It's Saturday night so why not?!
Ask questions, answer questions, circlejerk about techniques or whatever the fuck, share plug-ins because none of us have enough right? Stuff!
The screenshot is just my current project which I just just started, so don't get mad.
No, it's live 9.1.
M4L is really cool, I got Tonebox 2 today for 5 bucks, pretty legitimate. Otherwise in the free department I would recommend dcshihatdelay, XLFO, L.Splay, L.Resonator, Shoogler and get yourself an oscilloscope too. Those are some audio effects.
Instrument-wise I recommend Bertha 2 (Organ), L.Sh, the point blank riser, Minotaur and DP.HouseHat.
Also spend much time exploring http://maxforlive.com/ where pretty much every device in existence is found.
A Juke/Footwork track I've been working on for the past week or so, it's starting to get a bit stale after all this time though.
As for favorite plugins; anything from FabFilter & Zebra 2.
since this ableton thread is here, what do you guys rec for drums? i kinda know my way around ableton but i cant get my drums to sound less corny. any advice? also does anyone have a good DL link for drum clip or plugins? 'preciate ya
just the thread i was looking for, i was cruising old stuff and came across this
it's an online 909 emulator and there's even a 303 amongst other cool stuff as well
It has a lot to do with layering samples, EQ, and some parallel compression can do wonders.
For example a "snare" in one of my tracks contains a clap, a snare lifted from a break and a hat for some top end. After some volume enveloping I compress with the Glue.
Alright, cool. I just got into this stuff, and I'm having trouble completing tracks and getting ideas, etc. As I learn the technical stuff, ins-and-outs, etc, will it be easier make things? Cause right now I start things but I never know how to continue or properly do make I want to make.
It's good to learn techniques so if you have an idea or an obstacle in the way then you know exactly how to figure it out. and then you will learn your own techniques and amaze yourself and others.
but in the end it's all about how it sounds. so learn as much as you can and your ideas will be easier to get down.
never stop learning!
Does anyone else get really tired while making music? I tend to do it after midnight but normally I'm pretty awake. But when I start playing/producing I need to force my eyes open and sometimes lay down from tiredness
Not really, I produce in my highs, I have BPD. Eventually, hours and hours later I run out of steam but I don't get tired. I just start playing shit melodies and stuff then I know its time to stop.
Hover over where the red box in the shot is, click and drag.
Bumping with an old jungle (?) screenshot.
just finished a song i made. i was on lots of caffeine. lemme know how shitty the bass sounds and how overprocessed the vox sound
>tfw you dont know how to master your track to get it to sound the way you want and its been killing you for months and you dont even like the track anymore and hate working on it but want to finish it anyway
Does anyone else have problems with getting a decent high end in Ableton? I know how to master and do fine in other DAWs but even if I totally overuse EQ boosts and harmonic excitement in Ableton tracks I still barely get anything above 3k or so
kind of. thats the issue im having right now with my project. I just cant get anything from around 3khz to settle properly with me.
like if i compare it to my reference master the spectrum is almost identical to where everything peaks at but sounds like its missing something for whatever reason
im pretty sure its my fault this time since i havent had something like this before
Ableton EQ a phasey shit, no good for mastering
You can't boost what isn't there. The problem could be that your mixes don't actually have much in the frequency band that you want to excite doesn't actually have much in it in the first place apart from the reverb or some small artifacts. Try adding a new instrument, maybe something like a new synth playing the same melody but high passed or something like that.
But if you can export the track and it will be completely fine when you use another EQ in another DAW then idunno what to suggest apart from looking into some good EQ plugins.
I do use Ableton's EQ, so that could be it. On the second point, I did test it by basically putting some really high-pitched chimes at like C5, high-passed it moderately, and put a little high-band excitement and it still only barely registered above 3k when exported. I'll check out some EQ VSTs and see if that does it
bumping with current project
rate this new compressor i bought
i rate it highly
I don't believe I have this issue, I'm on 9.1 dunno about you. People did complain in the past about Live 8's audio engine being sub-par but I never really looked into why/what do.
If anything, I would recommend FabFilter's Pro-Q, I lurv it.
the thing about abletons audio engine being subpar is more based on technical factors rather than any measurable sound issues i think.
it's really not built for mastering though, i would still mix and master in pro tools if i had it.
Speaking of. I usually do "mastering" (Pfff as if) with ozone on my master in Live. I mix on the fly.
Would it be better if I were to mix/master in Sonar X3? And if I did, does that mean I can't be putting delays and reverbs on anything? Can't really EQ and such?
it's still very much in its early stages. i bet it's not going to sound much like this at all when it's finished
'best' practice is to do your mix, then bounce the whole track out. this is your master track that you apply sheen or lift or whatever to with ozone. its an important psychological shift imo, separating the mix and master in to two distinct stages.
ozone has everything you need, or something like t-racks if you want a different sound.
haven't used sonar in a very long time so i dunno about that specifically
Ah okay, so I'm doing alright as is? I don't mix while I master. Let's say I have section A completed, I'll mix that, then move on the next section, mix that when it's done and so on. At the end I make sure the transitions are alright and whatnot. Then and only then do I put ozone on the master.
>tfw so disappointed in my producing over the last 4 years despite growing immensely I make an EP filled with your personal failures to forever haunt me and it now has over a few hundred plays
why did i do this
yeah that makes sense. i would recommend bouncing the master out and put it in a new session before putting ozone on though.
like i say thats just 'best' practice anyway, the reality is often much lazier and sloppier
Does anyone have an idea how to synthesize this sound?
I want to say it's a violin with a bunch of filters.
i want to record my bass guitar through line-in on my shitty audigy 2. it works, because i am able to record it in fl studio. help, op
So make sure your ASIO panel is obviously all set up right.
Then select an audio track in bitwig, this will bring up the track options in the inspector, look at the bottomish left of the screenshot.
By default the starting audio track isn't set up for inputs. So click on No Input and select the input you want to record from, that's it.
Ain't no thang but a chicken wang. I'll be here until the thread dies, so if you have any more questions post dat shit p-p-post dat shit, holy fuck I got hit, like a motherfucking brit, ain't I candlelit? Ay yo I'm complicit, man this is such bullshit.
make an intro out of certain elements by taking out some drums and the hook and stuff, do the same for the bridge and outro etc and then the inspiration to add and change things comes from there.
if we're talking about bleep bloops.
While I have Bitwig open, here's a neat little tricky doo.
Fun with LFOs and Comb Filters! Let's get it on.
So create a beat, then program a hi-hat pattern with the E-Hat instrument. Ideally you would throw in some open hats too, but if not it's fine.
Here's our beat kosher: http://vocaroo.com/i/s1otoeoALjjT
Next, put an LFO on each hat (Or rather the each hat in an LFO, whatever). Now the fun begins.
With modulate both decay times with a sample & hold wave, with fairly decent speed 4hz or so should do it. Adjust to taste.
Now your hats have a bunch of movement! WITHOUT THE PAIN OF AUTOMATION WOOO!
Here's with the modulation of decays: http://vocaroo.com/i/s00AP6dfWH9q
Now finally, throw comb filters on both hats. Whether it's in the hat's FX slot or not fun matter. Map the LFO 1, the one that's modulating decay, to the frequency. Next, we'll use LFO 2 to modulate feedback. Watch out! Set the modulation too high and the feedback will go to max, which causes unpleasant sounds. Set the feedback of the closed to half way right and the opposite for the open hat, just so they don't sound the same. Once again WATCH OUT, DON'T LET IT GO TO MAX FEEDBACK.
Then pan the closed like 20-30% left and the open the same, but right, to give them their own spaces.
Here's it done: http://vocaroo.com/i/s1fYyM7QfGcY
Hope you enjoy this trick! Add some more things to it i.e.: bassline, pads, lead and it works out nice. It's pretty potatoes if I do say so meself.
What do you guys think about Arturia SparkLe and Spark 2 software particularly?
I've been fuxing with Spark 2 VST a bit, I like the improvements over the v.1, but I haven't gotten too in depth with it yet. I don't think the SparkLE is worth it unless you're doing live stuff
Sure I guess there's that. However if I want to do that I just create a drum rack in Live and control clip contents from Touchable 2, so for me, it isn't much use unless I were doing something live.
If I were doing something live then it would be pretty good I think, as touchable would have to act as my clip launcher/mixer.
tfw no patch cables
iktf, I'm going to be getting more so I can take pitch & gate out into the matrix.
That one stackable in the pic though is awesome so I can modulate PW and the Ultrasaw at the same time.
bumping thread with the offer to ask an engineer anything about microphone positions, acoustics, software/hardware, mixing and mastering for the next 30 minutes
depends on the software. different plugins and daws' audio engines react differently to extreme levels. A friend of mine did his bachelor thesis on that very topic, comparing some plugins (I think mostly waves and UAD) and some DAWs (there was pyramix, nuendo and protools, don't remember the other one) and basically only protools really provided audible results with the summing and of course their infamous master bus clipping. the plugins were full of shit, especially the UAD. so yeah, keep your levels reasonable if you want to be sure
I really like that microphone, since it's really versatile. I mostly use it for brass but yeah it works really well in front of a speaker cabinet. I prefer the MD421 for that, though. give them both a listen I'd say