooo

it's kind of hard to hear the vocals....
I like what you're getting at, but even though it's hard to hear i feel like there's something to "forward" about it still... you're at the mouth of a cave rather than hearing somebody in the cave (not just in a mix/pre-delay way, so the reverb type I guess). I'd try darkening up the vocals as well, or try a formant shift somewhere in your chain, but that's just like, my opinion u kno

i had to coom and now its 2:51
i suck at managing time..

heyyy you're the weird one keeping track

thanks for the feedback though :)

Attached: helo.png (105x99, 8K)

jams

youtube.com/watch?v=XVNXz0aRsec

clyp.it/jxb40acn

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>youtube
fuck off faggot

>clyp.it/jxb40acn
please stop posting your nigger beats

please stop being racist outside of Yea Forums

vocaroo.com/i/s1gcVz0NDn56

I tried to remake All Caps by Madvillain to train my sampling skills. I didn't finish but this is on this small sample that I will expand the track. How good is it? What did I miss? Are the samples correctly put together?

Attached: ledw.png (905x188, 31K)

made this thing that was inspired by the game LSD dream emulator and osamu sato in general, as well as a dream I had.

clyp.it/ydn4i1et

how could i improve the mixing? i have this problem where whenever i talk to other musicians and hear their stuff, it always sounds better mixed than mine and a lot of the people i talk to say that they dont do much mixing at all and their stuff just ends up clearer.

would a really shitty pc with no external soundcard affect something like that? ive noticed that the laptop i have seems to be capable of making louder music than the shit pc i use for producing on but maybe thats just inexperience and lack of skill on my part?

>clyp.it/ydn4i1et
This is good enough for me to actually listen to it...

HOWEVER

I would argue it's a bit too dissonant/atonal, and the drums are too repetitive. I made it to 1 minute in before I skipped ahead to see if the sonic fiber of the song changes at all for the next few minutes, and it doesn't. The whole song is just weird trippy noises over a kick and snare.

That said, the instrumentation is strong, and the dissonant composition works for the first little while until I start wondering if it's going to go anywhere different.

thanks for the feedback and thanks for listening. the dissonance was somewhat intentional but i do definitely feel like i could handle it better and make it more interesting. if you can think of any, is there any mixing feedback you would give? or just suggestions in general.

I'm no mixing master who's going to tell you how to produce a professional grade song, but I'd tell you your mixing is solid. I remember this song here having mixing that actually "stood out" as "something special", namely the bass having a real pop or kick to it, so if you want your song to have that sort of 3 dimensional texture you might want to look into having bass that really thumps. (don't care enough to bother listening to it again to see if I'm imagining things) Your instrumentation is good enough to carry the piece and make it interesting to the mind and ear, however again the songwriting itself needs to go places and not just be a 5 minute barrage of trippiness. One easy suggestion I'd make on that count is try not having there be a backing drum beat for the entire song, as if it was some sort of pop song. You could also try having different styles of drums at different parts. To tie this in with your interest in mixing and my above comments, there wasn't a lot of throbbing bass in your song. You could have some parts have a real throbbing bass or bass drum, and other parts not have that, so that it creates an interesting variability.

damn thanks a lot, this is all really helpful. i really appreciate that you found it "interesting to the mind and ear" because thats the main thing im always trying to go for. if youre interested, what do you think of this? clyp.it/lxhgrbj3

ive posted it here before so if youre in the habit of listening to peoples stuff you might have heard it, the reason i ask is because i feel that it has a lot more variation than that other track which is honestly something of an outlier compared to what i usually do. overall though, i like the suggestion of not just adding things but removing them for variation as well, sometimes i get stuck in a loop of adding stuff until it becomes a garbled useless mess so maybe itd be worth trying out a bit of subtraction.

I'm listening to it and the composition is incredibly sophisticated, but I'm worried it isn't going to change. This is the problem of moving from plebby dance music to genuinely creative art. This stuff is definitely a lot more creative than so-called auteurs like Autechre or Aphex Twin, because you've plugged it chock full of varied synths and melodic choral patterns. However, in my opinion you could go even further beyond. Instead of having the entire song have a trippy floral dance vibe, you could create segments, or movements, with different emotions. Different styles of drums (for example again you have no Big Room kicks or Trap bass in your works to give it that really throbbing lower level noise) and most importantly, the soft chords in the background can't just go on and on for the entire song.

Your work is very listenable, perhaps because I am interested in it due to our discussion we are currently having, but I can't see any reason to listen to it again. It's inoffensive, but it doesn't really shatter any boundaries. It creates and defines itself as a trippy psychedelic electronica song, and does not go beyond that definition. The drum patterns throughout the song are those of 2000s alternative electronica, the soft chords in the background tie the entire song into one movement, and there isn't too much dynamic range (soft parts and loud parts, bassy parts and high pitched parts). I would like to see some sort of buildup over the course of this piece, a preset destination that the listener can "feel" building up within them, and that will resolve by the end of the piece. Whether that's something as simple as a classic EDM buildup to a drop, or something more sophisticated, it doesn't matter. You could gradually turn away from the psychedelia and build some sort of order out of the chaos by moving towards sweeping, emotional melodies, (which if I remember correctly you almost did, however I can't tell if I'm just imagining things).

>This stuff is definitely a lot more creative than so-called auteurs like Autechre or Aphex Twin because you've plugged it chock full of varied synths and melodic choral patterns

wow, dont play with my emotions like that user. but seriously, i guess what im taking away from this is that. 1: i need to take ideas further in general, 2: i need to incorporate a wider palette of emotion, 3: i should try to break more definitions and not get too tied down to one aesthetic and 4: i need to work on making dynamic range more, well, dynamic. do those seem like good assessments? with the first 2 i think its something that ill hopefully improve on with time and with the 3rd one, i admittedly dont listen to a very wide variety of music. i mean , i like a lot of stuff that comes from different places but ultimately i mostly listen to stuff that could be categorized as electronic, trippy and sometimes aimless. ive always been afraid of ripping off the people i listen to too much but maybe the solution is to listen to so much different stuff that the ripoffs come from different places?

i think i eventually do want to get to a place with music where people listen to a track and do actively want to listen to it again so i guess thats the main goal ill try going in with for a bit.

really though, someone listening to my stuff and not saying that its utter trash shit dick ass means a lot.

>This stuff is definitely a lot more creative than so-called auteurs like Autechre or Aphex Twin
>because you've plugged it chock full of varied synths and melodic choral patterns
Hahahaha

Creativity in music doesn't depends on the numbers of instruments that you use or numbers of choral patterns. You can make "complex" and "sophisticated" music with a very minimal instrumentation.

Robert Johnson just used one guitar + his voice and made music more "genuinely creative" and "sophisticated" than all those arrogant IDM idiots who think using one millions of synths and plugins puts them above everyone and that by doing so they are "pushing the boundaries".

Attached: iB2herckrYtSH2rWoFnM6k.jpg (1280x782, 115K)

The word rip is a good word. That's an element missing from your music. It doesn't rip enough. It's too soft, harmless, and aimless. It needs to break past that one little emotional corner and create some really impressive reactions in the listener. That said, that softness, harmless, and aimlessness is itself an impressive thing to have created, and your ability to create that sound is valuable for when you want to create music that has varied or complex vibes.

None of those people we're talking about will go down in history. They're pop musicians for brainlets who find normal pop music too complex or threatening. I think Autechre might have done some cool synth work in one of his songs I listened to once, but so has Knife Party.

I mean you listen to Aphex Twin and it's literally just boring, quiet, unmelodic electro music that lasts for 10 minutes. There are no beautiful melodies (unlike Knife Party). There are no impressive breakdowns (unlike Knife Party). And Knife Party is literally just normal people dance music, not some impressive artistic act. No one is going to listen to Aphex Twin 100 years from now.

youtube.com/watch?v=TZ827lkktYs

You might even describe this music as "evil" or "satanic" rather than "beautiful" or "funny"

That's why we like it.

alright buddy create satanic music if you want to don't let me stop you

soundcloud.com/user-622593604

>soundcloud.com/user-622593604
it's just some guitar strumming

i'd take the delay off the hi hats, it ruins the rhythm, also take some reverb off the snares. pretty good tho

It helps to decide on a BPM in advance yes, but don't be afraid to try out other BPMs during the producing process. Maybe it'll sound better a few slower/faster, you won't know til you try.

Keys are a bit of a meme. If you're just starting out then yes please choose a key and stick with the notes in it, but once you're more comfortable with how notes interact you can ignore them. Unless you're using samples from other music in which case you better fucking be in the same or at least a compatable key as your sample.

To find a sample bpm you usually use the tap-to-bpm feature in your DAW and tap along as the sample plays, and there are VSTs that will try to determine the key of a sample for you.

There aer many stretching algorithms, read your DAW manual to figure out which you want and how to use it.

How can I use occult practices to improve my music?
No sex magicks please, I have anxiety.

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please I would like some feedbacks here :

clyp.it/gzcbyexp

made some more generic techno loops

made some brapstep
clyp.it/sxjmu4zi

Attached: Capture.jpg (298x258, 11K)

pretty kino how d.va's aesthetic and the sound of a fart match together so seamlessly

I'm trying to recreate Sweet Trip's sound, can anyone of you more experienced bros help a poor soul? I understood that the drums have to sound as dull as possible and I learned how to cut certain sounds (e.g. vocals). Still It doesn't sound nearly as glitchy and at the sane time soothing.

eq filter a lot, use tape effects (e.g. waves sj37), sharply cut off drum hits, use chorus/flanger effects
the rest is normal music. layered rhythms, chords.
not really sure what type of advice you need.

clyp is being gay and won't let me upload big projects.

any other sites?

you tu b e

find out how to resize your audio files brainlet

How can I translate hummed musical ideas to my piano roll?

most likely your daw can do audio to midi

Sound it out you dunce

clyp.it/v5ugriet

Lads. This is the first time i go into this of production. Im planning to release an EP bby the end of this year but dont know anythyng about this.

Should i get this mixed and mastered by a pro?
would it be better if i do it myself?
do I suck too much and i should kill myself?

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>clyp.it/v5ugriet
sounds pretty kino so far, 1 minute in

the notes on every half beat that dominate around the minute mark might be a bit repetitive and same-y, maybe you should add some filters over time to them

pretty much the entire 2nd minute is just filler, i skipped through it

3rd minute same as first two minutes with some new synths added - innovate!

rest of song sounds like an extended ambient outro, skipped through it as well

Cut above the rest, suffers from typical EDM problems of repetitiousness, I wouldn't worry about mixing, if you had a publishing company big enough for you to (((make it))) they'd ensure your shit was mixed well

Thanks a lot for the comment. Highly appreciated mate.

I know its repetitive. The idea is to add some vocal and lyrics. Maybe a warm synth to give it more supports to the vocal.

Regarding the publishing company. How is that?

How can i contact one of those? and also. Does it matters if I'm located in Colombia atm?

>this was a thing

youtube.com/watch?v=6cTZIQPzT5U

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Post your favorite instrumental

youtu.be/xuPJHsvDf14

lol @ the dude commenting on children's jingles and pretending they're superior to dance music.

send fucking help. I can't come up with anything. i have no ideas popping up in my brain. I'm just mindlessly scrolling thru ableton presets. Every Ableton preset sounds like utter shit. Idk what to do anymore, I'm hopeless. FUUUUUUUUUUUUUCKKKKKKKK

I can't generate any good ideas on the keyboard either FUUUUUUUUCKKKKK AAAAAA what do i do HELLLLPPP

What DAW/s do you use?

Ableton

>Every Ableton preset
Nevermind I can't read lol.

Do you have MaxForLive?

nope

what u guna do w it

If you're on Live 10 you should have it bundled already.
If you're still on 9 get it here:
akiaj5esl75o5wbdcv2a-maxmspjitter.s3.amazonaws.com/Max735_x86_180307.zip
akiaj5esl75o5wbdcv2a-maxmspjitter.s3.amazonaws.com/Max735_x64_180307.zip
This is just M4L (so just for opening .AMXDs in Ableton and edit them). If you want the full Max, you can find it here:
7.3.5:
audioz.download/software/win/147668-download_cycling-74-max-v735-incl-patched-and-keygen-r2r.html
8.0.2:
audioz.download/software/win/149828-download_cycling-74-max-v802-r2r.html

When you're sure you have it, explore this:
magenta.tensorflow.org/studio/ableton-live/
Also this:
anonymousfiles.io/8M5pdiyk/

If you don't want to use M4L devices, I recommend just straight up plagiarizing music and changing it just enough that it's not recognizable anymore.
Or maybe taking some very good element of a song and building the rest of your song around it, then removing the original part (I know some producers make instrumentals by importing acapellas from successful songs, but you can do this with all elements).
You can make it much more unrecognizable by altering it one way or another before adding to it (drastically reducing the tempo, slicing it, reversing it, etc.)

You can try fucking with your workflow, changing the workspace you're in, trying new programs (even new DAWs), immersing yourself in a new enivronment to feel its "vibe" or atmosphere.
If you can't physically put yourself into these situations, trick your brain into thinking you are by consumin media that puts you in that state of mind.

But the most important tip is:
As yourself what the underlying issue is and try to solve it.
Your lack of inspiration is likely a symptom of something that needs to be addressed, so fix that first and the consequences of it will likely go away automatically.

Or you can use this:
stoney.sb.org/eno/oblique.html

i don't want it to sound like shit

Just mix it yourself, its part of improving. Don't bother getting someone to master it unless you are planning physical releases.

With digital releases it is important to keep in mind the loudness since every streaming website has different ways of limiting your music. There's some websites that compare the loudness of your track across various websites I think. I forgot what its called, but there's some plugins that do the same thing to.

If you want to put in the effort you could use those plugins and create a separate master for each website. Shit is annoying though, so don't feel pressured to do it.

Why does it seem that there is more innovation in synthesis going on with hardware than it software? Take Make Noise, Soma and all the weird eurorack stuff. Software is limitless in comparison, but it seems that the devs are more worried about making wavetable and analog modeling synths.
Madrona Labs' Sumu seems to be pretty wild and Sugar Bytes released Aparillo last year. Is there anything recent worth looking into?

>Why does it seem that there is more innovation in synthesis going on with hardware than it software?

because that's what you pay attention to?
I understand that people love jerking off to eurorack but please show me anything that even touches the surface level vsts like Serum, or the granular shit that's been available for over a decade now in software form

I agree about the limited strides in software- wavetable naysayers are fucking retarded imo, but shit like accurately modeling analog synths and ReAl InStRuMenTs has really only helped bring down the cost for those sounds rather than actually push the capabilities of sound further.... it's disappointing

like i'm not even asking for new fucking technology at this point, I just want new versions of synths we've had for fucking years with new corners cut in terms of modulation really

I've been making some of the worst beats made by mankind during those last 3 days, I'm contemplating sew of side.

maybe you should stop making tribal nigger beats in an effort to attain fame or popularity

I'm not making tribal beats, nobody asked for your retarded opinion, retard.

oh, so you're making white and based beats. post examples of what you mean by that.

just ignore him dude

>I understand that people love jerking off to eurorack but please show me anything that even touches the surface level vsts like Serum, or the granular shit that's been available for over a decade now in software form
not that user, but one does not simply critique buchla style synthesis and ask for bob moog style examples. you’ve outed yourself as a synthesis newb. learn up bruh.

>bob moog style examples
literally nobody asked for that

the last time this got brought up somebody tried to /rubber/ with their modular saying it would be easy and he'd been producing for a decade and then got btfo'd as soon as he posted his shit

that guy in particular was *semi* competent but i'll take that as being a fluke if you can actually point to interesting modules or whatever the fuck, but there's obviously a reason why modular fags are known as dickheads

the eurorack scene hasn't really produced any meaningful strides in sound sources (vcos/samplers). the innovations have primarily come via function generators and more specifically the modularisation and interoperability of said function generators.

it's trivial to get an lfo from one manufacturer to trigger an envelope generator from another envelope because there are agreed upon standards and shared voltage language.
nothing like that exists in software.

>from another manufacturer*

>nothing like that exists in software
In Ableton you have M4L modulators that can modulate any automatable parameter, which I think is pretty close to be the software equivalent to what you're describing.

>TRIGGER AN ENVELOPE WITH AN LFO XDDD

are you trolling or are you intentionally trying to give eurorack users a bad name lmao

>nothing like that exists in software

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it's ableton specific unfortunately. until the vst standard enforces a v/oct like standard, the closest thing we have to cross-DAW, dev-agnostic interoperability is eurorack clone platforms like reaktor-blocks and vcv rack - which aren't real solutions to the problems.

it's just an example dipshit. get an lfo from one vst to trigger the envelope on a different vst soft-synth - i'll wait.

>serum moog sounds
>dude trigger an envelope
i'm starting to think hardware fags haven't actually tried using software so they have no clue what's trivial outside of hardware and things that seem amazing outside of the box are stupidly simple in the box l o l

>it's ableton specific unfortunately
If you're making worthwile music you're using Ableton anyway, so it's a complete non-issue.

it's still not a real solution either because maxforlive can't extract data from non-max devices.

there needs to be a way for software devices to output arbitrary data and for that data to adhere to a standardised format so that you can just send that data elsewhere with minimal fuss.

that framework doesn't exist and no one appears to be interested in working on it.

>lfo from one vst to trigger the envelope on a different vst

You're asking for a different task to be done than you were talking about originally- a thing from one manufacturer to work with a thing from another manufacturer is all you said, not one thing from a self contained synth being ripped out to work on another self contained synth

HOWEVER i've been informed that max works like that somehow, i haven't used it like that though

here's an lfo triggering an envelope mapped to shit in massive though. took... 10 seconds

even without max you can do that just with massive lol.

Attached: U R DUMB.png (1920x1080, 372K)

>it's still not a real solution either because maxforlive can't extract data from non-max devices.
What data do you need?
When I do my sound design I just never use internal modulators and just map things to rack macros and M4L devices, so these become like the internal ones.
With this workflow you lose a bit of time when mapping parameters the first time, but you gain so much more control, and the modulators become universal and can be mapped to/from other parameters.

>that framework doesn't exist and no one appears to be interested in working on it.
Plugins could easily just output midi cc data that reflects parameter change, but nobody is interested in that, so there's no point in implementing it despite it being very feasible.

>I just never use internal modulators
basically that. while your solution works around the issue, it would be far more elegant if you didn't have to rely on max to do that at all. it should 'just werk.' someone should just be able to make a maths vst and it should just werk with any soft synth in a perfect world.

being limited to max also discourages commercial development interest imo.

>but nobody is interested in that
i mean, i am but w/e.

>while your solution works around the issue, it would be far more elegant if you didn't have to rely on max to do that at all
You can't have your cake and eat it too I'm afraid.

Also, how would it work?
In hardware it's just a simple cable that goes from port to port. Quick, easy, and intuitive.
In software you'd have to dig through context menus and fight between the different ways developers are inevitably going to implement this, and have all sorts of incompatibilities thanks to the fact that internally plugins work very differently from each other, and even if they were all coded by the same person, different features require different ways that data is handled (think modulators that work in semitones, in percentages, in frequencies, linear, logarithmic with all sorts of curves, integers, floats, strings, etc) so it would be much less elegant to take a modulator from one plugin and trying to make it work with another plugin (assuming developers would be willing to rewrite their products for this sort of compatibility).
The Max workflow is much more elegant than that, being an external "unificator" that doesn't need to be compatible with anything because it just uses the standard parameter automation system and is therefore automatically compatible with everything, with no hassle.

>being limited to max also discourages commercial development interest imo.
What commercial development interest?

>Also, how would it work?
perfect world scenario:

cross developer compatibility would effectively involve virtual CV implementations (at least at final output + initial input) like those in vcv or reaktor's blocks. they're proven to work.

any knob automateable. all function generators output-able and replaceable.

cross-device wiring in a nodal layout.

i think it would be interesting to see.

>What commercial development interest?
commercial plugin development from established big boys like u-he, plugin alliance, arturia etc. i understand that there are commercial maxforlive devices, but again, you're restricting sales to users of a single DAW.

you should hear my dumbass idea about an per-voice attribute driven synth tho. that one's a doozy. i swear i'm not high.

>cross developer compatibility would effectively involve virtual CV implementations (at least at final output + initial input) like those in vcv or reaktor's blocks.
>they're proven to work.
Only in an environment where things are specifically made to work like that.
You can't expect developers to remake their plugins to fit such system because not all of them would be portable, and many would need some serious compromises.
It's like saying "there are browsers extensions that can work together, so why not make a system of extensions for all software, where you can take data from one program and feed it into another one". It's just a whole different level of compatibility.

>any knob automateable.
Should be feasible in most cases

>all function generators output-able and replaceable.
This is where it gets tricky.
It's easy to say it would be cool, but the actual implementation is what makes it end up worse than just using external modulators.

>cross-device wiring in a nodal layout.
Sure, that would be cool. Something like FL Studio's patcher or Max/MSP's [vst~] object.
I assume you'd need DAW support, right?
But as a workflow, I don't think it's as quick and easy as mapping things to macros and M4L devices.

>i understand that there are commercial maxforlive devices, but again, you're restricting sales to users of a single DAW
Having every DAW pay a license to Ableton/Cycling74 to implement their own version of M4L is a far more realistic prospect than having DAW and plugin developers agree on a new system and implementing it from scratch into their existing products.
Even if there was great interest, it's just never going to happen.

>you should hear my dumbass idea about an per-voice attribute driven synth tho. that one's a doozy. i swear i'm not high.
That's actually a pretty good idea IMO.
FL Studio has something like that in the piano roll for certain supported instruments.

>literally nobody asked for that
>asks for a comparative example to a vst that only responds to midi keyboard note data and is programmed to precisely emulate keyboards made in the “hi I’m bob moog and this is what a synthesizer is” way
FM exists in modular, so does granular, and even VSTs. What are you even asking for? these in a bob moog style patch so you can play it like you do in a daw? this is a naive ask bruh

Leave it to modular geeks to talk about the method over the sound

clyp.it/qq1zqzpw
Working on a WIP, I feel like I'm finally getting over my block. Feedback please. I'll probably add drums or something soon, idk where I'm gonna go with it.

>clyp.it/jxb40acn
Mix your drums better. Layer your shit and make your snares punchier. It feels weak.

>any knob automateable
This isn't the case in modular either though.

very cool stuff prodbab, I'm vaguely expecting you to make something out of this

how to tell samefag: the thread

what are you crying about?

he's mad someone talked shit about his song or taht he's too much of a pussy to even post it lmao the zoomer pussy

thanks for the input bro.

Regarding releases. Any website in particular?

I've heard the cd.baby is like the website for that. But would like to know from more experienced musicians in here what do they think about this

It's fucking amazing how BusyWorksBeats has a tutorial for anyone and anything and every single one of them is complete ass

>learn fundamentals of theory and specialize in CPP-era music.
>develop ears
>realize I hate music
>stop composing and playing instruments
why am I still here?

Attached: 1564599413024.jpg (357x359, 27K)

LO-FI MEMEHOP like dude JAZZ

clyp.it/eskmi5jh

What else to add besides too many drum effects and stops? defs gonna tack on another section tomorrow, it's a bit short.

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>clyp.it/eskmi5jh
>What else to add besides too many drum effects and stops?
you add more instruments, specifically, modern instruments such as synths and VST effects

pretty good stuff though, reminds me of the stronghold soundtrack

hm, I wasn't considering it a synthy track but I definitely want to add some modern weirdness to it, so i'll give that a go
thx m8

bump

So I'm pretty new to this. Right now I'm trying to make game music, and I really want to find/recreate the instruments used in Super Paper Mario in my vsts. Is there any easy way to do this? All the instruments the game uses are super wacky so it's hard to pinpoint a name of an instrument aside from the huge variety of synths they use.

Attached: 452907303948710.png (956x1242, 125K)

anyone know how to achieve this unique kick-808 relationship?

soundcloud.com/808-louie/thecode

Hard distortion.

>soundcloud.com/808-louie/thecode
this sounds like some sort of evil nigger beat to me

yeah but whatever distortion plugin i use i cant get close to this. also the kick sounds like its sidechained to every elment in the beat ??????

>yeah but whatever distortion plugin i use i cant get close to this
You need the attack (so the kick and the start of the 808 sub) to be much louder than the sustain so you can REALLY clip the initial hit while leaving the rest intact.

>also the kick sounds like its sidechained to every elment in the beat ??????
I'm not sure.
I mean, there certainly is some strong sidechaining, but it's also possible that the effect is achived by having the distortion on the master or something, and clipping off the drum peaks along with everything else.

But I'm talking out of my ass here, so don't listen to me.

i actually really like this direction youre taking.
the "hollow" vocal helps to compliment the minimal instrumentation creating something very spacey and intimate. Of course mixing is entirely contextual depending on the mood of the song. I'd say it creates a nice atmosphere. and at the end of the day we want music to take us places.
sorry if that was genrally unhelpful lol

Because duck the fuck and lick sissy cunts...

youtu.be/teluStdxvAo

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What does "hollow" mean in this context?

probably the most boring track I've ever skipped through

The man is truly a master of his craft.

Should I buy this MQ6106 keyboard?

So I wonder

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no go watch a video of this and look how small they keys are its for a little kid

no

Bump

looks like a toy dude lol

worth continuing? i know the snare (and maybe the rest of the drums) needs work.
clyp.it/jjymdmm0

some kind of midrange pad might work well if you're trying to fill out space. otherwise the sparseness is choice.

little bit of reverb on the lead once the drums get going maybe? sounds great!

oof, needs some work. try focusing on filling your drums out (try different kicks, hat variation) and overall mixing to achieve some more balance.

Attached: DSC01766.jpg (6000x4000, 1.94M)

>clyp.it/jjymdmm0
very interesting just not pleasant

clyp.it/jjymdmm0
ye thats banging desu

How much can it be a issue? My fingers aren't fat

Singing general Come here

Yes please, split this slow ass thread even more for the five singers here, that’s what we need

die

I wouldn't get it even if it were full size keys it looks like a piece of shit

Extremely new to all of this, i bought a minilab to try and start to mess around with music. Tried reading the pastebin and the reddit faq there but even that sounded way beyond my level.

So should I basically just download reaper and then some kind of samples or modules for different sounds? Sorry if this is a thing that gets asked a lot, i've just done a lot of visual stuff before and none of that knowledge really helps here

rbt.asia/mu/thread/89868005/#89882810

if you are really THAT new then i suggest going on youtube and looking for complete beginner guides, there are plenty of them.
what genre of music would you hope to create in the future?
i think if you download reaper you'll be overwhelmed especially if you've never done anything like this before, but it doesn't hurt to just have a play around. but honestly just youtube

if i were to make a pih poh beat, should i pan everything that isn't kick and bass to the sides, considering the vocals will be added later or should i leave panning to my preference and not worry about how rapping would fit?

Feedback? Opinions? I feel like I might've actually did something good for once. Or that I've at least figured out a blueprint that works for me.

clyp.it/ue2bamka

Attached: 1568075041244.png (1267x1038, 1.12M)

.... you made a meme of yourself?
your faggotry aside that's just fucking cringe dude

you don't need to be playing the 808 that constantly, leave more space and the groove will improve

do not use panning as a means of "clearing out space," that's a rookie mistake. if you have to do that, you already fucked up

pan as you will, but it depends on the song. i.e the rapper wants his voice to be the source of width and sound huge on the chorus, double triple tracked etc, he should be dominating the sides. Big and washed out? A single voice? let the instrumental bring some width

Have you ever heard of Servida Music?
youtube.com/channel/UCBO9acnsfbzEL_7am5N2z8Q/videos
Watch all his videos from the oldest to newest.
They have a lot of great insight on how to compose trap music, explained in a pretty simple and straight-forward way.

Your biggest shortcomings right now is melodies and chords, so focus on those and watch videos that tell you tips and tricks on how to make them in FL Studio's piano roll.

Bump, because I'm seriously impressed by how long this thread has lantest without archiving or reaching post limit

really dont hear much from lil wayne

okay my turn
clyp.it/l30bpauo

Attached: 223.jpg (920x730, 56K)

sidechain everything to the kick

I'm feeling extremely fatigued especially when I have to make music, can someone help? I feel extreme fatigue when I have to do anything that requires mental focus (reading, honework, creativity), what can I do to ease the fatigue?

I feel fatigued throughout the day, I go to sleep at 4am if that means anything. But what can I do to ease the fatigue other than switching up my sleep schedule?

Thank you very much

Diet, exercise, sleep (enough of it to feel refreshed when you wake up, and going to bed at the exact same time every day, as well as a bunch of other "sleep hygene" things you can google), reduction of stress, possibly nofap, having a purpose in life, having life-ruining consequences for not working on music, getting yourself adopted by strict musician parents who will look at you with intense disappointment if you don't, wanting financial success so that you and your family can finally afford thick hoes to entertain at your Bar mitzvah, an unstoppable pressing desire to flex on Demarcus, or a sweet grandmother who's about to die that you want to write a song for before it's too late.

how is panning for clearing out space is a mistake? if you just shove all instruments to center it's gonna sound messy, so you throw em across the board

clyp.it/eooejsmu
you should listen to this because you'll have a good time roasting me irl, in your mind, without posting and helping me

Attached: 1557602244870.jpg (602x653, 67K)

I think what he means is that RELYing on panning to clean up space is bad, and that you should have everything clean even in mono, so that the panning is just ADDITIONAL cleaning, instead of being the only thing keeping your mix from being terrible.
If you rely on panning to keep your mix clean, your song will sound like shit in mono (and most likely in stereo too).

so does that mean i pan nothing until i get my levels right? which is weird because the loudness vary with panning

Okay yeah listening back to it would be better if the bass wasn't as present, thank you.

Yeah I've seen a lot of his videos actually. He's great but I find some of his stuff to be a little lacking in some regards, its very obvious that he comes from an EDM background. I'm trying to move away from mainstream more traditional trap anyway and I think this beat I just did might be a good start.

this pretty much is what i mean. the "rookie" mistake is using panning as a crutch- it's use is supposed to be for creating width or as a creative effect.

level and eq everything in mono. pan out last

more importantly, when you actually listen to shit in the real world out on speakers, you're not hearing two channels perfectly for each ear- whatever you *think* panning is helping you achieve mix wise is going to dispensary as soon as you actually hear it through the air.

There are different approaches to this.
Some people keep everything in mono, do a preliminary mixing session (dealing with compression, eqing, and miscellaneous effects), then pan (both as a mixing tool and as an artistic choice), then adjust the levels accordingly afterwards.
Some people pan as they go, but frequently check how it sounds monoed.
Some people just pan as they go (like I assume you're doing) while keeping in mind that what they're doing in the stereo field isn't enough for a good mix.

> level and eq everything in mono. pan out last
in terms of daw, does that mean leaving everything centered of turning off the right speaker completely?

hey, i noticed you all ignored me!
i'm right here, in the post mentioned below!

Attached: 1564097726055.jpg (250x228, 5K)

>He's great but I find some of his stuff to be a little lacking in some regards, its very obvious that he comes from an EDM background
That's just a stylistic difference.
What he'll teach you are universal principles of composition that you'll be able to use in whatever style you want to make.

>I'm trying to move away from mainstream more traditional trap anyway and I think this beat I just did might be a good start.
No offense but you shouldn't focus on what style of trap you want to make at the stage you're at.
Focus on being a skilled producer and you'll be able to make any style much better than you'll be able to make the one style you're focussing on.
At the moment you're severely lacking in the melodic and harmonic departments, so you'll need to develop some composition chops, otherwise your music will never be actually good.
You're improving a lot and we're seeing it but without some real foundations you'll soon reach a plateau.

YouTube videos like Servida's are the easiest and lowest effort way to improve on your composition, so even if you won't be making melodies exactly like his, you should still listen to his explanations for how the elements in those melodies make them work the way they do.

Bump

I guess you're right and maybe I should rewatch some of his videos. I'm just a lot less focused on composition and more on trying to figure out what "feels" right. It's not that I don't think its important it's just that I started producing so I could make my own beats to rap over and I can make a basic trap beat now but it just doesn't feel right. I do want to understand theory eventually and be able to make better chords and melodies but I'm really trying to figure out how to get the sound I want bass and percussion-wise.

Sure.
Definitely don't neglect the production side of it, but you can have the best production in the world and make unlistenable music if your composition isn't good, while the opposite is rarely true.
And by good I don't mean some Mozart-level creation. Just something that evokes the correct feeling, works well in its context, and there's nothing really wrong with it (like it's too repetitive, has no direction, it's boring, etc.)

If you want to get your production right first, that's fine, but when you're at a good enough level at it, definitely focus on composition because right now it's your biggest problem.
You don't even need to learn proper music theory. Just watch videos like that and absorb as many notions as you can, and as you apply them to your music, making good compositions will come naturally.

>those microsound presets
Now that's some next level shit

Attached: Unfiltered-Audio-LION-GUI.png (2104x1368, 437K)

clyp.it/user/z2o5kwev

I hate how that looks

Ultimately the goal is to learn piano and be able to read music again, I've just been holding back for a lot of reasons, the state of my laptop being one of them.

Do you know any channels I could go to for you just straight up production techniques? I can't figure out what type of hip-hop I want to go for because I'm not a big fan of trap or boom bap and when it comes to other genres I only ever really see House and EDM tutorials when I'd like to make something more like SOPHIE or Machine Girl.

>Do you know any channels I could go to for you just straight up production techniques?
What do you mean exactly?
Like mixing?
I recommend Dave Pensado's Into The Lair series for that.
youtube.com/playlist?list=PLFC57D274A1E94943
(you can find the missing early episodes on YT uploaded by someone else)

If you're looking for sound design techniques (how to program a synth, how to manipulate samples, etc.) then it's going to be a matter of learning the basics first (I definitely recommend Syntorial, as it's BY FAR the single best way to learn as a beginner, but if you want YouTube videos, wach the NY School of Synthesis videos), then playing with synths and samples, trying everything so you get a feel of what everything does to the sound, then looking for specific techniques where you don't just learn that one technique but you also learn the underlying principles at work in it, so you can apply them to your sounds.

I'm not familiar with Machine Girl but from skipping through WLFGRL on YouTube it just seems like normal sampling and maybe synthesis techniques.
SOPHIE though, makes use of very advanced sound design, for which you need to be on the spectrum.
If you ignore the sound design and want to make "bubblegum bass" or whatever it's called, then you can just use normal production techniques, and it just becomes a matter of stylistic choices.

The thing though, is that you keep making this giant mistake of thinking of music production in terms of genres when it's really a set of skills that can be used to make ANY genre. There's so much overlap between genres that it doesn't make sense to look for tutorials in one genre and dismiss the others that aren't for your specific genre, because those EDM tutorials will teach you everything that you need to know.
SOPHIE's music is essentially just EDM with some IDM sound design.
If you learn to make DnB you'll be able to make music like Machine Girl.
Forget about genres and focus on SKILLS for now.

>clyp.it/ue2bamka
sounds pretty edgy on the drop m8 but the melody before the drop is nice

interesting instrumentation however it never really seems to stop being atonal dissonant nonsense. no melody. couldn't listen to it even though it's like 2 minutes long.

interesting use of the leading lines from strauss's also sprach zarathrustra, however its very boring instrumentation, and, frankly, those lines are very boring for a classical song and were mainly cool because they showed off the newfound power of brass. maybe if you used interesting instruments it'd work, but it still collapses when you just do the same style of boring held note melodies over and over again for the entire song without ever resolving to some sort of breakdown.

>Ultimately the goal is to learn piano and be able to read music again
Although that helps, you don't need to learn piano to become good at composition (especially if you compose using the piano roll with a mouse).
Don't wait for shit to change before you can do what you need to do. You can start improving today.
youtube.com/watch?v=sz4YqwH_6D0

>I'm not familiar with Machine Girl but from skipping through WLFGRL on YouTube it just seems like normal sampling and maybe synthesis techniques.
I haven't listened to WLFGRL yet, I mean more like these two from the Gemini album. Or would you say the same techniques apply here too?

youtube.com/watch?v=2GBlKmeDgCs
youtube.com/watch?v=BELCaZWDxzs

>SOPHIE though, makes use of very advanced sound design, for which you need to be on the spectrum.
the Autism spectrum?
>SOPHIE's music is essentially just EDM with some IDM sound design
I like some of her more EDM-ish stuff but I'm more interested in some of her more sparse stuff like these:

youtube.com/watch?v=WHJE2IHJ2cw
youtube.com/watch?v=C6iAzyhm0p0
youtube.com/watch?v=8GO1B8PinCI

>The thing though, is that you keep making this giant mistake of thinking of music production in terms of genres when it's really a set of skills that can be used to make ANY genre. There's so much overlap between genres that it doesn't make sense to look for tutorials in one genre and dismiss the others that aren't for your specific genre
>Forget about genres and focus on SKILLS for now.
Thank you. I really like this advice and want to put it into action. My only problem with the EDM tutorials is that I've watched a few and every time it's always just someone saying "stack pads" and "arpeggiate the bass" and then they make a 4 on the floor kick pattern in the playlist instead of the sequencer. Which is all fine, but I kind of just don't get it? I like SOPHIE and KKB. I used to listen to Crystal Castles if that counts but other than that I don't listen to EDM so I when I watch the tutorials, even if they're straightforward it just confuses me because I don't really understand how the genre works or when it sounds good or bad.

Definitely gonna get back to watching NY School of Synthesis though. And play around more in Synth1.

K lets get it to bumb limit

>sounds pretty edgy on the drop m8 but the melody before the drop is nice
Thank you.

>Although that helps, you don't need to learn piano to become good at composition
Oh, I know. But I already have a keyboard. And Michael New videos saved. The problem is my computer, I'm worried about its stability.

>I mean more like these two from the Gemini album. Or would you say the same techniques apply here too?
Yes.

>the Autism spectrum?
Yeah. We (/prod/ users) often joke about how you need to be autistic to care about sound design to that technical level because it's a kinda nerdy thing to focus on, but I find it a lot of fun even without getting into the technical side, so whatever.

>I like some of her more EDM-ish stuff but I'm more interested in some of her more sparse stuff like these:
That sound mostly comes from simple stylistic choices (composition and sound choices) and good sound design (the hard part).

>even if they're straightforward it just confuses me because I don't really understand how the genre works or when it sounds good or bad
Doesn't matter.
Just watch the tutorials for the technique they teach.
We obviously know that people who make tutorials aren't generally very good producers, so if it sounds good, good! If it sounds bad, not a surprise. Just get what you need from them and ignore the rest.

>I don't really understand how the genre works or when it sounds good or bad.
You need to completely forget that genres exist. Just learn techniques and do what sounds good to you, instead of chasing genre accuracy when you don't even understand the appeal of the genre, let alone be experienced enough in it to produce it well.
This way of thinking is only preventing you from learning.

>Definitely gonna get back to watching NY School of Synthesis though.
You can find Syntorial on AudioZ, and it's so much better.

>And play around more in Synth1
Stop wasting your time with that. FL Studio comes with some top tier synths. You're much better off using those.
But I really recommend getting Serum and focussing on that alone.

>The problem is my computer, I'm worried about its stability.
If you're able-bodied you can find an entry level job to pay for gear.
You can leave it once you've bought a new computer and whatever else, but getting it at least for a bit can be well worth it.
It will also make you less depressed.

ah-bloo-bloo

>It will also make you less depressed.

Attached: 1536596374583.jpg (753x1024, 175K)

Much better than rotting away in a bedroom with no hope for things ever improving.

nu90ougyib

bumps

>Just watch the tutorials for the technique they teach.
>Just get what you need from them and ignore the rest.
>Just learn techniques and do what sounds good to you, instead of chasing genre accuracy when you don't even understand the appeal of the genre, let alone be experienced enough in it to produce it well.

I think it's fair I've just been looking at the wrong EDM tutorials then. I'm gonna look for more specific stuff that actually gets into the technical aspects. I watched a K-Pop tutorial once and found it really eye opening, strangely enough.
>Stop wasting your time with that. FL Studio comes with some top tier synths. You're much better off using those.
What's wrong with Synth1? I do have Serum but my laptop can't handle it that well.

>If you're able-bodied you can find an entry level job to pay for gear.
Hopefully. I really need a job but I'm starting to feel really out of it again. I miss Lexapro but I know I shouldn't just start taking it again.

it gets shilled too much only because its free its ok but that's it

Oh I really like it but then again I barely know what I'm doing

Other than? Well I've had good results from using sulbutiamine, but you're not supposed to take it every day (tolerance builds quick and makes it worthless).
Sulbutiamine, phenibut, synepherine (or ephedrine if you can get it unadultered), yohimbine, with a sip on the side and a couple aspirin to reduce your risk of stroke should be a good mix.
I want to say that huperzine A made me feel more focused throughout the day too.
Also sunflower lecithin is supposed to be good for your brain AND make you shoot monster loads.

you should pirate syntorial like the other guy said it will help you understand

>might've actually did something good

Are you some kind of Zuckerberg lizard-man? I don't understand how you are a human being with this little musical sense

Do you use a template for new projects? What’s in it?
Starting with completely blank slate seems sub-optimal. All I use is a drum rack and massive right now

I eq and level in mono, then apply panning while still in mono, make sure it still sounds good, then switch to stereo to check if it still sounds good.

what are some grooveboxes that can drag and drop midi files and export?

why isn't this common?

Attached: images.png (265x190, 2K)

set up sends and instruments you use every project n00b

>using presets

Attached: 1546398225126.jpg (216x225, 13K)

So let me know if I'm understanding this correctly.

Mixing is changing the different levels of individual instruments and sounds so that they blend together. Does this include compressing different instruments so that your bandwidth for the entire song is how you want it? Does it also include effects that go onto your master?

Mastering is basically mixing but instead of instruments and channels, you are mixing Songs together so that they are the same volume and have more sonic cohesion in an album/EP? How do you do this to a song without damaging the integrity of it in some way when song to song, an album have naturally different dynamic ranges based on the style, mixing, and effects?

bump

last anons of the thread who are here for some reason:

what kind of drums should i synthesize rn? thinking kicks mostly. I need a way to kill an hour rn

toms

>using drums
never gonna make it

will try it out
started a kick but got a few sick 808s instead :p

god i hate this fucking general so much

everything sounds like utter shit, is it because i have no audio interface and im using my cheap laptop driver?

nigga u gay

kys cunt