Get in here and talk about producing!
>There isn't a best DAW for beginners.
>Look on Youtube for 'how to produce X music', the question is too broad and tedious to answer 3 times every thread.
>This is not a Souncdloud thread, if you're going to post a Soundcloud link make sure it's relevant in some way to production.
If the Moog Sub 37 costs £1,187.06 and the DSI Pro 2 costs £1,381.87, what chance does the MFB Dominion 1 have when it costs £1,076.19?
>dub techno machine
well that's nice and all but I find the idea of a "dub techno" machine utterly retarded. It's like downloading "Experimental Music Vengeance Sample Packs"
a house/techno work in progress. what do you guys think? any advice
it's only the title of the video :^)
but also the thing is dub as fuck, you should try one, you'd love it. it influences you in different ways
I don't see why you can't name it that, a lot of dub techno is made on them. in a way it's kind of like what the 303 was in acid
>I don't see why you can't name it that, a lot of dub techno is made on them. in a way it's kind of like what the 303 was in acid
No, my qualm is with the fact that machines like these is why dub techno is so utterly boring these days. It is a nice piece of equipment but for a genre that isn't suited well for dancefloors, it makes no sense. Dub techno is supposed to be one of the experimental faces of techno music. Ditching the experimental side of it in favour of the same machine every rich white kid producing techno these days is whats so boring about it. it all sounds the same
too damn expensive though. and also the way they marketed it was wrong, the only analogue thing about it was the filters, and maybe kind of the oscillators
would still love one though
the oscillators are DCOs, I think Curtis, because there's only switches for saw tri and square, and they have the Curtis sound.
I agree that it was too expensive though, the people who buy a $4000 synth aren't the same people who are gigging and would make that synth famous
Well the LFOs actually have six waveforms available but they are not even for sound really so it does not matter if they are digital or not.
Also the Andromeda is completely analog.
I might have misread what you meant. I thought I was replying to the guy that was unsure about whether it was analog or not.
I'm not trying to be smart I'm just trying to provide correct information.
Just ordered a presonus audiobox because not being able to record anything is really pissing me off.
How do you guys get good shakers? I've been contemplating making and recording my own shakers and small percussion hits because I'm sick of sucking at making cohesive percussion. Here's an example, starts at like 50 seconds.
its cool bro. I should probably pay attention to who I'm actually responding to as well.
Mine wasn't too expensive. Using a 57, won't be bad though, I just prefer using a condenser for most things. Make sure you use the shakers in a really dead room/closet, those fuckers have a nasty habit of making room noise.
>Look on Youtube for 'how to produce X music', the question is too broad and tedious to answer 3 times every thread.
cmon people, are you even reading the fucking OP
Any thoughts on the Waldorf streichfett? My band mate is fetishizing some korg polyphonic ensemble, but I don't really feel like hunting down some pos korg knockoff of an already phony type of instrument.
Looking to get into hardware, firstly a synth and sampler. Should I dive straight in and get one of those? I was looking at the MC-303 because they're dirt cheap used and look like agood way to get accustomed to hardware workflow. Also gear preferences.
>Micron, MicroKorg, or MiniAK?
>SP303 or SP404?
>SP series or MPX16, budget considered?
>Mixer: necessity or convenience?
Not the microkorg. The other two are the same synth, so get whichever one you like more.
Don't get an SPX, they're flimsy and aren't programmed well.
Mixer is a necessity if you have a use for it. Its not a necessity if you do everything in a DAW.
I have one, I love it, but it needs help from outside effects. I run it through the Moog chorus to get the sounds I want. It doesn't have a wide set of sounds, but if you want those 70s string synth sounds this is as good as you're going get without having to chase after the originals.
Shit, you have a cluster flux? It looks spiffy, but I'm not touching that price tag on one pedal. I got a Hammond and a Leslie for that much.
Speaking of which, does it have an organ-like envelope when you turn the attack and release all the way down?
They had the aria lineup minus sync box at the Banjo Target.
The TR-8 nails the 808
The TB-3 didn't get much love, but it's still acid
The VT-3 didn't have a mic, boohoo
The system 1 sucked
They didn't have DSI, which surprised me, I wanted to try the mopho x4 and pro 2
If you're looking for B3 sounds from the Waldorf you'll be very disappointed. It can do transistor organ sounds, if you want that. The envelopes can be very fast and "clicky", but they don't do the key click sound from a B3. Also, the envelopes can be very slow too.
While a much more expensive option, I recommend getting a used Nord Electro 3. You'll get the organ sounds and the string machine sounds through the sample banks. Leslie sim is good as well.
As for the Cluster Flux, I definitely took a risk buying it, there aren't many demos out there running keyboards/synths through it. But it exceeded my expectations, worth every cent once I started running keyboard sounds through it.
Lolno, I have a gigging size keyboard for that. I was actually wondering because the same bandmate mentioned earlier likes combo organ sounds, so if it can get that cheesy reedy sound, I'm golden.
I bed it's worth it, all the foogers are. Do you have a modular system, or just other foogers?
Both. Started putting a modular together 4 years. The Moogerfoogers are the only EFX pedals (I've used) that can handle the hot signal levels from the modular without ugly distortion.
Eurorack, two 6U cases (both 104 hp) and one 9U case (90 hp), all the cases are full. I wanted to have an instrument that can do those endless Berlin school sequences and that's exactly what it gives me (and plenty of other things as I get better at playing it).
is it possible to make an organic record on entirely digital gear and make it sound warm and personal?
i'm talking strings and percussive instruments played by humans and mic'd, not programmed samples. all though im not against that stuff. I just am trying to do something different.
1.) are the arrangements good?
2.) did the player play the track well, with emotion?
usually all you need dude, the rest is all part of the moment. so if you're track sounds a little noisy but its played honest and well, it'll be good.
but if you're interested in warm sounding, good preamps will do the trick. the tape thing, if you can't afford it, make the record with what you've got. if #1 and #2 are good, someone will offer you their tape machine for use.
Since you're talking about using acoustic instruments, then I'd say yes. If you've got good mics, good mic pres and a good sounding room you'll get the sounds you want. Not sure why digital gear is part of the equation if you're talking about recording acoustic instruments.
well my friend said that I should think of everything I make as a "demo" or as a "scratch recording" until i get a tape machine or am able to go to a real studio.
i have a tascam us 1800, and have made demos for 4 years. i have good microphones and am ready to think of my projects as "the real thing", even if perceived as lofi.
im just asking your opinion, does "rock" music NEED to be on TAPE?
Hey guys. I don't know anything about music production, but I want to get into it. LAst week I bought a Casio keyboard that works as a MIDI controller and yesterday I got an Akai MPD18. I figured these would be good for starters, what do you think?
Also, why is it that so many pictures of home studios I see contain multiple keyboards. For example: >>52216258
Does each one serve a different purpose or what?
Stg soundlabs, they have a mixer in eurorack that asymmetrically distorts like the moog modular mixers.
Motm has a really good moog filter clone that pairs nicely with it.
>someone else on here
Euro is pretty damn popular. Are you on muffs?
VSTs usually lack the feel of some of the Analog Synthesizers.
A good analog synthesizer is just as important as using a Fender Deluxe Reverb vs a Fender Rumble. It's an instrument of it's own, you know?
There's a number of different types of keyboards. There's workstations that try to do everything from synthesis, sampling, and sequencing. There are stage pianos with hammer action keys to stage organs with waterfall shaped keys. There are synths that are monophonic, analog synths with few voices, digital synths with many voices. There are many different ways to go about generating a sound, and it's not likely that any two keyboards in somebody's setup are meant to have the same role.
Oh ok, Suit and Tie Guy. Yeah, I have the .MIX module, one of the first modules I bought, absolutely love what it does to sine waves.
For Moog filter sounds I use a Boogie Filter from Malekko/Wiard, but I almost always use the 18 dB output (gives me a blend of EMS and Moog, but with the response of a Buchla LPG).
Yeah, I'm on Muffs, lurked there for months before buying my first batch of modules. I don't post that much.
Does it do the buchla bongos? I'm thinking of going euro, and it seems like a solid filter.
I'm on muffs too, but I hardly post as well. Great resource of information though
So different "synths" produce a different sound? Well, with the keyboard I have right now I can just enter a code for about 400 different tones like guitars, organs, brass, etc.
Why have a synth for each different type of sound if you can just use one piece of equipment that can produce a huge variety of sounds?
I'm probably completely missing the point lol but I'm just trying to understand
companies put a PATENT or a TRADEMARK on their samples so that other companies cannot STEAL THEM. That's why certain synths, drum machines and stuff are popular. Their sound is unique.
Yeah, you can get some bongo sounds out of it, but you're going to need some help from other modules. Not surprisingly you're going to need a MATHS for the envelope and the offset channel. Use the 6 dB output of the Boogie, patch the output of channel 2 or 3 of MATHS into the Key In input of the Boogie (start fully negative, counter clockwise). Channel 1 or 4 envelope form the MATHS to the CV in of the Boogie, play around with the Frequency and CV attenuator as well as the MATHS offset to get the ring just right.
Did any of that make sense? Hard to explain this stuff in text.
Or, just get the Optomix, it does the bongo sound better than anything I've heard (missed a chance to buy a QMMG years ago, the MMG is good, but has a completely different flavor compared to the Optomix).
your keyboard sounds like a rompler, not a synth. a synth generates sound and can in theory make any sound you want, but you have to make it sound that way. however, some synths have different characteristics than others, some are completely different in practise like monophonics and polyphonic synths, some have features others don't and they all have unique interfaces, pretty much.
Okay, those keyboards are made for education. They're cheap, and the tones they make are just sampled sounds. Imitation on the most basic level.
There's all sorts of ways to program an actual synthesizer. You can change the type of waveform, you can mix waveforms of different octaves or intervals. You can add vibrato. You can apply a filter that is articulated by the keyboard.
They have controls that give them the means to create their own sounds and ways to play the instrument, instead of choosing from a large amount of crappy, unedited-able sounds,
Hi guys, I never stick my head in these threads but have a question. Have any of you used the Analog 4? If so do you rate it? I have just bagged an octatrack cheap and now I've spent a few days getting around the fucking interface I'm a big fan although I have doubts about the idiosyncrasies transferring well.
Dub techno machine. I had no idea what these machines do or are, isn't the Electribe a sampler?
Why are these things so good for dub techno do they just have good delay and dub effects built in or something?
Ohhh okay. So the sounds that came installed in the Casio keyboard I got are samples owned by Casio, which can't be manipulated. A synth is used to program these sounds from scratch, right?
there are a lot of Electribes, some are samplers and others are synths/romplers
I think they're great for dub techno because they have a lot of cool built in effects that you can chain together, great delays and making a loop is easy and takes no time. it does not restrict you at all when you know how to use it. everything is right there in front of you and you can modulate anything you want to as soon as the idea comes to you.
and they're cheap so any dub poorfag can get one on ebay
Yes and no. Synth brass doesn't sound the same as real brass, but it's still a desirable sound that can vary from synth to synth. Attempts to create clav and electric piano sounds on a synth have resulted in novel sounds on their own.
Acoustic piano emulation is tough, and high quality emulation is expensive compared to a real piano.
anyone know of any good sample editors for the iPad or iPhone I need something just to cut samples out of mp3s mainly, but would prefer to not do it on my computer as I'd like to do it while I'm in bed listening to music...if I hear something good I cun just chop it right there and then.
The Mellotron samples are the main reason I got the keyboard. Simply put, the Nord's Mellotron samples sound great, better than any of the sample based VSTs I've used in the past (the GForce one being the best). The Chamberlin samples are amazing as well.
what would be a good microphone for sampling sounds and turning them into drum hits or synth type sounds?
i've been using a zoom h1 but the output makes a high pitched noise if you turn it up loud enough to get a good detailed recording.
i have a cheap shitty dynamic also, but it's kind of noisy too
Nice trips, dub, dubs.
I did try that one along time ago and didn't get on with it for some reason, will give it another go as I've been using cubasis and to be honest it's a bit of a ball bag trying to edit samples in that!
I remember why I hated this editor now. If you drag the marker points to the left or right while zoomed in on the audio a big bubble icon appears and for some reason it's right in the centre of the waveform? Why would anyone think that's a good idea?
But you're the one attaching mysticism to "infinite possibilities" of muh computers.
If you think an acoustic piano is an attempt at an electronic instrument, there's no point in talking to you. If you think that even an expensive stage piano is a solid 1:1 replication of a physical piano, you're deliberately being obtuse.
Did you buy hakusai? Maybe it's a bit easier to use with the features unlocked?
Coming from a Wavelab background as my Goto sample editor I was truly fucked when I swapped over from pc to Mac, I've bought Quattro dsp but I can never get into any kind of work flow on it and it always feels the same.
I'm surprised at the lack of audio editors for the IPad considering all the other music software available
>But you're the one attaching mysticism to "infinite possibilities" of muh computers.
no, pretty sure that was >>52220265 you right there
>If you think an acoustic piano is an attempt at an electronic instrument
>If you think that even an expensive stage piano is a solid 1:1 replication of a physical piano
nope, dont think any of those things. i know that piano was just the best they could do while waiting on technology to unlock the final frontier for the way music was meant to be made and heard, and while that perhaps electronic instruments cannot yet faithfully reproduce the sound of any piano, it is simply a matter that the piano is too imprecise of an instrument and prone to so many sonic faults that it is sort of backwards in trying to emulate a piano via sound synthesis when it could be better spent exploring better and more pristine sounds.
I was explaining to a beginner that not all of the tones were made by a synthesizer, calm your shit. I doubt a beginner needs or cares about every nook and cranny of left-field music.
who wouldn't hate tonal music tho
oh yeah, radio plens
nah fam :-> that assumption does most def speak to the quality of ur argumentation thus far tho
>tonality of any sort
lol no kidding
Grooveboxes. Yea or nay? I'm considering grabbing an MC-303 for about $150 and as much as I like the synth (even though it's sample-based) and drums all in one. For something that has limited tweakability and no sampling (which I do somewhat frequently), is it ok for babby's first hardware?
>quality of ur arguments
Lmao, what arguments? You're the one taking issue with everything, I'm just poking fun at you. Cute that you think you're proving any point though, it's like you think you're a good troll.
>tonality is shit
>everyone watch out he's got some hidden agendas!
exactly, i wouldn't call em posts of yours arguments either- more like 'assumptions'
Getting close to finishing this track... 9 days in the making so far (only 7hr 40min spent on project in total)
All I need to do now is add in real electric organ parts to the last 30 sec, and do some smoothing transitions and cleaning up... and I'm done!
will post audio once I'm done, probably tomorrow.
i'm here to bring radical musical philosophies and paradigm shifts to the every-people, if yall want to call it as shitposting go ahead and disguise it as what you will.
the truth of my principles will ring out to anyone actually reading anyway
ultimate concessionposts, nice!
If you actually believe this stuff you're telling yourself, then I'm pretty sorry for you. I thought we were both just taking the piss, but now I realize I've just been having fun at your expense.
either will work.
pop filter is something I need to invest in.
I've learned to keep my 'p's quiet while recording vocals...
>sending beats to rapper
you know you ain't going to get squat right? like if they like the sample 99% chance they'll just outright steal it.
I hope you somehow copyrighted it as song or something
dont giva shit. im literally a nobody starting from the bottom in his moms basement. if he uses my beat thats reward enough for me. the fact that he's even giving my stuff a listen and opportunity is cool to me, he could just stick with his usual producers or some other big name.
on second thought, sorry for being harsh. But don't send any beats to any rappers unless you are willing to see the beat go and you ain't getting shit (money or credit wise). Maybe it was an honest rapper (kek) but I personally know a few semi obscure producers who have gotten shit stolen. It happens all the fucking time. A lot of rappers don't want to pay up because they think putting your name as a co-co-co producer is enough payment.
But you already knew that
yup, no fucks given. thats how the game is now. so many people can make top quality beats in their moms basement. why would he want to even work with me, when he can work with his friends or other established big name pros. the opportunity alone is cool enough to me.
>listen to Nosaj Thing
>open up FL
>you aren't Nosaj Thing
>listen to Jon Hopkins
>open up FL
>you aren't Jon Hopkins
>listen to Pantha du Prince
>open up FL
>you aren't Pantha du Prince
How do you cope with this feel, /prod/?
Accept the fact you're not them and make something that's up to your skills and actually finish it. And consider that the first of many mediocre tracks to come until the hours of practice start becoming evident on your finished works
>i'm talking strings and percussive instruments played by humans and mic'd, not programmed samples
Get Native Instruments Komplete then.
It's all studio recorded orchestrations of violins, pianos, drums and shit.
It's pricey but it's the best shit out there for realism and a lot of tv/movie soundtrack guys use it.
Han Zimmer has a new pack out too but it'll be damn expensive i'd say.
otherwise, physical modeling on a kray supercomputer
>install Komplete 9
>shit is way too big so I decide to install it on an external since my hard drive's running low
>it attempts to install shit on my internal but fails and installs everything else on the external
>managed to fill up my internal drive entirely and I can't find what the fuck it partially installed so I can get rid of it
No, you dont avoid it, you qo through it. That's how it is with everything you suck for a while and then you get good by means of repetition. You just have to accept that your tracks will suck and still be able to finish them if only for the experience you gain from it.
Put it like this: instead of comparing every track you make with the track you wish you had made, compare them with the track you finished before that one. As long as you are making a 1% progress over the last thing you made, you know you are in the right path
so i don't want to make a new thread for this, and this seems like it might be somewhat relevant to this thread
i recently was given 2 Shure SM57 mics. However, I have no interface
I've been researching interfaces, and I'm at a loss for which to buy. I have been recommended the Focusrite Scarlet 2i2, but I have my doubts. I heard that it has a significant amount of white noise when the gain is turned up. Because I plan to use this with low volume acoustic instruments, this might be an issue.
Is there a better interface (in terms of lower noise at close to max gain) at under 300 dollars? Or do I instead consider a pre amp or DI box or something? If you can't tell, I'm pretty unknowledgeable at this stuff.
Another option I was considering was getting Tascam DP008, but I honestly don't know if that'd be better. I have no experience mixing or mastering either, so it's not like I need advanced stuff in that regard.
This isn't for everybody, but that BOC lofi sound is what I wish I could get. These the saturation on these synths just makes them magical.
i've always liked working with different genres, like reggae, dancehall, bigroom, progressive, melbourne, and even 2000s house
the secret to it is to have a reference track and know the concept of each subgenre
of course, not sure about you people, but i download all library on torrents
All those genres you listed aren't anything worth bragging about.
Good for you for making it, I'm definitely jelly of that. But you're basically saying "I'm producing pleb music with no gear". It isn't nothing impressive.
Try to make music that is held to a higher production standard like techno music, then we'll talk
I finally got off school and got time to spend learning how to produce.
Week 1 just finished tonight with a beat/synths done from scratch, that actually sound good.
Feels so fucking good man.
Is it possible to achieve that XXYYXX - About you bass with the ableton default synth? Should I just [spoiler]pirate[/spoiler] sylenth/massive if I wanna get serious?
true, but at that point tho you might as well invest in gear, even the very basics (ie a midi keyboard) because AFAIK you cannot put together techno from libraries (correct me if I'm wrong) and will all the kob twitching you'll need to do, a keyboard/knob thingie becomes almost necessary
do you make a living out of it?
From my limited experience making tracks on a computer I have found that programs either don't color the tone or they emulate hardware (Tape Decks, analog filters, low bit samplers). Granted it's not a bad thing that the computer doesn't color the sound because it should primarily be used for perfect playback.
I started this today. Still in progress.