>Also: reminder that the song challenge starts today and is due this Saturday, 7/26.
DAWs are tools: past certain standards, all that can change is the way to achieve a goal. Besides the workflow, it doesn't matter if you master on FL, Bitwig, Live, Reaper, Reason, Cubase, etc. as long as you know what you should be doing.
I'm looking to get into production and I found an Akai MPK25 for 130 on craigslist. I know there's some minor pad sensitivity issues, but I was planning on modding them if I were to pick it up. Is this a good controller for a beginner? If so, is 130 a reasonable price, or should I haggle?
Yeah, it's a great controller, especially for that price (new it's $250).
You really really need to check to make sure everything on it works properly, though. I'd only haggle more if some shit is broken on it. Bring a laptop or see if the guy can let you playtest it on his computer or something, but otherwise yeah go for it, especially if everything works well and nothing is broken it'd be a great deal.
can anyone provide a download of minimogue luxus? i used it in a lot of projects and the .dll didn't survive my file transfer to a new computer for some reason, and the original developer seems to have wiped it from the internet somehow.
Thanks! Sorry if this sounds kind of amateur, but what exactly do you mean by playtest? Is it simply testing the connection to my computer? I picked up a copy of Ableton 9 last night if that helps.
Yeah, but you probably need to hook it up to a computer to actually test it. And honestly, even if like, say, a pad or knob doesn't work, 1) you said you were gonna work on modding it anyways so maybe you could fix it, and 2) there are still a bunch more knobs and pads you can use so it probably isn't that big of a deal at the end of the day.
You could always just say "fuck it" and buy it anyways, but it's a risk. Again, if you have a laptop with ableton on it and can hook it up via USB, you could check it out real quick just to make sure all of the keys, pads, and knobs work like they should and send the full range of MIDI messages.
Sorta why I like buying used gear from guitar center though, since they have a policy of testing everything they buy so you can generally be sure you're not buying a lemon. More important for used vintage gear, though.
If it's just a MIDI controller, especially a first one, I don't think it's that big of a deal. Honestly, the knobs are probably the most important part. As long as the keys send note data, you can do the fine tuning on the velocities manually.
If he wants an actually nice keybed down the line, I'd highly suggest a 90's digital synth, they're cheap af and built like tanks. Something like a Yamaha, Alesis, or Kurzweil.
But he probably isn't experienced enough for that yet.
How to make a lead that's gonna sound like pic related? I mean a sweet, mellow, fat lead, but not sounding too synthetic, maybe with a feeling similiar to vibraphone. I've tried experimenting with various filters and stuff but I still can't find it, so any ideas or associations would be great.
Probably use sine and/or triangle waves, use a LP filter at somewhere in the 0-50% range, with a short attack (like, 0-5%, probably just 0 to sound like striking a vibe), long release, some slight A+B Pitch oscillation (vibrato, basically) that has a bit of a delay (doesn't kick in instantly, maybe after a second or two), and maybe some slight detuning and reverb.
Probably a good place to start, just off the top of my head. Might play with square waves too, but probably stay away from saw. Sine and Triangle are nice because they're mellow and fat sounding, but still have some substance, where squares are just flat.
this is a good idea, but i'm going to further augment this by adding that it's worth your time to play with the oscillator FM to get more interesting attack transients that'd be more akin to those found in a vibraphone.
and this basically shows off where your skills are at, by showing what you can create from scratch in only a week or less. you're also supposed to elaborate on what you were going for musically (so if you made a really robotic artificial sounding track, or something really lo-fi or harsh, but you WANTED that sound, people won't give you shit about it) and give as much detail/specifics about what production techniques you used for your different sounds and arrangement, so others can learn from it and so people can more accurately give feedback. the more we know about what you did, the better. like what tools you used (VST's, hardware, etc), and production tricks you used to get certain sounds, etc.
i'd say if you spend less time on it, you should mention that as well when you post it. i know not everyone will be able to spend an entire week working on a song, maybe you just have two days you can work on it and that's cool too, since many of us have jobs too. the week is just a general time frame, with a specific day we can all post our stuff (using Clyp.it) and give and receive feedback.
it's sorta the opposite of how everyone drops their soundcloud links and then leaves in the soundcloud sharethreads. we're trying to start something where we can help our fellow producers improve their skills, as the main goal.
there may be some restrictions/objectives in future ones, to create more of a challenge and also just for the fun of it. remember that fun is always the most important part of the music creation process.
yeah sampling is fine. from scratch mostly just means it's not a project you've already been working on for awhile, but instead something you're starting from nothing, from the very beginning.
feel free to copypasta that shit.
in other news: anyone, not necessarily related to the challenge, make any new tunes lately? especially those of you who use analog synths?
i'm not even starting my challenge song until i get my microbrute, which will probably be wednesday. i have a good DAW workflow set up though and can normally pound out a track in a couple of hours, so spending a few days on it will actually be a new feat for me (and hopefully will show in the quality)
feel like more people should post Work In Progress (WIP) tracks here more often. maybe make it a rule to post the track via clyp.it rather than soundcloud or whatever, to avoid advertising.
>make any new tunes lately?
Yeah, I recorded some vocal takes today. Hope I can finish it this week to chill out with the bleepchallenge
Here is the WIP from days ago with different synth takes, unmixed http://clyp.it/fun15vig
I can dig it, has a nice groove/rhythm to it, very headnodic. Personally I could do with some more variation/less repetition (which may come in the final product, who knows), but to each his own, dunno what you're going for.
That like, fluttering percussive sorta sound, dunno what you'd call that, like a card in the spokes of a bicycle wheel... sounds good.
yeah it's got a nice groove to it I like it, but the quick rim shot roll kills it for me, especially since it's happening in the middle of every bar. if it were a bit more subtle then I would really dig it. the drums overall seem very sharp and noisy to me though, but maybe you're going for that, or maybe you're not at drum mixing yet.
>and this basically shows off where your skills are at, by showing what you can create from scratch in only a week or less
lmao, how does you having more free time than me show off your skills?
and then u want me to write a treatise about my choon?
el em ay oh
neway, i might try my hand at it next time or summat. could be a larf but i'm not writing no essays.
Thanks for the input, this WIP literally had no FX/mixing or anything, so it may sound a bit too dry. Also it was the second part of a much bigger song that had 2 parts. But I realized the 1st part (slower and more house-y) sounded too plodding and uninspired, so I decided to redo the track and flesh out the 2nd part.
I want the track to slowly get more intense then peter off towards the end while keeping its rhythmic canvas. Kinda like African music. Your opinion on the rim thing actually helped me with cutting them up and re-structruing, maybe these slight edits will make the track seem slightly more varied. So, thx
reminds me of when I was cleaning out a synth I bought off craigslist. There was a little dead spider just hanging out in there
how do I make my shit lush and shiny
I know it is more than just reverb
I want dat sheen knawmean
pic is what I'm working on
also, is there an irc chan for /bleeproduction/? really like these threads
they can get pretty stinky, cus I wear sandals most places. size 15 shoes are hard to find in fashionable designs
I got lucky for paying 100, they are worth about that much. very ghostly and not too sharp so you can get some cheesy pads and leads
It was a joke, I thought about modding it, but I don't think I will until I get bored with it or can get another for a deal.
is that renoise? have you used daws vs trackers? i heard trackers can be a lot easier getting musical ideas across, but nit picking production value is something a DAW can do better. Do you think this way? also nice sample, I agree that chorus would help a lot
chorus on the master bus?
it's all apples and oranges to me, I have just invested too much time in renoise to give it up.
you can probably get good sound out of any DAW. like the DSP in renoise isn't the best but you can always use plugins to compensate. tracker style is boss for drum programming i think.
if you don't like piano rolls or just want to try something new you should def play with it
I'm so excited for saturday. This thing is now covered in crap to make it sound like sex.
The fuck you mean by "sheen"? Just put a vintagewarmer and fucking ozone on there and be done with it
Imo you get a good production faster with Renoise than with any other DAW. I've been working with Renoise (and on and off with Ableton) for five years now and the differences are mostly in how you work with it, not in how it sounds. Especially since you'll be using tons of external VST for the mix/master anyways.
Well I figured a guy like Zimmer could just multitrack a single MKS-80. I cannot imagine that 9 of them wouldn't get muddy.
As for the impractical comment, I have no idea what that guy means. Such a vague statement to make.
In regards to the furniture and the layout of the room, I'd love it. Musicians could just chill out on the furniture, and when the moment strikes, you're in the right room.
the sad thing is, even with that huge wall of expensive modular equipment, the end result probably still sounds like some combination of either a malfunctioning 56k modem, 80's cheese, or an SNES game. N64 if you're lucky, 8-bit if you're not.
i'd actually love to be proven wrong
to hear an album, or even just one song that has been made by someone who has access to a ton of that wicked expensive modular analog synth equipment, that blows my mind with how good it sounds. it has to have a drum beat of some kind, not just a string of ambient weird noises. it doesn't have to be live.
what hurts even worse is that regardless of the sound, it's probably still going to be a repetitive 16-step sequence or some bullshit, while knobs get slowly twisted. same note sequence and note length over and over and over. can't even match a single person playing something like a piano, in terms of depth of dynamics and rhythm.
wouldn't be so annoying if it wasn't so obscenely expensive.
anyone thought about streaming their music making? I've considered it a handful of times, although my CPU would probably fry if I did it. I also have a fear that I'm doing things incorrectly or something
if you've got a modular synth song that you personally find mind-blowing, i'd honestly really like to hear it, even if i don't ultimately share the same opinion.
im not sure how to convey it better through text, but i'm seriously not trying to be a dick or a troll or anything here. i honestly am curious and interested. i just feel like the real power in synths, analog or digital, is multitracking, fx, and fx automation (whether it's done with a computer or by recording yourself doing something while manually twisting knobs at the same time). barring that, stepping out of the "one man band" paradigm helps a lot, my man adrian utley has even been known to play a Minimoog to great effect with a band, and has a wall of modulars in his studio. but they aren't used live afaik, just sampled and used in songs when arranged and processed in a DAW of some sort.
Of course modulars are studio tools, that's what they've always intended to be. Especially Moog modulars, Emmo was just a weirdo.
They're also incredible learning tools. Hands on, fun to use, and you're forced to know what you're doing. I wish all educational material was like that.
As per automation, there is the expert sleepers series of modules, and the silent way plugin to seamlessly integrate modulars with your computer without needing to use any midi to CV converters.
I'd be happy to take a studio/album version of a song that is mind-blowingly good (or "god tier", as the kids like to call it these days, lol) that's at least mostly made with modular synths and has some sort of drum beat associated with it that isn't just 4-on-the-floor kicks. Live drumming or drum machine, I don't mind.
We could start with whatever your favorite modular synth song of all time is, maybe that would work? Or whoever on bleepproduction is knowledgable about this sort of music?
Like, I figure it's so expensive there's gotta be SOMETHING amazing that's been done out there that isn't just 80's cheese with no dynamics, know what I mean?
Snowflakes are Dancing
Holst's The Planets
Any synth stuff Stevie Wonder did in the 70s was with TONTO
Here Comes the Sun has prominent Moog Modular tracks
Jean Micheal Jarre and Yellow Magic Orchestra were both modular users, among other synths. They also are cheesy depending on your taste.
When Tangerine Dream were good, they toured with modulars running those amazingly repetitive 8/16/24 note sequences.
Also check out Cecil Leuter's Pop Electronique
Thanks a bunch for some legitimate non-grumpy responses for a change. I'll be checking that shit out now.
Have there been any modular synth-based songs that have blown your mind, like get goosebumps level of good? Subjectivity is fine, I like to learn about new genres by listening to what superfans like to listen to and asking them to elaborate on why they like that kind of music so much, and try to empathize.
Lol, very interesting but the chirpy synth sounds so... out of place. Good drum loop (and I guess guitar strumming?) going on, and then this chirpy UFO-sounding synth comes in and does a filter sweep, literally made me laugh. Not really a fan of the synth in that song though since it hits a really high pitch that kinda hurts to listen to for me.
It's before those kinds of sounds became a cliche, you'll have to forgive their use.
I apologize about being gumpy, you just caught me while I was trying to watch star trek, didn't really want to open up youtube links
lol, fair enough, np
this is actually pretty intense, very classical/orchestral string-sounding:
probably gonna have to torrent this shit, dem dynamics
Tomita is the shit. I really suggest looking more into his work. Imagine having to learn how to program a modular synthesizer with no manual and the panels are not in Japanese. All trial and error.
Emerson, Lake and Palmer, especially Brain Salad Surgery. Keith's moog modular is legend.
The thing with any modular is that it's whatever you want it to be, providing you can afford to see your vision through. There's tons of people that use it simply as a sample source, or a complex monosynth. In either case, how would one ever know that it was a modular used? With youtube noise wank videos, it's noise wank. That's not unique to modular, you've got just as many people making stuff like that with no-input mixers and giant pedalboards.
I love ELP myself, but I tried to avoid using them as an example. Most people don't like them, aren't into the music, and to be honest, it's not the best example of modular music.
It's true most of the time he had his modular rigged up basically as an oversized minimoog but that's kind of my point. While there's certainly "modular music," that's not where every modular user ends up or even wants to go. There's only so much room in this world for be-ponytail'd dudes making noisy bongos into spring reverb for art gallery receptions. Said as one of those dudes.
Nah, just old. Got into frac building paia and blacet but have since switched to euro, space reasons mostly. The newish .com keyboard controllers have me tempted though, wouldn't mind one of those and box.
Had a depressing gig this weekend and I'm half thinking of dumping most of my gear, picking up one of the new Pro2s and only keeping my kurzweil and MPC. Only so much time in the day.
My pic is a bit old. I swapped the midi unit out for the expression block. Changes color as the voltage changes, people love it.
I considered selling my mini for a moment, for the pro2, but I realize that I'd regret that. I'll just wait to get one second hand.
What went sour with the gig?
I really want to get into electronic production, specifically with analog instruments.
I'm thinking of either buying the alturia microbrute and korg volca beats. But now looking at the three different volca models, would it be smarter to just buy all three volca models? beats bass and keys?
Monomachine died, again. I've already had the board replaced once. Had an OP1 filled with samples from the MnM and DX so I made do. I had already pulled it from external sequencing duties because even after a new (fucking $500) board it would reboot if hit with any static electricity. I love the thing but god damn if it's not got some serious power problems. I should have updated to the MkII when it died the first time but~
They're not a bad set to go together. The keys benefit greatly from a midi keyboard, turns it into a decent monosynth. That said, the microbrute is still "better" as a monosynth.
That's the tip for young dudes starting to play out, ALWAYS have SOMETHING in case shit. Even if it's noodling on a toy keyboard over a CD/DAT, the audience doesn't know your shit broke unless you tell them and don't tell them.
yeah, thats mostly why im attracted to the combination of microbrute and volca beats together.
Mainly into the microbrute for the sequencer, and its shown to work really well with the microbrute from what i've seen
Yikes. I've heard that the monomachine has that issue. I tend to leave digital/tricky stuff at home, only take the basic stuff to a gig. Then again, I never need more than an organ and a monosynth, as I've only gigged with bands.
Just get the microbrute in all honesty.
You might also consider saving up a bit more cash and getting one of the monosynths in the $500-600 range. If you're a total noob to synthesis, a Minibrute or Bass Station 2 would be right up your alley, ms20-mini is more advanced but the reward is a much more powerful synth overall.
All this said, I personally bought a microbrute as my first intro into hardware/analog, which should be arriving tomorrow in the mail. But I plan on getting an ms20 mini next, and I have multiple years of DAW experience already.
>tfw I love creating maximalism sort of electronic music at home with lots of instruments, samples, layers and textures
>but I gig solo with an acoustic guitar or keyboard (or stage piano if the place has one), maybe sometimes adding one of my friends who is a great jazz drummer
also i live in the suburbs with a lot of old people and families with babies and shit, probably wouldn't appreciate bleep bloops
Really wish i had more friends who were into music/played instruments :C