Why does everything sound better with reverb? sometimes I feel guilty of using it but let's face it: it's magic
>feeling guilty about techniques
the reason it sounds good is because it adds space and depth. if each element in a mix has the appropriate space and depth and is thoughtfully arranged, it generally always sounds 'good'.
i guess the reason it sounds good is because in the stereo field you have a limited window of which to place things and it takes a lot of practice to do it creatively and effectively
i dunno mate, why are we alive?
I think no reverb at all sounds better than too much reverb, when abused it can spectacularly fuck up a mix and muddy everything up. And there are things that reverb never sounds good on such as kick drums or bass, or anything with low frequencies. Reverb just sounds like hell below about 400hz.
Pic related is what I typically do on my reverb buss. I find that compressing it pretty heavily before the reverb makes it become clearer, and sidechaining it to the kick gives the whole mix a subtle pumping effect. I usually have my sounds pretty dry so my reverb is very subtle, you can't really tell when it's there but you can tell when it isn't, which is how I like reverb sounding.
I never have problems naming songs with lyrics, but I hear you when it comes to naming pieces without voice. I wrote a piece for tuba and trumpet that didn't have a name until a week before the performance.
Sometimes you just need to draw words or phrases from your own experiences that give you the feelings the work gives you.
>put reverb on 8% wet
>friend tells me that its not enough and its not even worth using
>mfw amateurs dont understand the subtleties of reverb
>mfw he thinks its either 50% or none at all
i have a friend who makes the dub steps and he puts an individual reverb on every track, including kick drum and bass and always turns it up to 100% wet 100% dry
>have a contest with a friend to see who can make a better dubstep song
>don't realise he dosent know the difference between dubstep and brostep
>I create a piece with emphasis on sub bass and subtle yet complex drum rhythms
>he tells me in dosent have a huge bass drop so he wins by default
>his track only uses vengeance essential dubstep loops
>don't have the heart to tell him he sucks
>he goes on thinking he's the best
>he tells people he has his own style of dubstep
>mfw he is convinced of his genius and broke a mixing desk when someone said he sucked
>broke a mixing desk when someone said he sucked
I once tried to collab with him for a college thing once, I spent the entire time trying to explain how sends work but in the end he thought they were too hard to use so he just went back to putting individual reverbs on everything
Why in the flying fuck am I having such trouble time stretching? Every video I watch on the subject basically says "lol jus drop it in and match the tempo to the project, ya dangus."
Is it supposed to take a half hour of finagling to get it right?
>And there are things that reverb never sounds good on such as kick drums
Gotta totally disagree there.
Wouldn't sound half as good with that wet kick.
granted the 909 layer isn't reverbed, but you can't just rule out reverb on kicks.
>putting individual reverbs on everything
If he was just dropping the same preset on everything that's obviously retarded, but I'll use individual reverbs often on drums so they have some individual space.
That guy does sound like a total cunt though.
we were working on various different musical things on computers at school, he was on logic pro something at the time, one of my friends asked to listen to what he was making, he showed him, the song was basically a shit skrillex clone, which my friend told him, he really didnt like that and kept hitting the mixing desk whilst talking about how 'no one understood his style' until loads of sliders, various knobs, and a bit of the casing started to break, he didn't talk to anyone for about 2 weeks after the event
another time he was setting up various different microphones, someone told him he was doing it wrong as all the wires were getting tangled and you couldn't tell which one was leading to which input, he preceded to say he is the only person in the group who knows about how to set up microphones and is also infinity more talented than everyone else, on his way out he kicked over and dented and SE Titan mic
it wasn't even the same preset, it was any preset
yes it was horrible
not even because of money because he spends all of his time talking about how poor he is and how it affects his style, I think he just went because he has a huge ego and wanted to be the best at everything
I have an extremely retarded story about stupid people in studios
>drummer says that he should be the only one who can position the mics because he is the only person who knows how to properly mic up a kit as it is all 'part of the drummers natural instinct'
>proceeds to go out and get the microphones
>3 SM58s and a sub kick
>what the fuck are you doing with these terrible mics man
>no I am the second coming of Jesus and I know what I am doing
>try to explain to him that whatever he is planning on doing with those SM58s it is unlikely that it's gonna work well
>he proceeds to set up left and right SM58 overhead
>us laughing our asses off already
>the drum kit is now mic'd up with 2 SM58s as overheads and an SM58 on the snare and a sub kick on the kick drum
>le you forgot the kick SM58 face
>we record it
>it's awful but we kept going on with it because of how stubborn this fucker is
>he listens to it and starts blaming the SSL desk and how he prefers using the Mackie VLZ3s in the small rooms
>he goes home
>we stay late and re record everything with propper mics
if you are putting it on the same channel the sound is on, you might be "right" but you shouldn't really (disclaimer: all rules are meant to be broken).
If you are using reverb in the "traditional" sense (i.e. using a send and sending it to a buss) then he is right - it should be 100% wet as the dry sound is the channel its sent from.
What exactly is Ocean Grunge?
Based on the name I'd assume guitars and drumkit, probably with cheesy 80s synth and washy chorus/reverb saturated vocals
yes but they're not good because of the recording quality, and we had thousands of pounds worth of mics available and he just went and got the shittiest ones by the door. it was an assessment and part of the criteria was mic choice and placement, which he spectacularly failed us on if we hadn't done it without him
I use old breaks and samples from old drum machines, you can get drum machine samples for free via google.
Breaks are a bit harder to get but I am here to help
That really doesn't make a great deal of sense: I believe that the SM57 (which is pretty much exactly the same mic) was "designed" for vocals too - however it has become the "go to" mic for recording guitar amps.
>2 SM58s as overheads and an SM58 on the snare
any decent sound engineer should have a good understanding of what a 58 sounds like.
In a case where there may well be better mics, but the engineer has no experience of them, I would not be at all surprised if the 58 was a better choice for getting a "decent" sound quickly. I am not making any comment about your mates abilities, and if there were people there who had better skills and knowledge of the equipment - then yeah maybe his desire to mic up the kit was stupid. but in the right circumstances a good engineer can certainly get an excellent drum sound with an sm58.
dude the guy was fucking using them as overheads, and no, an SM58 will never sound as good as studio mics like u87s, which we had easy access to. It was halfway through the first year, by then everyone should know what mics to use.
I don't really understand what you're saying though, because trying to get an SM58 to sound pristine and studio worthy is flogging a dead horse. Any decent engineer shouldn't use an SM58 in the first place.
IMO SM58s have no place in a studio anyway, they're too muffled and lifeless sounding.
i dont think it sounds too good at all.
nice basic drum sound that im sure i could use in a number of applications, from rock to electronic music, funk, soul, hip hop.
nothing special, but good workable drum sounds.
and this is someone dicking around in his bedroom with a decent budget interface and built in preamps (i presume - based on the decription).
with a proper studio, some nice compressors, and outboard, the sound could be miles better.
Because anon's favorite synth isn't the Minimoog.
What genres do you guys make? I only read these casually but it seems to be all four to the floor stuff. I make sample based stuff like replica and black metal inspired drone.
i need someone to invasively grill me and harshly criticise my music so i completely reconsider what i'm doing
Back in the day before digital reverb got good enough, producers would play their synths, drum machines, and samplers through their speakers and re-record the results in the room so they would have more "presence" like a physical instrument. That's what subtle reverb is doing. It's tricking your mind into believe what you're hearing is real. Since bass sounds really don't carry that well from far away reverb isn't really applied to low-end sounds as much. Take some recording or acoustic theory classes for more detail.
I think depending on a genre is easy, just staying in the genre and doing what other people do without trying to branch out is easy.
But that isn't what I'm doin I'm trying to mix genres.
I just started using fl studio and i made a decent like 1 minute tune. I was wondering what the easiest way to "make" my own synth settings would be (ie what plug in to use and what to mess around with). Currently I've been using the presets so it doesn't sound all that great
Read science fiction, comix, speculative fiction, futurist manifestos, screeds on architecture, the sonic poetry of Kodwo Eshun or the agitated meditations of Hakim Bey. Appropriate as necessary.
Anyone here have the Blofeld? How's the filter on it?
I was looking into the Novation KS Rack but the filter is absolute ass (http://clyp.it/qmqubiuz) so now I'm looking for a different synth with an actually decent sounding filter.
If you look at my taskbar you will see that I wish I could into ableton..mostly for their dsp plugs
I can't abandon renoise now, went too deep
also it is scriptable
for this track I wrote a tool that generates euclidian rhythms
combining that with a note randomizing tool = easy mode breaks
I usually take cue from something that happened during its production, or a memory it triggers, or something alluding to something going on in my life.
I used to name my tracks based on the original track titles of the tunes I'd sampled.
I can kind of get my head around Renoises sequencer, but I have no idea how to go about triplets or swung notes, and I can never remember how to ad inserts or open them. I am too simple for it.
so stop throwing in all the ideas i have in to a track and focus in on a couple of elements?
the blofeld is a great synth, can't go wrong with one. the filters have a kind of analog-digital feel to them, pretty versatile.
went a bit overkill on the effects processing dont you think
no, i wasnt. it was an individual rvb for a high hat to give it a sense of space. i put individual reverbs on almost everything because everything needs different reverb room sizes in the music i make
I have been trying to make/use tools that are pseudo generative, not like realtime-generative but they iteratively generate things and I decide whether or not I like it
I have been thinking about this a lot actually..when you gals write music do you like hear music in your head and try to make stuff sound like that?
there is no music in my head except stupid shit (inane childrens songs, sousa marches), also I am sort of autist/take brain drugs & dont have very strong emotions.
the point is, i feel like I have no business making music, I am only working with form, making parodies of parodies, and this is why generative stuff appeals to me..its like tricking people into thinking there is intent where there is only objective selection
i actually really like dub/ambient techno but whenever i try to make something like that it sounds sooo boring
idk how producers like deepchord or basic channel do it
i also feel like i haven't really found a cohesive *sound* for my music yet
been feelin more pic related lately
quality > quantity
restriction is the mother of invention, the less you have to work with the more creative it forces you to be with what you have. artists like basic channel and deepchord work with restraint and learn to make the most out of it, which is a skill you have to learn like any other.
the worst thing that computer-based production has done is also one of the greatest things its done: remove most forms of limitation and restriction.
maybe if i like, don't let my self start a new project until i'm completely satisfied with the one i'm working on? and don't let my self post tracks once a day but once every two weeks or so?
you obviously know what you're doing, so keep producing
I am biased (and I'm older than the majority of users here) but I think the "natural progression" of most bleeps listeners tends to go into mnml and "deeper" as they age and 'mature'. I remember listening Basic Channel when I was younger and thought it was the most boring music ever. I now pretty much worship them
>THIS IS ALL PERSONAL EXPERIENCES
The music you posted isn't bad, but its very juvenile and naive. There are some interesting ideas, but they get drowned in the frenetic layers of sound. As anon said here >>48973513, restrain helps to keep your music "focused". I'd also add that minimalism in general is a lot harder than people might think. It is really hard (as you know) to do mnml music that is interesting.
>idk how producers like deepchord or basic channel do it
From years of reading about bleeps (and a couple of sources who claimed to know/worked with/were familiar with Basic Channel) they did a lot of pure experimentation. Recording wet signals, sampling the locked grooves of some records, a ton of experimentation with reverb machines and whatnot, tapes, field recordings etc.....so that's that. There is no "procedure" to get a sound. You just have to experiment.
Be careful tho, don't end up being an analogue worshipper, there's tons of those in gearslutz for example, people spending thousands getting obscure gear and not doing anything with it
reverb always makes my tracks sound like shit. i like dry sounds, especially when im sampling something. reverb can be great if you plan out its use beforehand but just chucking it on something to get a bit more flavor is stupid.
man my production class was full of proper talented people. we all discussed the type of mics and placement without anyone being a sperg. when someone came up with a shit idea we told them it was shit and they accepted it. what is it with you cunts letting spoiled spergs damage equipment? not trying to be edgy but we would have kicked the shit out of anyone trying that shit, but i guess that's regional
thank u so much helpful anon
> people spending thousands getting obscure gear and not doing anything with it
feel this so hard it's rlly insufferable twoism and watmm are filled w those too
trance.biz is kinda my "bleep" music account for now but i did an ambient eccojams-influenced record which i like better
people seem to be feeling my newer stuff more though which makes me feel super conflicted
where u from?
also sorry for long post but this mix is just somethin else: https://soundcloud.com/dismagazine/soda-plains-firmiana-simplex
when i started smoking weed i became really self aware and realised that some of my actions were tryhard and edgy. i learned to think before i spoke shit and i am now very chilled. i dont smoke it anymore but i am glad that i did smoke it heavily for about 5 years, it opened my mind up to so much more than the basic shit i was already thinking about.
>tldr; smoke weed erry day for a year then stop and you will find you are probably a better person
>using anything else for audio conversions
i'm so jealous i live in the fucking american midwest
i have fam in scotland though i should visit
the club scene in Glasgow is pretty weird, there is only a handful of clubs that play good music. the rest are all aimed at lads and skets to go out and get drunk quickly and get some shagging done.
however in those handful of clubs you will experience good house, techno, dubstep, grime and a plethora of other wonders.
i recommend Glasgow, its an amazing city. its
>this entire post
most people think that in order to make/put out good music, you have to first create an idea and then approve of it..
but he who goes by that method, his pool from which to publish/select is limited to only that which he was able to create
while he who removes the necessity of creation, his pool contains all that is possible & he must only select
Anyone here have any experience with the korg ms2000/b? I'm thinking of picking one up once I have the cash.
I've been considering getting one for a while, they're MicroKorgs without the shitty interface and is actually useable. IMO the MicroKorg doesn't sound too bad, and it could sound a lot better if it was actually easy to edit the shitty presets.
They have a cool gritty VA sound that is becoming more popular, and very useful for techno music.
been producing a lot lately, and every time i make something i finish it and am proud of it, but then i read these threads and start to kick myself and realize how shitty i am. could someone listen to this and tear me apart so i know exactly what it is im not doing
I've owned a microkorg for about three years now, and I would say it's a solid synth. The real flaw is the terrible resonance, like it doesn't sound nice at all. This is a horrible recording of a patch I made that I thought was pretty cool.
I don't understand.. what do you read that makes you think that? I've heard your stuff and it sounds well crafted. If you said that you start kicing yourself after hearing stuff posted here that would mae more sense but I don't think you should think you're missing out on something based on what other people are doing, since you already seem to have a lot of the fundamentals figured out (you're putting out tracks consistently that at least SOUND like you know what you're doing, even if there's a lot of progress to be made)
here's my latest song. glad to see i'm not to only one still on Live 8
i'll give an example: the reverb discussion that started this thread. after reading that i took a look at the mixes in my tracks and they are comparatively haphazard with regard to the implementation of reverb, and other "essential" effects.
wtf the thumbnail is of some chick playing the guitar.
>labeling your tracks
I'm in glasgow too. I agree it's an awesome city and we're lucky to have such a reliable highbrow dance scene.
On another note, where do you go for your production course, and what's its title? Been thinking about one for a while as I'm pretty bad at unstructured learning and thus haven't really achieved much with production.
>tfw I don't know how to respond to this without sounding like a dipshit
y-you mean the sends? because I do use those, I just had them hidden because they were getting in the way at one point
hnc sound production. to be honest mate its worthless for bleeps and bloops. its all about recording and mixing bands, as well as live sound for bands and shit. i met a real nice group of people but the college and lecturers were mad gimps who put more time into the music students. your to late to get into any colleges this year, but if you want to do it try to get into west college scotlands greenock campus or Glasgow kelvin college, their studios are badman tier.
Do you know if any establishments offer courses which can be worked around a 9-5 job? Just graduated uni with a completely unrelated degree and will most likely be making da big bucks soon.
and so what? they sounded good to you right? You could have a day long discussion about any tiny aspect of production, and it won't necessarily mean that it should be essential or even important to you.
Don't overthink it. I suppose that if we can take any piece of essential knowledge from this thread is that reverb is something that is usually better when applied conservatively. That's it.
Now if you wanted to you could start paying more attention to it or experiment a bit more with it next time you are setting up a reverb, that way you will start to build your own impressions on the use of reverb and then compare them to the way you used apply it.
Other than that I think that one should not overthink stuff that didn't even occur to you in the first place, if you never payed that much attention to reverb before and it worked for you, then that's part of what defined your music up until that point. You now can go ahead and make music a notch better than before with your new awareness of reverb, but don't think your previous work is worth any less because you didn't know everything that you know now
Doesn't seem like it's for me. At the very least, are there any groups that meet or collectives etc based around bleep bloop producing. I don't want to do this alone, the community aspect of a course is what appealed most to me.
Although I bought Renoise for my laptop and love it (grew up messing about with trackers), I spend most of my time jamming out beats with my iPad using an app called BeatMaker 2.
It's crazy because it's fairly limited compared to Renoise, but it's powerful enough to create full tracks with, and I get a lot done with it. I have a few synth apps like Sunrizer and Animoog that I record basslines and shit with, then dump them into BeatMaker for sequencing and resampling.
I just like producing with the iPad because it's super portable and I can use it all day without needing to worry about the battery running dry. I can go sit by the river and spend hours writing tunes. It's awesome.
Hey friends what are your thoughts on this music maker? Is this good if I want a cheap alternative for making bangers?
no no no no, do NOT waste your money on any of those things ever. Just torrent one of the mainstream daws instead. There's a ton of those beat making programs and all they have going for them is very insistent marketing. That chart is outright ridiculous. I've always imagined that the only people buying these would be kids doing their first google search when trying to figure out how to make beats
I just like the app. I bought my iPad mostly for fucking around while I sit out on my deck, but I discovered a whole bunch of music apps that are actually really fucking good.
I think the best thing about composing tunes on an iPad is that I have less to get distracted by. The app takes up the whole screen and I turn on airplane mode to keep notifications and whatnot from breaking me out of the zone.
Also the temptation to try out a hundred different VSTs isn't there. I have a few synth apps that I can run into BeatMaker and several gigs of Goldbaby samples, that's it. All sample manipulation and composition is done in one app, and it keeps me really focused.
I'm not saying it's for everybody, but I like it.
Pic is Sunrizer, my favorite iPad synth.
anybody know that synth in Mr. Wonderful that comes in at :25?
>tfw project freezes every 10 minutes because its too big which is getting in the way of finishing it
If you're on Ableton, right click and Freeze some tracks, that would make them act like audio files and use much less CPU, you can also right click again and Flatten them as audio files if you want
This girl has probably made the best Ableton basic video series, but not only that, she has the cutest voice and accent, and she also tickles with it the whole time
A++ Recommended watch for anyone trying to get into Ableton, it even includes some intro to synthesis and music theory, all in like 1 hour of time