QTDDTOT: Producer edition.
Ask other producers and musicians questions that have been troubling your sleep and giving you headaches. Or, you can share your artisan knowledge with your fellow producers in need.
I'll kick it off with asking a simple question.
Does this mix sound too compressed, or is it just me being paranoid because my mastering knowledge is weak?
(This is not a soundcloud thread, but if SC helps you ask your question or answer one, you are by all means welcome)
Bumping with some producer humor I stole from facebook.
Why are the most popular songs by an artist almost always their worst?
I have incredible trouble making a lead. Like, I can kick out a sick backing track, like it's fucking nothing. But I don't have lead ideas. Anybody help? I'm also looking for nice jazzy (sax, trombone etc) samples if anybody has any
That kinda depends on the mix you are working on. Leads are, for me, one of the hardest thing to fit in the mix. What genre are you in?
Also, for the brass samples, you can either try
>Sample Tank 2
I haven't tried much brass samples tho, but sample tank 2's brass samples are usable. DSK Brass is, if I remember correctly, free. They are probably not the best, but you'll just have to try and see.
The way I got into making my own leads for house and electro was by watching youtube tutorials on a specific VST for a specific sound. I think a lot of producers do this, if not, it's highly underrated. You learn so much about engineering your own sound that way. If you have watched shitloads of tuts like me, I guess you might have to try a new VST. The standards are Sylenth1, Massive, Nexus etc, but if you haven't tried Spire or Razor, you should check them out.
is it really necessary to use third party plug ins?
I use renoise and almost exclusively use whatever it came with and just supply my own samples and some synths but never find myself using fancy eq's or reverbs and what nots.
I always see people talking about this and that, maybe i am missing out, doesn't seem worth it tbh
EQing snares is easy because what you need it to do is pack punch to cut through the mix. A shit kick will be harder to fix, because you need to take into consideration the whole mix, usually sub and bass ranges but also the tops depending on the kind of kick you're using. But a lot of EQ will alter significantly the character, so it's undesirable as a process.
In practice, though, the ideal condition is to pick good-sounding samples (instead of trying to polish less-than-stellar ones) and doing subtractive EQ on them, removing what you don't like instead of emphasizing what you do. Also, slight sidechain can help more than EQ on making drums stand out.
... or just use a new sample, EQing is meant to enhance and tweak, if you don't like the initial sound something is making, don't bother poking around at it with an EQ for 20 minutes, find a better sample.
if you play an instrument, write leads and melodies on that instrument, I personally find it to be a lot more inspirational and active than sitting at a computer clicking around trying to "feel something" out of a mouse and a keyboard. If you don't play any instruments then take up the piano and learn some basic music theory!
Each digital plugin has it's own algorithm that it uses to process your audio signal/input. That means that each plugin has it's own 'sound', and final outcome, regardless if you're using two of the exact same effect (overdrive, for example)
but honestly, at the end of the day it comes to personal preference. I love the sound of Ableton's built in compressor, so it's the compressor I use 90% of the time. On the other hand, I dislike the sound of Ableton's Reverb, so I use an external reverb plugin.
What is the best way of generating melodies/drones/leads without MIDI or any piano rolls and shit?
Pitch shifting and timestretching samples lead me to some really interesting sounds, but i have no idea how to expand on that just by playing around in piano roll.
So far i've only cut things up in audacity, put different effects on various sections and try make something rhythmic out of all od them.
Also, what is a good DAW if you feel really limited by FL's loop layout, for example? I just find myself messing around recording everything Edison, bounce it out and try to add elements to that later.
thousands bruh, this is probably the best thing i've ever downloaded - it's 64 Vintage Drum machines, heaps of them you hear from hip hop.
Hey producers of QTDDTOT!
Are these headphones flat sounding enough for mixing?
> also mixing on headphones is bad for your results
I don't have enough money for monitor speakers yet and I just want to try pro-sounding stuff
(and I can't play my shit too loud because I mostly produce rock stuff)
It gives you an inaccurate representation of your stereo image, and the sound in general, as the sound is so close to your ears and picking up resonances of your ear canal :^)
Not true for anything but phasing issues. Regardless, I recommend people to test final mixes on speakers too.
I like using MIDI triggered plugins such as Nicky Romero's Kickstart on a Send, and routing everything that needs sidechaining there. Then, I program the notes MIDI out in the same pattern as the drums to ensure I know what they're doing in each pattern.
Ideally you want to be able to mix on both monitors and headphones. If you don't have money for monitors, headphones are a good investment. To answer your original question: Those headphones are shit.
Headphones aren't ideal, but they're OK if you can't use monitors for whatever reason or if the room your working in doesn't have great acoustic qualities. I'm using AKG K702's for mixing right now.
Disclaimer: I'm a complete amateur without much experience, so I could be totally wrong.
I mix my vocals on monitors and stuff, and it sounds alright cause not everything is clashing, and you can hear them alright. However when I play it back through the laptop speakers or something, there a bit low cause it clashes with other sounds. Should i be making music for monitor hearing or laptop hearing?
you gotta actually calculate the problematic frequencies (modes) in your room first, and where they're resonating from. Then you can figure out what size, and kind of treatment to get, and (most importantly) where to put them. I'm not gonna sit here and give you an Acoustics Theory 101 class over /mu/, but I would strongly recommend looking into some basic acoustic theory. Check this site out as far as checking your room for problem frequencies first:
thanks, will read this
No reverb coming from the wall, except in a few spots where I didn't install sound panels. I didn't wanted to make the room entirely 'neutral' or w/e the term is, since I listen music here as well and I don't need to record as much as I mix
it's alright to my ears, but I usually like compression in mixes. The bass could have a bit more mids and the overall mix could use a bit more high end to enhance clarity and to contrast with the voice.
Still very good if you ask me tho
This is a stupid question that probably won't get an answer, but:
How do I get the brakakaka sound with DAW drum kits? Is it possible to make a good sounding one.
Example of brakakaka: http://youtu.be/qEZSg7c6Vp4?t=1m20s
Spend a substantial amount of time looking up tutorials on Youtube and dicking around in your DAW. After a week, you'll get the hang of it.
It'll take a much longer time to "master" (no pun intended) it, but it's totally worth the work.
I am a noob, but I want to make plunderphonics/sound collages, what program/app/DAW should I use?
And how can I convert video into audio files?(guess I can look this up on google, tho)
Love you all!
Pan each guitar as far as you can on either side.
Most of your work is gonna be done on the drums. Panning and EQing the drums makes all the difference. They need to sound full on their own.
I usually do three tracks guitars for rhytm (three takes, EQed a bit differently, one left, one right, one centered.)
A lead track is different.. it depends on the sound you want really
How do I figure out the sounds for for a small melody? here are some examples.
If it sounds shit don't use it. Use an EQ to bring out the best qualities of a sound and remove the worst. Never to try and change some shit to gold.
Please don't buy KRK, their sound is far too coloured. Maudio are good entry level though tbh there's nothing wrong with going second hand if the condition is good. My mate GAVE me his Adam A7X pair because he just went out and bought an Adam a77x pair. Mint condition. Hunt around!
Nope. Mixing on headphones isn't advisable since you won't get a natural representation since the speakers are so close to your ears. I only ever do tweaks through headphones. Rest is monitors.
Double track guitars. Could even quadruple track if you want to be a dick about it. Remember to eq them slightly differently as to get the best out of each take. On the bass have another take layered underneath very quietly, just so it's on the brink of being audible and then distort/compress it to hell. Helps the transients come through and gives it some subtle bite. If drums are involved then parallel compression and at the very end a stereo spread plug-in is a good idea.
I have a little time. On my phone at my girlfriends whilst she's at work so I can't really listen to much with decent quality. I'm a mixer but also doing a BSc in audio technology (mostly sound design and foley etc) with mixing background. Ask me whatever.
Not him, but I work in that field. Get demos on SoundCloud, visit forums and I must stress this one, do not work for free/rev share with people you don't know. It doesn't advance your career in any way, and people who can't pay you are probably not popular enough to guarantee any income anyway.
Get ready for the best job ever when it's creation time and one of the most nerve-wrecking ones when you're actually dealing with some clients.
>i produce ambient music
There is your problem. The market for ambient music is really overcrowded right now. Your best bet is to start making something else or diversify your ambient music into other genres a la OPN type stuff.
Release shit, build a following. Make a career assuming you're not getting a deal any time soon, because depending on external factors just isn't worth it.
When a label shows interest in you, you're going to look more desirable to them by having a name. By then, you might not really need them, but yeah.
>get demos on soundcloud
Of what exactly? Just one shots? I'm not looking to score so much as I want to make an AK-47 sound like an AK-47, and make space doors that sound cool.
>dealing with some clients.
What's nerve-wreaking about it? I consider myself an "extrovert of introverts", and can usually handle interviews and the like fairly well.
when i say ambient i mean that loosely
im not making paulstretch looped drone
a lot of my stuff can't really be called ambient, but there's not really a word to describe it. lots of my stuff has rhythms, but is abstract and/or not quantized
thats what im beginning to think
its tough to build an audience, feels like i have to continually just pump out albums to keep the 'hype' up
>do you make enough money to live on?
I make enough to help my family and everything is pointing towards things getting much better, but it takes a while to get here so it's good to treat it as a sidejob until you have a decent client list.
>how did you break in to the industry?
You put your name out there enough and say you're available this kind of gig, anyone who's interested and has a demand gets in touch. While there are a lot of sites with royalty-free tracks and sfx, nothing can compare to getting custom stuff exactly like the dev idealized. Or as close as possible.
Take it easy and you can do it, but have a backup at first because there's a lot of competition.
>Of what exactly? Just one shots?
Yes, a demo reel filled with sounds you designed. You got to show what you can do somehow.
>What's nerve-wreaking about it? I consider myself an "extrovert of introverts", and can usually handle interviews and the like fairly well.
It's not getting the job that is hard. It's completing it. You'll get clients who don't know what they want, but they want you to. Clients who tell you they absolutely do not want X, but will give you X as a reference when they reject what you gave them. Clients who disappear when it's time to pay the other 50%. There's also people who try and bully/blackmail you for free services.
If you already worked as a clerk, half of these things won't be new. But I wouldn't recommend this job for anyone who has a hard time dealing with confrontational people, because not every client is a friend.
Well with sound design and foley your best bet is with tv/movies etc. vidya is also an option but games companies often ask for a certain level of coding too. Of course they need someone to make the sounds to code in in the first place but you're better off trying to work for tv/movies. Since you're doing music comp then you're probably looking more at scoring and composition over sound design. Two very different worlds and to be honest they probably wouldn't want someone doing a comp course on foley/sd. Of course if it's your composition you want incorporated then either do as >>49221809 says. Also try get onto a publishing agency since a lot of the time that "unknown" music is taken for adverts/films/shitty company and corporate events... It comes from a music publishing agency.
Here's a foley/sd piece I did as coursework. I played through some far cry 2, screencapped it and then took every bit of audio from it and completely re-did and made every sound you hear here. From the ambience to the dialogue.
Not him but a guy I know at uni has a deal with some company and does their sound bites and short melodies. He has more money than I have ever seen a student with. Couple of hours work is about £500
Well I am taking a foley course this semester, and I know a decent but growing amount of coding for Max/MSP, and other sound design platforms. I just wanted to know if my goals are feasible.
get your peaks up to full scale in mastering, you shit's down low
lots of sub-bass rumble going on, I'd calm down a bit on the low frequency energy
production wise it's all right, nice and clean but not much going on to keep the listener interested, keep working on small details and also arranging and music theory
I already got a melody but I don't know what sounds go well with each other.
I'm basically looking for some kind of list or a way to figure out what sounds sound well together.
"Don't Know" is pretty good but it feels as if it has unnecessary bass throughout the song?
distortion always happens inside or in front of the amp, you put a mic in front of it to record the sound of your amp and speaker in the first place, nothing against shaping the recorded signal but if you want to build the sound in the DAW you can just use a DI signal, which is a lot easier
It will sound far better to record with the distortion. There's a sweet spot on the amp to place the mic depending on the mic type. Use a dynamic like an sm57 about 4 inches from the mesh of the amp. Pointing at the rim of the speaker cone. Don't point it at the centre no point whatsoever. Experiment a little with the angle and placement. Depends on the sound you're attempting to get. >>49222579
Ah I see. Well max/msp would be great along with stuff like PDExtended. If it's foley you want for films/tv you're looking at less coding more attention to detail and good use of a DAW and microphone. Watch the video in my previous post. Lining up audio and paying attention to how would be sound sources are moving and behaving on screen is what takes the time and skill. Sound design itself would mostly be outside of the coding skill tree and more being very good with your daw. For example this video of a very quick demo I did for qhimm
All sounds made by sapphire weapon are made by taking a sample of my brother in law saying the work "today". Using a programme called SPEAR I played with the sound on a millisecond level. If you can use the plug-ins you need (3rd party or from your daw) and other complex sound software you're golden. Especially since you're doing a course in it. Thus you have a chance to shine and be noticed.
Mostly in popular music but it can be anything. Listen to a radio, when the dj talks he doesn't slide down the fader on the song. The compressor kicks in and sidechains the voice over the track.
I've used one on a vocal track too. Very very minimal use though. Just helps it against the rest of the song
I'm going to ask again because I don't think anyone say my post :(
What program should I use to make sound collages? I installed FL but there's probably a better one. And how can I rip the sound off a video?
Love you all
Ripping sound off of a video is easy depending on your set up. There's software that allows you to record whatever goes through your sound card. MacOS has "audiohijackpro". Not sure for windows but there's youtube-mp3/WAV websites. You could also loop your output into your input and record through there.
I personally dislike fl but sound collages don't need much in the way of a daw. Anything with a multi track arranger should cut it fine
id say ableton passes others by quite a bit in terms of what he's looking for because of ableton's massively well made warping and audio stretching
i mean, it does come down to preference, but imo ableton passes other daws by a lot for samples / collages
not that guy but FL for small samples?
its so annoyingly difficult to create the samples, consolidate them and then to put them where you need them
i haven't used fl in a while though
Yeah, Don't Know has cool textures and vibes, but i feel like the bass changes are a bit too fast and on the down-beat. A bit boxed, i suppose? Aside from that, there really isn't much of an error to be felt. Sounds great, dude, >>49222507
any body got any videos or pics on someone who wants to start producing?
I have used fl for a couple of years. Its great for making music with a lot of synths (used to make edm shit) but lately i prefer making sample based idm type stuff
would i benefit from switching to ableton? i do find the timestretching in fl to be kinda shit
>your mother is a whore
>there's formula and we all have it
keep em comin guyz
Reposting this from a thread I made:
I want to make Trap beats and Dubstep/D&B. I have no experience besides using FL studio briefly
What kind of equipment are the top producers using? I'm saving up to get my own little studio. Do most producers use Mac books or Home Macs? Is getting a Mac my best bet since I won't have a real studio?
Would I need a set-up like pic related if I want to make legit beats? I'm assuming the equipment interfaces with the laptop.
Is this something I can learn by myself if I get the setup or am I going to need to go to school for music production?
I know almost nothing about this so please help out
Your questions are shit and won't help you at all. /mu/ doesn't know jack, that's why they're all dead beats without a record deal
learn shit out for yourself, if you're smart enough
One hundred percent yes. Ableton's timestretching is miles better than FLs and has multiple settings and functions to help you smooth out your samples and get the sound you want.
Hey all, I have a question about my latest track from a production standpoint. I was wondering if there's any glaring problems with the mixing and whatnot? I feel like I could clean it up, but whenever I do, the result sounds worse than before. This is the third version currently. Thanks! Also reason 7 user here if anyone was curious about it.
Why the fuck would you ask this here? There's always 7 people asking these stupid questions that can be answered easily just by googling.
>Is this something I can learn by myself if I get the setup or am I going to need to go to school for music production?
You literally didn't even try to learn anything on your own so why even bother?
Guys, question for FL users: is there any way to keep the echo of a sound after the its pattern is over? I have a sample that shows at the upbeat of a pattern, and I want the delay to continue over the beggining of the next pattern
the feedback is already enough so the sound should keep going, but when the pattern comes to an end FL simply cuts the echo. I'm guessing there's an setting to control this, but I haven't been able to find it.
How do you guys even decides if something sounds "good"?
I never know what kind of tone I want to achieve. I focus on melody/chords but don't know what to do with them. Do you already have a certain sound in your head or do you just fuck around until you find one?
>convert video into audio files
get audacity, file > import > import raw > u-law encoding, big endian, two channels
hey dude I had the same ambitions as you recently after watching a video detailing the samples used in Since I Left You.
anyway since I'm a long time Reason 5 user I had some real fun fucking about with samples and loops in the dr. octorex loop thing. i recommend it highly.
check out my results :)))))))
If I'm not inspired to start a song before I open up my DAW or get to an instrument or whatever then whatever idea I come up with won't sound good. When I'm inspired songs kind of write themselves
for me "good" is when I automatically hear what comes after or what goes well with the current sound.
like if you find a chord progression and you immediately hear what rhythm you'd like to go with, or that a certain sample would fit - it's good.
Why is my mix all the sudden broken? I made a track in Ableton that was just fine when I rendered it, but it was a little flat, so I went back in to master the project file. I tossed an Isotope Alloy 2 on the master, played around with it a bit, and rendered it again. It's totally fine up toward the end when a normally really quiet midi track now peaks at 22+dB, and consists entirely of loud clicking noises. I triple checked that everything on the channel is fine, and it sounds normal when I play it in Ableton, but no matter what I do it breaks when I render it.
my problem isn't that I don't find good progressions or melodies. I make stuff up on my piano but then I have no idea what I should do with that stuff to make more out of it than just a piano piece.
try routing the master to a bus and record that on another input
real time bounce protools style
sometimes that the only workaround with rendering engine fuckups that can happen with cracked vsts
hey guys, pleb here
how do i get a beat without a midi controller? like actual boom-boom-pow sound? somebody said that they arent using any equipment besides laptop and DAW, so the question goes to them i think
so I do a lot of sampled based hip hop production, finding it very difficult to make basslines over my beats, any tips?