Music Production Thread: Learn to Consolidate Your Tracks u Dummy Edition
Ask questions about production/gear, share tips, post work in progress, trigger my OCD by posting another project with 150 CTRL+V and no consolidation
Is audio technica 2020 any good for vocals
mainly hip hop type shit.
And some good plug ins for fl studio / ableton etc would be cool. If anyone could help me figure out what to use. FL studio kinda feels like the walmart of production software to me.
There is no "best" DAW. They all have their strong points and limitations. It all depends on your workflow
Having said that, for Hip Hop, FLoops MIGHT be easier to work with than Ableton, thanks to the piano roll that'll allow you to make bars/beets fairly quick.
It all depends on what sound you're looking for. Note: Do not fucking buy anything unless you're 1000% sure you need it. There are plenty of top quality free plugins out there.
>Best Mic- (probably getting A-T2020)
I don't record vocals
Holy shit I upgraded to 3.0 finally and I'M IN LOVE, I LOVE YOU RENOISE. RENOISE YOU'RE SO FUCKING COOL.
>trigger my OCD by posting another project with 150 CTRL+V and no consolidation
huh? consolidate at the loop length, that way you can tell where it loops.
>it feels like no matter what vst i use it still sounds artificial and i would appreciate some advice
1. use some sampled sounds
2. try messing with eqing
3. try putting a compressor on the master fader and then slamming your stuff through that.
Assuming the sounds themselves aren't the issue (which they usually are):
Automation (changing the volume, cut, panning, fine pitch etc) of notes. this can help it sound less robotic.
try turning off the snap so that your notes dont stick to the bar. - the more organic they are the better, not quite on the beat (but still sounds right)
once again helps it sound more human and less robotic
Recording the notes in with a MIDI controller/keyboard
this adds variable velocities (volumes) to the notes and helps them sound more human.
getting better quality VSTs or recording real instruments is always the best option though.
Every track should have something organic to counteract the coldness of the DAW. Whether its vocals, samples, guitar or some other found sound / random instrument.
thanks but im not im just trying to emulate keyboards
pic related has everything ive used so far
i guess i would say i want this kind of sound https://www.youtube.com/watch?v=wIuBcb2T55Q
thanks ill try that
thats what i meant to say
everything sounds so robotic and it bores me, i sampled my guitar and its probably the best sound i've had so far so maybe ill continue sampling my real instruments
>Recording the notes in with a MIDI controller/keyboard
isnt that how youre supposed to do it?
>isnt that how youre supposed to do it?
thats how some people do it. I tend to work with keyboard and mouse from habit, but recently have turned off snap so that my notes dont stick to any lines, giving a bit more of an organic feel
Hi king shits it's me king fat sacks just writing to say hope all is well and hope you're having a happy holiday. - love stacks.
>ps. there can only be one.
do you fags ever record sounds then export short clips to make drum samples?
the beat in this sketch comes from a 30 sec recording of some plastic trays being dragged along a shelf.
apart from that this track is just my Lowrey organ. added some low tuba in but decided against it. some kind of synth bass might be the next step. or woodwinds...
i have a tough time making anything that i make sound professional. the part of composing a song is okay, but when it comes to making it sound polished i always try and fall flat. anybody have any tips for tightening stuff up? type of stuff i'm making at the moment is garage and house music like Christian Loeffer
what's a good budget MIDI? I eventually am gonna get an MPD32 for live playing, but I really need a keyboard for at home
been thinking about this
I have a cheap 49 key M-Audio that's decent If you need a MIDI keyboard quick and light/portable
obviously not full size for keyswitch, but comes with octave buttons that let you play all the ranges, just not at the same time. pretty decent small MIDI keyboard.
That alesis has pretty much the same set up: keys, 3 or so buttons for octave, and 2 wheels, one for pitch, one for modulation. most of those 40 key keyboards should be around similar quality, just buy cheap, as its probably going to be a stop gap until you get an 88 key.
A got someone's homemade distortion pedal and it's got gene wilder's face and it's dope as fuck. Been running all sorts of stuff through it, analogue effects are fun.
haha I love homemade and circuit bent stuff. my friend fucked around with an old Kustom amp and wound up getting a weird sine wave coming out of the distortion channel with a an LFO.
That too, it cost me under a hundred bucks and for you get, it's a fuckballs amazing price really.
>while walking to gym, begin humming randomly
>slowly develop an absolutely mindblowing piece with every instrument (including a full orchestra, choir, solo vocals, organ, piano, electric guitar and bass, drum set, a few traditional/ethnic instruments, synths, and electronic effects) interplay perfectly
>become convinced of its magnificence
>suddenly remember that there's no way I can get a full orchestra, or some of these instruments, or a full choir, and it won't sound as good without
>suddenly remember that I've always been crap at actually translating my ideas to sheet music
>suddenly remember that there's nothing I can actually do with the piece if I do make it, there's no album of material of similar quality to release it on, no film or video game to use it in the score, nothing
>become upset and it fades out of my memory
>now I'm sitting in front of the computer and trying to will even the tiniest fragment of it back into my memory
Should I just kill myself at this point? Nothing will ever sound as good as that did in my head.
welcome to being a composer. you have to believe in the piece and realize that once its on the page, anyone can play it for the next 100+ years, until the score is destroyed or human life ends.
and you get better and turning ideas into full pieces with every piece. it takes a lifetime to master.
you just have to flesh it out manually once you get the main ideas down.
you're never going to capture every detail (depending on your musical memory) but you'll be able to capture more more quickly with practice. you want to be translating at least 1 idea a day from your head to the DAW/page.
more/less depending on inspiration
>i'll lose all the polyphony and stuff
God I hate this, no matter how hard I try to remember an idea I have, when I get home in time to start working on it, I'll inevitably forget how at least one of the polyphonic melodies should go and I'll be left with the nagging suspicion that my improvisation is worse than the original.
I always suggest Sonatina Symphonic Orchestra to anyone who has literally no money but wants to start doing orchestral stuff. I have a lot of commercial libraries because composing is my day job, but I still use SSO regularly because it's just great.
>people in this thread using fl studio
you must be 18 to post on 4chan
>mfw i just want to make wonky beats like
>but they all come out like FL plugin bullshit
Turned out I didn't even need it, Finale's Aria player seems to be able to import the sounds by itself (although the process is pretty tedious)
Looks like only some of the samples are useful to me, honestly. I don't like the sound of most of the strings and the chorus is equally bad or even worse to Finale's built-in Garritan sounds.
Currently experimenting with replacing tracks I did with Garritan with the Sonatina sounds.
That kind of music is ridiculously simple to make.
You can't expect to be able to make what you want if you don't understand what the fuck you're doing. Read the manual of whatever DAW you pick and read/watch tutorials on sampling, audio effects and sound design. If you think there's anything that will just make things happen out of the box with no effort or know-how, you'll remain ignorant and incompetent.
well, OK, if it's simple then tell me how to do it.
I gave you all the clues you needed on >>52033214
All that is left for you to do is read the manuals, watch tutorials and apply the knowledge to your DAW of choice. If you can't make that first step, you might as well quit now.
Anybody got any links to ableton live projects of famous songs? I'm not talking remakes, i'm talking like the straight up ableton project some dude like deadmau5 made. I think it'd help me a lot of i can just look at what they're doing instead of taking advice from you scrublords.
you didn't tell me shit. you just said "it's easy go watch some videos or read the manual." how is that supposed to be helpful?
pick one VST and learn it inside and out. if you keep bouncing from one to another it's going to sound like shit each time.
don't listen to this guy. compression for effect is really only appropriate on drums. other wise it should only be used to achieve equal volume or to draw out certain frequencies in combination with eq
carry ruled notebook
do u even species counterpoint
biggest part of it is knowing how to sample cleverly. always have your ears open for a sound you can use. if you hear something u like literally write down where, when, why, how you heard it, what it sounded like, record it on your phone right then and there if you can, then either try to find it on the internet or come back with a mic
ExACTly what I need as well!
Can I ask what an example of what you'd write down in your notebook would look like?
+ I agree with listening for sounds to use - usually if I'm listening to an album, I'll rate it as I go along, and keep note of which certain 'parts' I specifically like or think I could use
ok for instance i work at a retail store in a mall and routinely have to take the garbage to a trash compactor. i wrote down basically stuff like "throw box at compactor - kick drum" "compactor on, loud whine, good for drone" just things like that. enough to remind you of the context, you know? once you get an ear for sampling, little tidbits like that should be able to recall the whole sound to mind. it does for me at least (after doing this for about a year and a half)
Processing is the key my friend.
Sounds will rarely sound good from the get go in a DAW. Add reverb, eq, compression, render, add some more, bring back the original sound and layer it with that etc. etc.
>make ambience & noise and shit but nobody listens to it
Ambient and "noise" is what happens when you have a DAW, thousands worth of pirated software, and zero talent
>back to trap
You shouldn't care if people want to hear it, when you git gud people will eventually listen no matter what you make, in most cases. The problem probably isn't what you do but how you do it. If you have something you really want to do, I'd say stick to that and get better.
maybe i just like that kind of music
also im sick of making this shit
it's literally dubstep
yeah but i want to end up making this shit a career and there's just not enough people into the music i like
>yeah but i want to end up making this shit a career
Ok ok, on a serious note, you have 2 choices
1) Sell out. Make the most bro house you can think of, "market" yourself by Djing/have shows at college bars/local bars, do this for years, have a 0.001% chance of ever "making it". And even if you do "make it" (as in, not Avicii-tier, but enough to make a living) expect to travel non stop, play at shitty places, and within 2 years, you will HATE your "job" and lose all the non-existen passion you had for it when you began. Oh and destroy your hearing in the process
2) Stop being a whiny bitch, realize that music production (specially bleeps) is a long and hard process of years of experimentation, trial and error and self-discovery (cheesy, I know) until you find your sound. Also realize that even the big names in the bleeps scene don't make all their income through their music (Fucking Levon Vincent shovels snow in the winter for chrissake, and Andy Stott didn't quit his job as a car painter til his second album, and he was VERY famous by then).
As long as you have $$ in your eyes you ain't gonna make it. Or you might, but your chances of that are the same as winning the lottery. Or not, depending how much you grow up and how much love you have for it.
not that anon but you're a fucking idiot.
Breaking into music isn't that difficult.
Just find a niche, don't be autistic and talk to people.
you will get big if you make music people haven't heard before. even mu. mu is fucking slowly at catching onto tonnes of small niche scenes.
I just looked at yr other soundcloud stuff. I don't like the music at all but I think you can produce and you shouldn't quit.
Sorry for being an ass in the post above but you have to realize, don't think or hope you'll make a living out of your music. Have a day job, keep producing, market yourself, network with people.
Just don't have any hope. None. Hope is for the fool. Make your music and work towards getting better and better, and if the chance comes, take it. Just don't produce music thinking "this will sell"
>Breaking into music isn't that difficult.
It isn't but you cannot make a living out of it unless you are at the top whatever niche. And even then, "niche" means a very small audience, years and years of hard work, and probably not income at all, since you'll be buying gear/software. If it was as easy as having a soundcloud, we wouldn't be having 250+ sndcloud threads. Very, very few people can make a living out of it
This is not some "idiot" shit. Like I said, Andy was still painting cars even after his album was hype as fuck.
Can he make it? if he is good and can market himself, yes. Can he make a living out it. 99.98% chance he won't.
this combined with the voice record app on jah smoartphone
also dont be afraid to rip samples from youtube to give ur tunes that vogue lo-fi sparkle
>expecting a niche demographic to support your cost of living
L O F L
I've been making music for just over a year and I've played in 2 countries other than my own and am able to charge quite a bit on booking fee for dj sets.
breaking into music isn't hard.
>I've been making music for just over a year and I've played in 2 countries other than my own and am able to charge quite a bit on booking fee for dj sets.
Good for you. I genuinely feel good you've been able to make it
That is not the norm though. Don't use your own success and JUST FOLLOW UR DREAMS as a fact. For every successful producer/DJ out there are dozens of (a lot of times, better) ones that failed.
I am not telling him to quit music. Quite the contrary. But stop making it sound like it's easy to make a living out of it. It's damn near impossible.
>It's damn near impossible.
stop saying this.
Honestly I don't know why you think it's impossible to live off of music.
90% of 'making it' through music is being sensible with networking.
Radio DJs are your best friend when starting out. If a radio DJ likes your shit (and follows you on twitter etc), then people will catch on.
I have half of the people they fantasise about on bleep following me on twitter just through grinding & convincing a couple just coming into mainstream people to follow me and the rest of the followed suit.
social media is the best thing for breaking into a scene, that and having another profession like design, artwork, whatever.
Is there any way to tone down the percussion on the default piano plugins in Cubase 5? Lowering the velocity only makes it quieter but it never gets rid of it. Also, is there any way to give notes a normal-sounding decay other than making them long as balls? It seems like anything shorter than 4 seconds cuts off way too sharply and doesn't get to fade out like it would in real life unless I lower the velocity to AIDS% and make it super quiet.
I tried using Pianissimo but it's really autistic and it doesn't play anything below C1 WHAT?
as you'd expect with a niche scene it hasn't got a set genre name yet.
my biggest influences are dance mania records & runway/ballroom house.
You could call it what ballroom is now, but even then that's a wide spectrum and i'm not particularly in that set scene.
there's too many people thinking they can break into the extremely stubborn techno & house scene. the sound has been around for 30 years, it's very difficult to make something original and worthwhile under them genre tags.
You've been "making" music for ~1 year, got lucky and now you know the business? And you're telling some kid from Oregon that with enough "social media" and twitter, he can make a living out of making ambient and noise?
Why do I have the feeling you're some fool who got lucky, but know fuck all about bleeps and music production?
Prove me wrong and post your soundcloud. I'm dying to hear your music, since you're a wunderkind who made it after a year.
>lots of my friends have made it through the exact same way.
By having fools' luck? Yes I know a few too who've "made it". By making it, I mean having a few hundred pressings on some small label and then being dropped after they got sick of it, or the trend they were riding died out. But they "made it" for 1-2 years
I think our definitions of "making it" are pretty different.
>you think knowing about 'bleeps' and music production means you make good music?
Not necessarily, yet I can bet my left testicle that someone who's been doing it for 1 year is either lying out of their ass, or just some disposable tool that will be dropped after the next trend comes about.
And you still think a kid in Oregon can make a living out of noise and ambient.
like I said, soundcloud
anyone here have an mpc or octatrack?
thinking of buying either one of these (octatrack is probably too expensive tho) to make glitch/idm/experimental stuff.
so, is an mpc 1000 a good choice if i'm tired of ableton live for now?
lol, m8, the kid probably 'makes' trap tunes or summat by sticking construction kits together. better yet, he prob pays someone like me to make his tunes for him. these muh social media producers, the people who book them and those who go see them all operate on trendwave garbage with social media 'statistics' (read: lies) feeding a vicious cycle which ends up with scenes that die rapidly leaving behind a wake of has been 'producers' and promoters who couldn't adapt quickly enough to whatever new trendwave bullshit the punters now consume.
i hope it fits
and hell this is probably not even the plae to post this kind of thing but hell i have two bars written on one track that i'm about to got write out more of
He's partly right on the fact that under the right circumstances, you can get your name out there (right promotion, right sound, right place, right trend) without a lot of work. But a steady income? Good luck with that. And unless he is some wunderkind, you are still a faggot soundcloud tier producer after 1 years at the studio.
Just wait til his luck runs out by next summer
yeah that's cool but like just how some people can spend thousands on an outfit and look like walking garbage other people can spend thousands on the best hardware and software and sound like complete shit. what matters is the not so much the software, but the end user.
Me too. Expensive definitely doesn't mean better. Successful records have been made in Renoise too.
I've never used FL but it seems to be a perfectly capable DAW.
Music is primarily made out of ideas and work, what you use to realise the work is relatively unimportant.
>dat fucking messy AF interface
ugh. how can people work in this environment?
Maybe he has connections? Maybe he has a buddy who works at a radio station/record label or something, and that's why he finds it so easy?
Being a success in music is mostly about networking/selling yourself. A marginally talented producer who can sell himself will be more successful than a talented producer that doesn't network, and grind on social media, and the like. Promoting yourself is crucial. No matter how good your music is, if you're not putting it out there, you won't succeed.
Even though I've been trying to figure out Ableton for the past year, I'm attracted to FL because it's the only one with an interface that looks even reMOTEly navigable. What do you use/think looks better?
Exactly. It's even worse if you work with live audio. Recording is a hassle, and so much more convenient on other DAWs. Even the famous piano roll isn't that great. I found it cumbersome, and it always zooms way in automatically, wasting time.
>Even though I've been trying to figure out Ableton for the past year, I'm attracted to FL because it's the only one with an interface that looks even reMOTEly navigable
Weird, the exact opposite happened to me. I was able to lay down a simple track on Ableton after ~2 hours of reading the manual/watching tutorials, and I spent 3 months trying to understand the clusterfuck that FLoops is to me.
Diff strokes etc
>bad advice, i doubt he even knows how to use a compressor tbh
learn by doing
>don't listen to this guy. compression for effect is really only appropriate on drums. other wise it should only be used to achieve equal volume or to draw out certain frequencies in combination with eq
that's silly. compression as an effect is a large part of the sound of modern music. often, bass and vocals get compressed on the way in during recording.
you can't intellectualize this stuff and expect to get a feel for it. best thing you can do with any production tool is to go in and tweak all the knobs and see what the fuck it really does. if you can't hear what it does, turn it up and mash it until you do.
then you turn it back down and use it in a track.
the other thing about using compression is that almost all mixers mix to compression. pensado uses a chain of limiters each taking less than -3db off the top, marroquin slams everything to the master on his SSL.
watch pensado's place. so much of modern production is mixing it's silly. making your drums bang is about 95% of people liking your music.
well that's the whole point, no one is saying it's impossible, but to suggest its all EASY BRAH U JUST GOTTA TWEET/FACEBOOK AND YOU'LL BE MAKING CASH IN NO TIME WITH YOUR NOISE "MUSIC" it's laughable and extremely naive
Jeez, that is weird. I've watched plenty of those tut's, too. I don't have very much beyond the stock sounds, so that could factor in a bit. FL's Pattern thing seems like it would make the beat-based things I'd like to make a bit easier to get down quickly.
honestly m8 they're just two different tools for two different kinds of people.
if i looked at that screenshot right now and you asked my what any of those things do or mean i would NOT be able to tell you.
they're just two different ways to achieve the same thing and the sooner you realize this the happier you are likely to be around here.
>FL's Pattern thing seems like it would make the beat-based things I'd like to make a bit easier to get down quickly
IMHO this is literally the only advantage FLoops has over Ableton, and even then, with Ableton it might involve an extra step or two, or simply, get a third party sequencer. Or even better, IIRC correctly there's a guy who programmed an instrument/rack on Ableton to behave like FLoops piano roll. He sells the preset.
Other than that, I just can't into FLoops
....alright, fair. Because I've been using it for a while, I do know my way around it. + that all black looks soooo nice
Ahh, good idea with that sequencer, actually. Didn't even cross my mind, thanks!
i guess i'm just used to it?
i dunno i've been riding on FL studio since like 2008.
it's gotten a lot easier to do things since then but all the basic concepts are still the same and they kinda come as second nature to me.
but then again i guess that's how you are with ableton, or how someone else might be with logic or so on and so forth.
Since there isn't any performance boost I know of from using other DAWs I stick with FL Studio.
I've also been using FL Studio since like 2003 or 2004.
When I finally "grew up" I decided to become "legal" and buy a DAW like 10 years later.
Oh man I know. Money into software? Fuck I'm lame.
I expected to change since this was time to get serious.
Nope, FL Studio won after the research.
For me personally. Had I been use to something else maybe that something else would of been chosen.
My only performance gripe with FL Studio is the 16-channel midi limit buuut there is work arounds.
And besides at that point it really wouldn't matter what DAW I was running it would become a bogged down sack of crap after extended the MIDI that far.
But it still gripes me.
the interface doesn't really bother me that much but i'm use to it.
hey i'm back, i'm surprised how butt hurt you lot are. all my connections were made through twitter really. I hate soundcloud so i'm not going to post that. I don't make trap. soundcloud producers are dire.
biggest mistake people make is choosing to make one genre. you can make 'noise/ambient' if it's not actually noise or ambient because think how many solidly noise/ambient unsold records there are because they are just noise and ambient. nobody cares about new artists in noise and ambient unless you're making something original.
this board is full of piss boring noise/ambient in-the-box software producers, and it's also the reason why some of you think that it's impossible to ever make it because most of the people who post on here are too busy talking about their music than making it (yeah i know im doing that right now but i'm making a tune at the same time)
to maybe prove you that i'm not chatting shit my ep that came out in March was rated 9/10 by Mixmag. I have a release out in February and (although it's unlikely unless I pull of some mad shit) I'm under talks with an R&S A&R.
>would you guys use a compressor on the master to raise the volume?
>only in the mastering stage, dont do this while mixing i'd say
yes, the way producers work is to temp "master" stuff themselves. mixers do this too. then when you actually send stuff to mixing or mastering engineers you stem things out and/or take your shitty mastering plugin off the master bus.
because your shit will sound very quiet and shitty if you don't, and people are usually listening to demo versions of things before they're done. that's part of the process too, to hear how things are "probably going to sound" after you mix or master them.
nobody has patience for "wait until it's mixed bro!"
I make tunes with a mastering plugin on the master just so I don't cry at how shit it sounds before the actual proper master.
though once you get mixing down properly towards the end I'd take all that off and mix everything down to around -5db head room. then bounce & master externally.
I used to make music in school but it was pretty bad. By producing this year I mean producing properly, like actually trying hard and not having it as a little hobby to do between fapping all day
thats what i was thinking, i just don't want to use the default maximus preset or slap a soundgoodizer on the master (which i have done before)
from videos i have seen , it just looks like mastering engineers just mix your song some more, as well as making it loud. i figure i could get as good as them after a couple years. its not hard to learn how sound behaves.
i thought of getting some sort of mastering plugin, but i feel like alot of them boost unwanted freq, which i then have to take out if i don't like them
Anybody else here record straight rock and roll music? If so, do any of you use DAWs like Ableton or FL Studio?
I have both of those DAWs but neither feels like the right thing to approach for the type of work I do for clients etc. Just wondering if anyone has experience doing it that way.
Also, the new Izotope Ozone 6 has allowed me to take some of my old tracks and "remaster" them to sound pretty legit in comparison to commercial releases. I'd recommend it to everyone. Definitely gotta be careful and delicate with it, but it made me sound like someone capable of mastering.
Hey, I don't know if this is the best place to ask, but I'm looking to buy my first setup once I've saved enough. I know nothing about music production. I just want a way to record myself singing and playing guitar and to be able to put it on the internet.
I've researched home recording a little bit, and some people say you need an audio interface like this one:
As for mic, I don't really know what I should think about getting other than that most people recommend Shure. I just want a mic for home recording; I won't be using it for performing. I've seen mics sold in pawn shops or used in music stores, and I think that might be a good idea since I'm just starting out. But I can't help but feel apprehensive about buying used. I'm at a loss in this decision.
I don't think I could afford 2 mics, so I guess I would have to sing over my guitar track. I'm guessing that's where the audio software part comes in too. Other than that I figure I'd just download Audacity and try to figure that out, and that I'm good from there. And that's all I'm really aware of in terms of starting out. Any advice is appreciated.
>i figure i could get as good as them after a couple years. its not hard to learn how sound behaves
this is a little foolish for a few reasons.
the technical side of mastering, if you're not some cocksucker with a plugin, involves a lot of understanding how various pieces of gear influence the spectrum. there's no shortcut- a lot of mastering engineers are profound gearheads who know their incredibly expensive and rare analog boxes down to the material in their diodes
the even more critical side of mastering is an evolution of your ear- you have to be able to hear frequency range to the third of an octave or so, and then to have a sensory continuity to where you remember what everything genre-specific sounds like.
mastering engineers have to have the best ears of everyone, better than mixers.
Obviously m8. No need to be condescending. I own 5 different DAWs but Logic seems to be the one with the best set up for me when it comes to recording punk rock bands or whoever else comes my way to do demos.
I am talking about those who don't do much of any bleep bloops (which I do, but not much), and how they feel about FL Studio or Ableton for doing a full project in that type of style. I have a shitload of 3rd party plug ins, so it does kinda even them all out in that type of way. However, I LOVE Reason 8 but it's lack of compatibility with 64bit 3rd party plug ins is generally a deal breaker when it comes to putting down something serious.
Not to mention Analog to Digital summing mixers. Those are crucial in mastering and most average producers or mixing engineers have those.
I think many of us could use programs like Ozone 6 to take a finished track and help the EQ out, maximize the volume while still trying to keep it from being over-compressed. From what I understand, the summing mixer is the real difference.
>thats what i was thinking, i just don't want to use the default maximus preset or slap a soundgoodizer on the master (which i have done before)
The challenge for me is to make it sound as good and balanced as possible before the mastering stage. That way you learn to mix properly. If you always have a compressor or limiter on there you won't learn how to level things out properly without it. It should sound good in the mixing stage already. If you mix with a compressor on the master it may sound very shitty and unbalanced without it.
I recommend re-mixing your tracks a couple of times during making the track, because while you add and remove sounds the mix can get unbalanced. I just put all the faders down and level em in one by one a couple of times during the process. It is often very refresing, especially if you've changed a lot.
>Not to mention Analog to Digital summing mixers.
I've never seen any actual evidence to support the whole summing hysteria thing. There's nothing wrong with the way DAWs add numbers together. I think it's a big meme among people with questionable technical understanding. Having experience in the studio doesn't mean that your perception is infallible or that you actually know how things work.
They have a large impact on overall maximization from my experience. They are considered pretty crucial at this point aren't they? I don't wanna argue with you, I'm just interested in why you'd put them down.
Started fiddling around even more distorted kicks and FXs.
[warning]loud and energetic[/warning]
>I'm just interested in why you'd put them down.
Because I've only ever seen hand-wavey bullshit and dubious testimonials and not hard evidence, and I can't think of any plausible mechanism for why they would do anything useful at all.
here is an old old track i recorded back 3 years ago before i had much high end stuff or high end plug ins. i took the final mix and used Ozone 6 to do this. Please give me your feedback....Didn't wanna include the original version cause I didn't want everyone to lose interest.
Basic eq has been around more than 100 years.
Before that there was no audio recording.
EQ technology came about along with telecommunication.
Early recording were made as in that picture where all players would play at the same time into a horn which was attached to a stylus which cut the master disc.
Instruments which produce higher sound pressure levels were placed further away from the mic.
On the topic of Finale and DAWs, is it possible to work back and forth between the two programs? My uni professor only accepts Finale files (to see the score), but I'm much more creative and easier to composer for me in Live.
well think about an orchestra, they have a jizzload of instruments, and they work with the same spectrum of sound we work with, and even if they didn't know it their instruments all played in their own frequencies allowing room for other instruments and it sounds divine. so it stands to reason that you could do the same with synths. unless you have a patch that has crazy harmonics
Okay, not sure what that's has to do with recording and EQ.
If you played a bunch of synths each with their own amp, into an auditorium, it would sound vastly different than the same synths recorded directly and played back over two speakers.
>If you played a bunch of synths each with their own amp, into an auditorium, it would sound vastly different than the same synths recorded directly and played back over two speakers.
It's not so hard to simulate (more or less) with good quality reverberation.
Tuning them to a specific frequency range requires eq if you're using subtractive synthesis.
Subtractive synthesis = generating harmonically rich (commonly saw or pulse) waves and filtering (a type of eq) them to the desired timbre.
>There's more going on than just reverb
No there's not. The main difference is that each source has its own unique location. To simulate that, you'd need to use something with multiple inputs. Convolution would work fine, if you have the right set of impulse responses, or a reverberator with multiple inputs and really good early reflection patterns for each input.
That's ignorance talking. The orchestra comparison works perfectly because orchestras are spatially organized in order to keep all the instruments properly audible, both regarding distance from the public and from each other. Much like panning, EQ and gain staging in mixing.
Again, missing the point.
And again, it's not just about reverb, no matter how complex of a reverb you use. It's about sound coming from a number of sources compared to just two. You can talk about simulation and approximation and the power of computation all you want, it doesn't change the fact that it's not comparable.
Due to the differing positions of each sound source there will be different acoustic obstacles effecting the sound of each in the same space, also the position of the sound source will effect the level resonances within the space, also stereo systems (including headphones) do a really bad job of sound coming from behind, above and below. Even the best binaural recordings aren't entirely convincing.
EQ (the kind you're thinking of) wasn't used until the late 60s
at least not panametric. there were bigger things to worry about than fixing the top end of a kick drum when recording. and course there was no if not many electronic music that needed eq (course subtractive synthesis is different)
>It's about sound coming from a number of sources compared to just two.
But I mentioned that already. And convolution would still work fine, if you have the right set of impulse responses, as I already said.
If you're comparing it to a recording of an orchestra, you face the same exact problem.
>Even the best binaural recordings aren't entirely convincing.
Binaural recordings are misguided from the start because each person has a unique head-related transfer function; this can be done better by recording with a microphone array and playing back with a loudspeaker array, ambisonics or wave field synthesis or whatever.
And I mentioned that you could talk about apprixmimation an simulation all you want, but that doesn't make it the same thing. I've used plenty of convolution reverb, but I'm not fooling myself into believing that it can replicate the effect of sound coming from multiple sources accurately.
I'm not comparing it so recording an orchestra.
I'm comparing it to actually being there.
You've basically conceded that it can't be done with reverb (or anything else in the world of stereo).
I'm yet to hear ambisonics or wave field but will be working on a project next year that will employ one or the other and look forward to experimenting.
>I've used plenty of convolution reverb, but I'm not fooling myself into believing that it can replicate the effect of sound coming from multiple sources accurately.
You need multiple impulse responses for that. And convolution really isn't an "approximation". Given the source location, mic placement, etc. it exactly reproduces the original system (omitting nonlinearities and time variation, which shouldn't be significant). It's the same as playing the input signal from the speaker and recording from the microphone used to measure the impulse response in the first place. It's exactly like using an acoustic echo chamber.
Why would you call us the scrublords when you're the lord of all scrubs? Better yet, why woul we help you if you say that shit? Best of all, why on earth would somebody famous give out the original project file for a hit song?
Volumes of stupid.
fl comes with projects people have made, i may not like the sounds but it sure has taught me stuff. just search the web for ableton projects people have made, but not from youtube tutorials because those guys usually suck
>it exactly reproduces the original system
Hahaha, you actually believe this?
>It's exactly like using an acoustic echo chamber.
Hey, at least you got something right. However, it is still nothing like listening to an orchestra perform live. It's more akin to listening to recordings of orchestra members played through the same reverb.
Yeah I did buy most of them.
I used SSO before I upgraded. passable free orchestral sounds.
This is all SSO, from about 2 years ago:
I studied composition at university... included music tech papers focused on DAWs and recording.
only with great caution. I'd prefer bringing up the levels of all the tracks, and using a compressor on the master as more of a clipping limiter.
compressor on the master should be subtle or things are going to sound... very compressed.
I've used FL to record rock/metal/stoner sludge. It works very well with recording live instruments and/or dropping in samples
which shit did you want to hear anon? the 30 second clip of plastic scraping that i created the beats from? ok:
just recorded it on my phone at work when I noticed the sound as I pulled out some tray.
I tend to write in a DAW, then import the MIDI file into Sibelius/Finale.
MIDI files allow you to go between most programs. you can export from one, and import into another.
Recordings can never match the experience of sitting in the same space as an instrument or orchestra or band. It just can't be done. You can get close, and fool most people, but the experience will always be different.
I find the orchestral layout kind of muffled. woodwind behind all the strings makes them less bright imo. would love to see woodwind swap places with strings. probably not going to happen though.
I'm ok with that. In fact I have done that once of twice on very quiet tracks that I'm not too worried about the end quality.
No it doesn't! The Fruity sampler hasn't been updated since like 1992 and the mixer update is fucking glorious. You don't know how long I've wanted better way to group tracks in my mixer.
It's a shame FL is programmed in some archaic programming language because it is the best DAW out there.
you don't use slicex or edison? and yea the mixer does get abit cumbersome , like if i want to group a whole bunch of tracks to some kind of overall eq, and then i want one of those to go to another track i usually have to make another eq
all you can do is mix it correctly.
mastering is best left to the mastering engineers who have masters degrees in audio engineering.
usually the producer sends off their finished mix to some german company who efficiently spots any digital clipping or errors and sends the mix back for even the most minor clip.
Once you get the mix right, they use their audio magic to maximize your tracks so they pop on radio and stereos.
don't worry about mastering, worry about mixing.
think about frequencies. one bassy thing is going to drown out another, so pay careful attention to which bassy thing you want the listener to hear, and maybe trim some bass off anything that shouldn't have frequencies down there (like crash or snare or hi hat)
the less interference in the mix the better.
(be careful though, many sounds have low or high freq parts that are integral to their shape - like high end in a kick)
just practice, use your ears, try to copy your favorite mixes.
There's a template called blocks(file>new template>other>blocks)that pretty much operates the same way legacy blocks did.
Legacy blocks were a useless redundancy and I'm glad they got rid of it.