more bleeps. more production.
bleeproduction. just the best.
Well there are a few of mugi
Last night I hacked up an old gameboy to use as a monitor for my sampler.
really useless, but it was fun
And none of which are in that image. Besides, I don't think you understood my post correctly. Somebody with a knowledge of synths beyond the big three, not "I fucking hate korg for no reason"
should I buy a Radias? I want a poly synth that has a nice interface, good amount of modulation possibilities and above all sound cool. Or should I get the JP-8080 instead? I don't think I like the interface on that and I think it only has 1 LFO, where the Radias has 2.
I was talking to a friend of mine who DJs gigs (local events from time to time) and he said in one of the clubs he played it had a mono system and some of the tunes he had ended up sounding a bit off, as if certain bands just went totally missing. what happens with that?
Bit of a newfriend to hardware so I was wondering if someone could help me out by recommending a keyboard that could be used for playing something like a Doepfer Dark Energy or Eurorack or any other keyboard-less synth.
you don't, if it's a retarded club then there's nothing that can be done. it's due to the shape of the room and the position of the speakers.
it is possible if the track had some stereo phasing effects, but that's pretty much taboo because it would create the effect you're talking about when played back in mono
I've played on some mono rigs that were really great. For example, The Airliner in LA where they do Low End Theory is mono. Most reggae soundsystems are mono stacks. If you aren't doing tons of stereo widening effects you shouldn't have too much trouble with your productions translating to a mono rig. You should always check the mix in mono during the mixdown stage to identify and fix any stereo phasing artifacts.
should I switch to making all my tunes mono in order to avoid it? there's no way that if you play mono through a stereo that the setup itself could cancel anything out
Absolutely not. The advantages of production in stereo are huge. You just want to make sure the mix doesn't lose impact too much when translated to mono.
There is more knowledge about stereo production out there than what I can cover here, but you should start by panning your percussion elements slightly left and right, and you will find that the mix seems to open up immediately. Additionally, you can try putting a wide reverb on a bus (Logic Space Designer, NI Guitar Rig, Lexicon, EOS, etc.) and sending a few elements of the track to that for some extra stereo field width.
Pic related is a Goniometer plugin for NI Reaktor, which allows you to visualize and enhance the width of your stereo field.
there is, if a system is positioned wrong and one set of speakers are the wrong distance from the other, or pointed the complete wrong way or the room is a stupid shape then there really isn't anything you can do about it. but the rule of production for other reasons than phasing, though not entirely, is to keep the low end mono.
it's all dependant of whether the club are competent or not, and too many of them aren't because they just don't care for sound quality. the people that go to those clubs are used to shit sound and don't care about it, so I wouldn't degrade your production standards to their levels.
the only club in my town spent a shit load of money on a martin audio system, but the ceiling is less than 7 feet tall and there isn't any space for the system so one sub (I think they're 18 inch drivers) is next to the bar put right up next to the wall to keep out of the way and the other is next to a stripper pole around the corner (the club is an L shape, the worst shape a venue can possibly be) and if you're not looking where you're going you're going to hit your head on a speaker of moving head light. the place is a sonic nightmare.
Check out Dorian Concept, he uses a lot of jazz chords in his beats.
You also might like DJ Krush and Toshinori Kondo
I posted this in another thread last night, but forgot about it.
I play slacker rock-ish kinda stuff with some new wave influence, I'm looking for a good synth for pads for under $500.
Been looking at the Wavestation and the ESQ-1.
What's the most ideal? Anything newer that'd work as well?
I hate girls and go on /r9k/ to talk about how much I hate girls. what does hating girls sound like? I want to make an album about hating girls but I don't sing so it'd jus thave to be music
Hey guys, here is an Ableton Live plugin I put together to simulate the effects of recording audio to stuff like VHS or reel-to-reel tapes. Download link at the bottom. It uses all stock Ableton 8 devices. It's designed to open up a lot of creative possibilities rather than to be historically accurate or representative of any particular device. It's good for adding an lo-fi grit to pads, leads, samples etc. Stylistically it sounds a bit like Boards of Canada et al.
The best way to use it is to throw it on some melodic source material and start turning the knobs up from zero to see how they affect the sound.
>Wow and Flutter and Tape Speed
Adds a controllable level of pitch modulation to the incoming audio. This simulates the effect of a tape slowing down and speeding up, or a turntable warbling. This uses two Frequency Shifter effects to accomplish a subtle warping that changes over time. The top knob controls the intensity while the bottom knobs controls the speed.
Adds some distortion with a somewhat tape-like quality. This works in tandem with Tape Degen to add dirt to the sound.
Adds subtle filtering effects.
Changes filter in stereo field to add some stereo width to the sound.
>Laserdisc and Betamax
Creative delay and other effects. Disable these devices to get back more CPU power if you're not using them.
>know close to nothing about synths
>love them tho
How do I into synths m8s
what you think about pic related?
Fl Studio to start, Watch youtube tutorials to learn basics and play around with it, watch more youtube videos and get better, once you are comfortable with it try making actual tunes. If you feel you want to switch, try another DAW. (Ableton, Cubase, Logic, etc)
Anyone wanna talk about their song writing process? For me it's sometimes a stream of consciousness unless I need to do something specific like for a client or something. Then I take inspiration from a lot of different sources. I'll often copy a lot of really cool details from obscure artists I've discovered throughout my listening and patch them together. However, only half the time will it work out pretty well, especially if the genre/style is too out of my natural writing/music making habits.
I just go for it. I don't make any music for weeks, sometimes months at a time and then just blast out an albums worth of stuff in a couple of days as a purely cathartic process.
This is brilliant, thanks. 3 or 4 years ago I made an album of pop music remixes, sort of anti-mastering the pristine production and deconstruction the songs. I was listening to them today and thinking I would run them through some filtering and chuck them up on bandcamp. Going to use this to do it and will post a link for you here shortly.
is it possible to combine 2 microbrutes to essentially have a 2 VCO synth? or do you *have* to use them separately? some wizardry with the mod matrices of both, perhaps?
i'm really curious what the possibilities are with two of them used in conjunction, i'm entirely new to this hardware shit tho.
Korg micro keys when?
Fucking hell, I hate these things. They sound great but if you take them out on the road they fall apart within weeks. I've got other synths that have lasted over a decade of touring but these arturia things must have the worst build quality I've ever encountered.
I haven't had any experience with the micro, but the minibrutes keyboard and audio/headphone outs have been notoriously shitty. I had to use mine as a midi for a while and my midi data always had such low velocity even when i hit the keys down hard. and every time i switch 1/4" i have to be very careful with the jack cus I feel like it'll break on me
I'm assuming the micros would be more well put together since they are smaller and more compact. i got to play with one for like 10 minutes once and it seemed very "tight." although I think it's hard to fuck up mini keys too. the mini feels like there's a little bit of extra space, which makes it seem flimsy
yeah nice trips, but go to a namefag board if you want more producing producing producing everywhere. best thing about anon board is you can talk shit about anything. we talk about producing here, but we also talk about a lot of other things that we wanna talk about.
I love it when people come to these threads and complain about the exact problems that they are causing themselves.
Especially when they don't realize that this isn't a soundcloud thread
Now you're just being a douche
Post your shit or get hit
just post your shit. i just wanna know if this sudden influx of people are actually any good. the board used to try having this threads before and they never got much attention.
What are you planning to do with it. I'm a Max/MSP user but I would never recommend it over a normal DAW for standard music production. In terms of audio I use it to do randomly generated stuff, composition built on a set of rules rather than creativity. Making you're own synths, effects, sequencers etc. is fun and definitely gives you a greater understanding of the processes involved but if you just want to make music you can get similar results far more easily/quickly with a standard DAW. Are you looking to make your own instruments and the like?
Anybody here integrated an iPad or similar in to their composition? I've been making some stuff with Korg gadget and nothing else while being stuck on planes and it's been a lot of fun working within the limitations of the app.
hm, seems like you're looking for excuses to not post your stuff then
BTW: >he board used to try having this threads before and they never got much attention.
This is like the 20th iteration of the thread, so yeah, should be fine now attention-wise..
It depends. I'll admit that I haven't been at this very long at all and mostly just worked with different loops and samples. If I just use a standard DAW program how much freedom do I have in terms of instruments and effects from the get-go?
Samplr for iPad is a great granular tool.
I personally haven't used FL for 6 or 7 years so can't comment on its current quality but as was mentioned by someone else further up in the thread if you're starting out you can't go wrong. Grab all the free VSTs you can and enjoy yourself.
Most mastering houses will ask for -6.0dB so shoot for that. If it's just for personal listening, you can hit anything under 0dB before clipping starts to affect the signal.
Also, try green tea and take breaks so your ears can rest. What are you mixing down, anon?
That's actually good to hear as mine will be arriving tomorrow (I'm not on the road tho). The internals are what's important, the minikeys are just a nice little addition, you could always just use a portable MIDI controller instead without much fuss.
If the internals do well with surviving being beat up on the road, that's good to hear considering the price point. I'll be sure to be careful with them, tho ;)
Nice try, satan.
Also yeah, check the soundcloud threads, plenty of people here produce. Might not exactly be making mad dosh with it, but I know plenty of people around here who have very nice, finalized projects in different genres.
But yeah. Soundcloud threads. Also note that there is a large degree of variation in experience in the community, some are great some are decent and some are very new. Gotta keep that in mind.
Haha don't listen to me, I'm sure the micro will be fine. I'm just in a grump due to some irritating equipment failures recently. Had a brand new rack mounted mac mini pop its clogs after one transatlantic flight a couple of weeks ago. Seriously tempted to just stick my show on a cassette and wave at people as it plays.
damn man, transatlantic flight? how big of an act ARE you? i'm still stuck playing open mic nights and bedroom producing, lol.
and yeah, np bro, don't sweat it. i got mine for $250 as my first VCO synth, if something fucks up it'll hardly break the bank. even if i sawed off the keys, I could still process external sounds and instruments through that awesome SP filter.
Not that big really, especially in the US but I've been lucky with contacts. If you keep your crew small but treat them right you can play a lot more shows than you'd expect. My PM/MIDI tech is an absolute legend and the only way I'm able to really play outside of Europe. He organises it so that in places like the US and Oz we're only travelling with a couple of cases and hire the rest. There's not a massive amount of money in it at my level though, DJing is obviously far more profitable for both promoters and artists, it certainly doesn't pay all of my bills.
pretty cool i think the composition is good even though it wouldn't be the kind of music I'd choose to listen, but I think the intruments sound kinda "amateur", to me the synth patches you used sound like they were presets that came with the synth
Not really. Reaper, if you count that as free
>i think it just might be my preference for analogue warmth though
I really can't tell if this is self aware or if you're actually that kind of person.
There's nothing wrong with having preferences but "analog warmth" is a purely meaningless buzzword that no one can ever define with any measure of objectivity when pressed to do so.
really? I always percieved it as the lack of ~17k-20k+ hertz whenever you do an analogue recording. perhaps I cannot attribute this to only synthesizers.
I'm not really a fan of consumerism so I don't often pay attention to marketing terms or anything. How can i avoid buzzword?
This is still one of my favorite synths: The Kurzweil K2600 RS (the Sampler feature is a must-have for the ability to process live sound thru the synth architecture and FX processor). So incredibly underrated. I started with a Kurzweil K2000 (which some asshole I used to be friends with broke), then a K2500, which I sold to get the K2600. It is also one of the most versatile and best-sounding hardware samplers, for sure. People today are so biased against digital synths, and especially any synth which is edited via a combination LCD screen and buttons, that the Kurzweils get overlooked, especially by newcomers to synthesis. There are a ton of shortcuts and tricks, once you learn them, you can edit this thing as fast as you would any synth with knobs and sliders. I also use MIDIQuest and Sounddiver. The Kurweil was partially designed by Bob Moog, who joined the Kurweil team as soon as Moog went under after releasing the MultiMoog, as well as Stevie Wonder. This is Bob Moog's baby and it shows. I rate it up there with the Yamaha DX7 as one of the best digital synths ever made, and one that can compete with any classic analog. I can't explain, it is just incredibly intuitive and has as much character and personality as any analog I have played. It's predecessor, the K2000, was a favorite of Skinny Puppy's Dwayne Goetell and Cevin Key, as well as Trent Reznor, and was used extensively on "The Downward Spiral" as well as Puppy's "Last Rights" and much of Download's early output. It is a BEAST. I recommend to anyone interested just to check out a K2000. They can be bought for super cheap, and are the foundation for this and all of Kurweil's later synths.
Advice for a production in Ableton? I'm a beginner and am pretty overwhelmed tbh. I've made some shit beats but everything sounds super flat. Tutorials/videos/advice is welcome. I'm especially interested in making Brainfeeder-esque stuff, although I have a soft spot for liquid DNB as well. Also, should I go ahead and invest in a MIDI keyboard?
none. They all suck. I'm serious. Buy yourself even just one good hardware synth, Use the computer for multitrack recording and editing, maybe some FX, but keep that to a minimum. HArdware FX sound a million times better as well, even old digi FX. OK, I will be straight up, I do like FM7, it does a really good emulation of the DX7. Other than that, I can;t stand any softsynths anymore. My $0.02
If you are serious about making real music, dedicate yourself and work hard, save your money. Buy real hardware synths that sound good, Don't waste your time with software.
It does because warmth or not, analog does have a very characteristic sound that many people find pleasing to the ear that is directly related to controlling oscillation frequency with a voltage input.
Subjectivity of whether you like it or not aside, it is objectively a "thing" that exists and based on electrical principles of physics. Just sayin'.
Sorry, other than FM7, NI stuff doesn't do it for me. I love the concept of Reaktor, you can get some cool sounds out of some of the synths people make. They are very cool to look at and fun to play with, but TBH, I wouldn't use any of them on a song I was writing. I would rather use a $400 Novation Bass Station 2 or some shit on every synth track before I use any NI stuff.
I really doubt most people could pick digital from analogue in a blind A/B test. "analogue sound" is in the head more than anywhere else.
>it is objectively a "thing"
A thing that no one who espouses it can ever seem to put into tangible terms.
Weird, FM7 is probably my least favourite. Maybe LuSH-101 or Spire, then?
I thought as much, do you have any suggestions? I'm a student so my budget is limited (soft limit ~$150), but I will drop enough to get something decent.
Also I've been reading a bit about Maschine, does anyone have experience with it? If so, thoughts?
There is a difference in sound, but its not from being analog, it's from being hardware. Recording your music through something like a reel to reel or even a beat up mixer gives music a sound and character that you can simply never replicate when you're working completely digitally. Sure there's VSTs that replicate it, but that open air quality is what makes the difference.
as much as this guy kinda sounds like a dick, i agree with his main point, that hardware is fucking awesome.
i'd add that it'd probably be best to do a good deal of research first, and try to buy as little equipment as possible. like one, maybe two hardware synths that you can use a LOT and get as really deep understanding of the sounds it or they can create. Only get a 2nd or 3rd when you've thoroughly understood the first, then second.
As the saying goes: limitations breed creativity.
Along these lines: are the Volca Beats any good? Honestly, if I had my druthers, I'd like some sort of drum hardware thing that would allow me to play drums live without quantization, and loop it, and maybe MIDI sync it to my synths. Seems like the best I can do is find something with a swing parameter, though :(
>If you can't program good sounds on something like a VST, don't waste your money on analog gear.
Where did he say that he can't? Also he's looking for a VA VST, not an actual analog synth.
Brush up on your reading skills.
So I decided to into bleep production a few months ago when I met this dude at my college. We hung out a bunch and when he found out I could play keys decently enough he got me into working with ableton.
As far as gear goes I only have a midi keyboard controller and my computer. I basically record catchy sounding melodies and loop them to drum beats (poorly I might add, my drum loops usually fall out of sync with the piano after looping a couple of times). Nothing serious yet but I wanna know how to get better so I can start putting shit on soundcloud
My current process is just to record everything I improvise on the keyboard until I play something that sounds cool. After that I try to flesh out a track around it. Any advice for an aspiring amateur bleepfag is greatly appreciated. Gear to cop, ect.
I think my next gear purchase would be something with pads to make my drum patterns with. Finger drumming on a keyboard is pretty wonky at times , really hard to get down a solid beat
Just go on youtube and look at various synths put through oscilloscopes and note the differences in waveform, especially with filter sweeps. There are plenty.
And obviously that shit can get lost when you apply tons of different FX and EQ and compression and whatnot, and other forms of modulation to the sounds. And it's not even necessarily "better".
It's just "different". That's the real key. Some people certainly have a preference towards one vs. the other, and digital and analog both have their own unique abilities and faults. But analog does generally have a signature sound due to the sound being generated by electricity traveling through a circuit that isn't corrected or perfected and tamed by a computer. Doesn't mean it's better or worse in any objective way, but it is different.
For the record, I very much enjoy recording multiple layers from my mono analog VCO synths (I don't have a lot of money so I prefer them), then creating one high bitrate sample of all of those layers together, and putting it into a digital VA synth that accepts samples in place of the waveform, then playing it polyphonically. They're a great sample source, for instruments as well as drums.
How the fuck can I make music like The Haxan Cloak, Oneohtrix Point Never, or Death Grips instrumentals (I know these are all very different but I'm asking if anyone can help in anyway, btw I mean recent OPN, early opn kinda self explanatory, okay thanks bb's
I'd recommend the Korg PadKontrol for pads. I've had mine for 3 years now and it still works beautifully. Great velocity response, and to be fair you really only need the 2 knobs and an x-y pad for parameter modulation when you're in the studio, which I'm sure you are. A lot of people don't realize how fun and useful the x-y pad can actually be, it's pretty nice when you learn how to use it properly.
>Just go on youtube and look at various synths put through oscilloscopes and note the differences in waveform
Problem with this is that the waveform will likely be different between every single synth tested. Unless we can find something in the waveform shape that actually tells analog then it's kind of meaningless. The only thing to my ears that analog sometimes has is less stable oscilators, but even that is usually only in older gear.
I don't know, I'm just sick of unquantifiable buzzwords in the music scene. Synthesists have muh analogue warmth, guitarists have muh tube sounds, I'm sure violin players have muh imported hundred year horse hair dipped in Spanish urine bows or something.
unless were talking crazy high end the only thing i often notice in analog vs digital is the way hotter signals overwhelm in a summing amp section of a synth. tends to sound a bit different to me
Really depends on the individual. Just look at that discussion earlier regarding clubs who get phasing issues and shit because they play their stuff in mono even if it was recorded in stereo, and all of the customers don't give a fuck because that's just what they're apparently used to even though it sounds like shit.
Then compare that what someone who professionally mixes audio for a living in a real studio hears, combined with all of the experience of different sounds and music styles he's heard in his life.
I'm sure a professional violinist can tell the difference in sound from a Stradivarius, even if you or I couldn't. I'm sure there'd be a big difference with using tubes if you heard it in a live setting (physics-wise, it has to do with creating a much nicer distortion effect when the signal gain is enough to cause clipping, compared to solid state which sounds like ass rape).
I don't know either man, I just like the sounds I can make with my hardware that I haven't been able to get with my VST's alone :)
why does trent reznor tell me that there's a big difference between hearing a minimoog vst and the real thing, then? hmmm? HMMM?!??
Regardless of your opinions on his music it is an objective and undeniable fact that Trent is currently one of the best bleep producers still alive. And while "muh analogue warmth" may be a shitty argument, he is right about software never being as good as hardware in the sound creation process since hardware sets a "limit" on sound production and its up to you to squeeze every synth till the last drop. One of the things about soft synths is that if you don't really like the sound after 5 min of tweaking you can change synths instantly and try again and you will never be able to fully explore the sounds of one particular synth unless you have the patience of turning knobs with your mouse for hours which is horrible.
>software never being as good as hardware
But this is entirely wrong and makes you just as bad as those who would say that hardware would never be as good as software.
>sets a "limit" on sound production and its up to you to squeeze every synth till the last drop
Tired argument. Not everyone works like you do.
>turning knobs with your mouse for hours which is horrible.
What is a midi controller?
Basically, what it boils down to is this: nowadays you have literally millions of kids who download cracked software for free and are making their "music" exclusively on it. They want desperately to believe that they are somehow bucking the system and getting the best for free. They convince themselves that, yes, their Minimoog VSTi REALLY DOES sound just as good as the real thing, so why go out and drop $3 grand on the real hardware? They will argue until they are blue in the face that its the artist and not the gear, when they have actually never even owned any of the real hardware units their software is emulating. The fact is, once you start using the hardware, you'll never go back. In my case, I grew up using hardware, before computers could do much. Back when I got into making electronic music, computers were able to sequence and do very basic wave editing. If you had about $9,000-$10,000 minimum to drop on a super high-end MAC + OPCODE or ProTools HD/TMI system, you could record a few tracks and use a few effects in real time (with a ton of latency). I did not have the luxury of being able to afford both the hardware Synths and samplers as well as a high end computer system. I had a friend who used an Atari ST with Cubase and Cakewalk. I just sequenced with hardware. Anyways, back then, you had extreme limitations which forced you to improvise and push your creativity and the potential of your gear to its limits. Most importantly, getting into making electronic music was a big investment, which meant that you had to be serious about it. These days, every kid has some DAW and is a Techno or Rap making hack, wannabe producer with a Soundcloud. Its depressing. There is so much shit, and its because there is no sacrifice or true dedication necessary to make electronic music. The reality is, though, that all of these laptop hacks are kidding themselves. Their music sounds like shit because its all coming from software.
Until an artist uses some hardware, I and just about everyone else in the Techno/Synth scene will not take them seriously at all. It has nothing to do with snobbery or elitism. It has to do with a strong desire to preserve the integrity of the music, which has been seriously damaged because of the whole cracked software "revolution". There is so much shitty electronic music coming out in the past 15 years, that a backlash was inevitable and necessary. Otherwise the scene would be dead and gone by now. If you are an aspiring artists and want to get into making electronic/Synth music, forget about software (other than trackingamd sequencing on a DAW) and invest some money into some quality hardware. Your music will only sound better, and your workflow will become a thousand times more enjoyable and fulfilling. Fuck the sales reps at Guitar Center. They don't know shit and all they want to do is take your money.
honestly i think the real problem with "kids these days", above all else, is that they all just want an easy way to get rich & famous.
they suck because they aren't making music for the love of sound, they just make the easiest stuff that's as popular as possible to get to the rich & famous end.
luckily, most of them never make it. but then there's skrillex so idk
Sorry, I meant "using DAW's for tracking and sequencing."
The more you take your music seriously and the more you invest in it, the more you will get back. If you think you are going to get anywhere with a bunch of software u downloaded for free, you are kidding yourself. You get what you pay for, just like anything else. All you need is one good drum machine and one decent hardware Synth. You can multi track them to hell and back....and I guarantee you will be infinitely more satisfied and your music will sound infinitely better than if you were using a VST folder with thousands of the newest plugins.
This is true. The same with DJing. Even more so. The cracked software has ruined the scene. Now the real, dedicated artists are too often lost in the shuffle. Some asshole with his crack or Virtual DJ has a bunch of friends and gets tons of gigs while seasoned DJ's with huge vinyl collections and incredible skills are lucky if they play a few gigs a year to a dozen people in a room. Fucking criminal. Especially when half or more of these sucker laptop DJ's are just downloading sets off the internet and playing them while they turn knobs on a MIDI controller or mixer and act like they are the one playing.
I think a good microphone would be better than a drum machine. Easily sequencable in your DAW of choice just like hardware, but you aren't forced to quantize everything and I get the best sounding drum samples from hitting random real life objects together in different environments.
One of the best clap sounds I've ever made was from one of those $1 metal handle fly swatters from Lowe's slapping a vinyl tarp on top of some posterboard, recorded through an SM58. Just can't get that with a drum machine.
Save your money for synths.
some delusional talentless twat that goes around soundcloud/bandcamp/production threads shitting on everyone else
it's advisable not to mention his name as he's somewhat like voldemort
JBendydicks is the opposite of this Joey guy.
Don't you remember all of the thousands of VST's he boasted he used? He is (was?) the ultimate quintessential cracked DAW kiddie.
It should be the domain of only those who are serious. When I wanted to start making electronic music, I worked at a restaurant for months to save up the $1300 for my first sampler, the Ensoniq EPS. You twist it around to a class issue. It's about dedication and sacrifice. The money is symbol. You kids want everything easy and free with no work no sacrifice no effort nothing.... Just handed to you. I must admit it makes me sick to my stomach and more than a little angry. But then I listen to the shit people make on their computers and I realize the universe always maintains the balance.
As per usual, it's generally not what you know, but who you know. Sucks, but it's reality, and also generally why the governments around the world (but in the U.S. especially) tend to be filled with shit-tier politicians.
Since when did I go around shitting on anyone's Soundcloud? WTF are you talking about? I rarely come onto /mu/. You are butthurt because you can't take views that oppose your own.
It's positively a class issue. Making spending thousands of dollars a requirement to make music is pure pretension and classism. Your "these kids, back in my day" attitude makes you seem like a bitter dad rocker as well.
I'm really not trying to make anyone feel bad or feel that their music lacks value. Its not about the music. It's about the SOUND QUALITY. hardware just sounds GOOD. after years and years and years of using both, I have gotten to the point where I can immediately detect music created on softsynths and I can't stand it. It only takes away from the artists hard work because it makes their music unlistenable to me.
I disagree with you because I agree with him.
I mean c'mon man, the huge influx of mediocrity that's come from the internet/pirating age of music is pretty fucking apparent. Anyone and their grandmother can make a generic hip hop beat with free VST's and drum pack samples in a couple of hours, upload it to soundcloud and get lots of compliments. it's ridiculous and unfortunate because it drowns out the real talent, especially those who are doing legitimately new and creative things instead of just trying to appeal to the lowest common denominator.
if you can't tell the difference between a poorly mastered track and one done on a professional level, well, i really can't help you.
>I can immediately detect music created on soft synths
Of course you can. You're just a bitter old fuck stuck in the past bitter that you don't need to blow all the money you spent to make music now. Seriously, you belong on gearslutz and not mu. You can circlejerk your dated ideas there.
I want to challenge young artists to dedicate more to their music. Give yourself the tools you need to truly shine and which will make your music sound great. Also, your workflow will improve 1000%. hardware Synths, drum machines, samplers and FX units not only sound great most of the time, but they are so much more fucking fun and inspiring to use than a fucking mouse and a MIDI keyboard. If you take your music seriously, then invest as much as you can into it. Give yourself the best quality instruments possible to create with. I busted my ass when I was younger, flipping fucking burgers to save for gear. When I finally got the gear, I had earned it and it meant so much more to me that a fucking plugin. There was a spiritual connection. Plus...girls think its sexy. They laugh at dudes sitting in front of computers all day.
Your average kid getting a part time (20 hr/wk) min. wage ($8 where i live) job will make around $640 in a month.
With that you could get a scarlett 2i2, shure sm58, microbrute, and associated cables and shit. Later on you can get other CV gear to combine with the brute, and you can sample anything with the mic.
$1000 is a better price point to work with, and certainly doable for most college kid /mu/tants over the summer. Get an ms20 mini or pulse 2 or slim phatty or bass station 2 instead, whatever suits your fancy. there are any number of 2 osc analog synths under a grand that can do literally all of your sounds (even drum samples in many cases), and with digital you can get even more bang for your buck (though you won't get the analog sound and workflow).
Actually, since you can get used BS2's for $400, you could go $150+100+400=$650, just 10 bucks over budget. Work a couple of extra hours and make that amount easily.
Again, this is dealing on the extreme end of kiddies who can only work minimum wage jobs and only 20 hours a week. Obviously more pay or hours = more money per month = more options.
But you can definitely get by with that setup to start.
Most can't put everything towards gear. People have living expenses you know? Also, that leaves you with nothing but an interface, a microphone, and a fairly limited sounding synth with a very small keyboard. Sure you could make music with it, but it's a limited set up.
not this shit again
Regardless, if you're on a budget a good, quality controller and pirated vsts is the most versatile and cost effective solution.
You dorks bitching about me using a name are a bunch of fucking dweebs. I've used this site as an anon for ages and still do when appropriate. I am using a name so that heads can see when I am writing so there is continuity and people aren't scratching their balls trying to figure out if I am the one responding or not. For all the punk faggots whining about my philosophy... If you think you are going to get ANYWHERE using all software on computers, you're fucking kidding yourselves. No one will ever take you seriously. No one. You will be sitting in your bedroom forever.....putting tracks on Soundcloud and spamming this site desperately for a few more listens. I might be an old fuck, but with age comes knowledge and wisdom you fucking snotnosed dweebs. I'm not referring to anyone except the faggots trying to rip on me. I have been around and seen more, heard more, been to more shows, more raves, more parties then you can dream of and I've got to meet and hear some of the most amazing artists in the world. I've written thousands of songs. What have you done? Sit on the computer for days on end....posting on 4chan while u make your little loops on FL Studio?? Get a fucking life.
Dude...if you can't save a few hundred to buy a Synth, just one decent Synth for, say, $500....then you are failing at life and aren't going to get anywhere with yoir music. Trust me.
>If you think you are going to get ANYWHERE using all software on computers, you're fucking kidding yourselves. No one will ever take you seriously. No one.
Tell us what name you perform under. I'm sure we've all heard of you.
> I have been around and seen more, heard more, been to more shows, more raves, more parties then you can dream of and I've got to meet and hear some of the most amazing artists in the world.
Come on, no one sees the Jben similarities in this line?
>I've met all the celebrities, I've used more plugins than you, I've made hundreds of tracks, etc
It's exactly the shit he'd pull.
It's really not that much money, and it's assumed you get a pirated DAW for free to do everything with.
If you're struggling just to put food on the table and pay your baby mama's child support, you really have no place making music in the first place. Not electronic music, at least. Get a harmonica or something instead.
We're talking about non-degenerates here. A high school kid with a min wage part time job can easily afford a basic set up, and if you're in college or graduated, you really have no excuse for not making more than min wage unless you got a retarded degree like art history or some bullshit.
And here we see the classism. Must be nice to live a fairly priveleged life. Seriously, just fuck off to gearslutz where you can lick the veiny cocks of other old guys posting their minimoogs
All the electronic artists that I respect and inspire me started with hardware and continue to use hardware. That legacy is why I choose to use hardware, knowing that I won't be finding any shortcuts to making music. A lot of people would say that I'm limiting myself but such restrictions have allowed me to get to know my gear inside out. It feels good to have that physical connection with something real.
No one is saying to put everything toward gear. Personally, I'd rather buy gear than eat. I would sacrifice shit like eating out to have more money for gear. Shop at thrift stores. Where there is a will, there is a way. It might take a few months. Gotta have patience. Good things in life aren't free, and they don't come overnight.
I really want to agree with you right now but you're being kind of a dick about this which is really putting me off.
>A high school kid with a min wage part time job can easily afford a basic set up, and if you're in college or graduated, you really have no excuse for not making more than min wage unless you got a retarded degree like art history or some bullshit.
Unemployment is still extremely high, some people live in the suburbs with no vehicles thus can't work, some people are ill or otherwise unable, and so on. There's more than just your experience in life.
>Where there is a will, there is a way.
Worst statement 2014. That's like all those people who say that the poor are just lazy and such. You can't will something into existence.
It's not the amount that matters here but the sentiment. He's essentially putting a money gate on what he deems "respectable" music for no reason other than elitism. It's a purely degenerate way of thinking that runs contra to the technology we have available.
Again: the people you speak of really have no place in making electronic music. They probably can't even afford a computer then. Might as well get a harmonica or cheapo guitar instead.
Furthermore, unemployment isn't EXTREMELY high, it's currently at 6.1%: http://data.bls.gov/timeseries/LNS14000000
Give me a fucking break, quit the waterworks and develop a work ethic. Getting a basic setup, if you REALLY want it, is honestly not hard at all, for any one willing to work.
Blow me. Hey...if you're happy making music on software Synths and shit, why the fuck are you getting so fucking bent out of shape over my opinion? Obviously I am striking a nerve. Could it be that you agree with me, deep down? Could it be that you, too, have begun to hear the dreaded digital "zipper" sound in everything you write....you hear the sounds all breaking down into bits and melting together into a big pile of digital mush that oozes out of your monitors....
I think software is great for beginners. It is a great tool to teach kids how to write music....how to sequence, edit, modulate a Synth or sampler...etc. But you gotta move up to the next level if you want your stuff to sound GREAT and to be taken seriously. Trust me, you'll only thank yourself once you do. Anyways....I'm out. Too old to be fighting over musical philosophy on 4chan. I don't even take music that seriously anymore. Its all just sounds coming out of a speaker to me. Air. Its all just waves moving through air. Nothing to fucking fight over man. To each their own. Have fun with your plugins. If it makes you happy. Fuck it.
This is just elitism as well. Most people already have a computer since it is honestly an essential in modern times. Unless you can somehow justify saying they have no business making electronic music then you're just being shitty and exclusionary. It's not like you don't think these people should make music at all, even, since you said they should buy a guitar, so clearly you're just trying to keep your synth music free of the "unwashed masses" or whatever.
That's just retarded. You can't apply reductionist thinking to everything and expect it to make sense.
To be honest man (and I agree with you on most of your points), YOU are kinda getting bent out of shape yourself.
You'll get much better reception from people if you chill the fuck out and be more polite. You're only going to cause people to get pissed at you, despite the merits of your opinion.
You're really only hurting yourself with that attitude.
>quit the waterworks and develop a work ethic
Go to bed Ayn Rand. People aren't always poor because they have no work ethic. God I miss when this board wasn't infected with /pol/ tier thinking.
>Obviously I am striking a nerve. Could it be that you agree with me, deep down?
Could it be that I'm tired of smug shits like you writing people off for no good reason? Could it be that you're exactly like Jben but slightly more literate?
>breaking down into bits and melting together into a big pile of digital mush that oozes out of your monitors....
Do you know how computers even work?
Seriously. You're absolute cancer. The kind of person who would leave comments on Aerosmith videos saying that you remember when kids listened to le reel muzik. Fuck off to somewhere else and don't come back.
No it's not. This general is always shit. Every single one I've seen has been awful. I used to think guitar players were the worst of the music world. Now I'm thinking it's probably synth players.
>care to elaborate on that point?
It always devolves into a few pricks shitting on something, be it a workflow that isn't theirs, a product they don't use, a different way of doing things, whatever. Every single thread this happens.
>just gonna shitpost?
I'm not the one shitposting.
the problem is that you could apply that statement to literally any thread on /mu/. it has nothing to do with this specific subject matter, it's the community.
like always, you just have to ignore it and dig for the gold hidden in all of the shit.
I think that the dude has a point.
Only extremely lucky dutch DJ's get somewhere using only softsynths (Garrix)
Even DG use(d) an 808 as the backbone of their sound. The bottom line here I think is don't be too "exclusive". Incorporate both software and hardware sounds into your work and it will sound much fresher than just using one or the other.
It's really not that bad. Why do people like you have to show up in any general? "Wow this thread is shit! don't you guys ACTUALLY talk about so&so? Wow you guys are all worthless." It's anon, a lot of people like synths, there's a lot of beginners, it's just what it is.
remember this is 4chan, this place was made for pic swapping and not intelligent discussion. If you really hate it just go to watmm or somewhere else. instead of complaining
Not really. Emo threads are usually alright aside from the blatant baiting posts of "like, my chemical romance?" and "emo a shit." Here it's people getting genuinely pretentious and self righteous of petty shit. And when it's not arguing it's basically just people saying "yeah, the blofeld is pretty cool I guess"
>remember this is 4chan, this place was made for pic swapping and not intelligent discussion
Not really true. Moot himself has said he isn't a fan of the "it's 4chan, I'm supposed to shitpost" ideology.
dude, just to show you what an asshole you are...I will tell you something. When I was younger, I did any fucking job I could to save up to buy my music gear. Washing dishes. Flipping burgers. Cleaning fucking toilets. I grew up poor as shit, and I never thought I was too good to bust my ass. What got me through all of it was the singular goal of saving money to buy decent gear. Analog synths, vintage drum machines, samplers. whatever. Even good Audio I/O's for my computers. I was poor most of my life, and I am still not rich by any stretch of the imagination. Fuck your unemployment figures, There is always a way if you want something bad enough. Hustle if you have to. AlI cared about was making music, and I needed the proper tools to do that, so I did whatever it took. You on the other hand, think you are above washing dishes or taking some other similar shitty minimum wage job. You probably collect food stamps, SSI checks for "depression" and "anxiety", along with some help from mommy and daddy, You probably spend most of your "disposable" income on drugs and partying, and have nothing left for gear. So you've concocted a philosophy that all you need is some software. What programs are you using, bro? Ableton? Logic? Cubase? They all cost hundreds. If you have enough money for a computer, soundcard, and DAW, why can't you afford some gear?
>pointing out problems is claiming that I'm owed anything
Nice implications, m8. And if you can read you'll notice I never was talking about posting photos, but about people being dicks.
>There is always a way if you want something bad enough.
Patently wrong. Nice right wing thinking.
>"depression" and "anxiety"
Discounting real medical problem? 10.0 best new edgy.
>You probably spend most of your "disposable" income on drugs and partying, and have nothing left for gear
Personal attacks, great argument.
I'd prefer Jben over you, honestly. At least he spaced out his text.
As long as >>48279015 isn't invited.
I guaran-fucking-tee you are using cracked software. If you say you use Reaper, I will tell you to your face you are full of shit. So you are using the fruit of someone else's labor without giving them anything in return, correct? While you bitch to me about elitism and classism and unemployment and all this bullshit. Youa re full of shit, bro. Typical millennial, you want it all for free and handed to you on a silver platter, and if it isn't free it must be worthless, right? That's why your culture sucks and has created NOTHING, and continues to plunder MY generation's culture for all of its content, ideas and inspiration. You know fuck all about anything, especially electronic music. My suggestion is you pick up a guitar and learn that. It will suit your personal leanings much more than a synthesizer....but oh wait....you actually have to buy a guitar and then learn how to play it! Fuck. Forget that then. My bad. Plus, those strings can get pretty fucking pricey. Best you just stick to making your beats on the nice Macbook your mommy got you for your birthday with all that cracked software. Have fun.
Of course I'm using cracked stuff, you shit.
Wah, kids these days, etc
>plunder MY generation's
>le my generashun
I know it's b8 but it's still annoying as fuck. Literaly, you're the fucking worst. Post a timestamped photo of all your gear and a link to your souncloud or you're just confirmed for b8. Even Jben actually had music to show.