Discuss music production, tips and tricks, share WIPs, talk gear, lampoon anyone who dumps a soundcloud link asking for r8s
THIS IS NOT A SOUNDCLOUD THREAD
post WIPs to clyp.it
dont post your SC unless asked to
I've been using a pirated Reason 5 copy for about 3 years now and it's the only DAW I can work easily in. However I feel I should make the change to a DAW that support VSTs, but it's very hard for me. I tried Ableton but I just gave up when it didn't work they way I want it to...
Help me find motivation /mu/. Is there a good free VST sampler that's like the Dr. Octo-Rex in Reason? And is there a distortion/EQ unit similar to Scream 4?
Agreed that's why I've shut myself in for the last 3 days, honing my skills.
Pic related comfy leather armchair
hi /prod/ this is a jazzy WIP. not finished by a long stretch, planning to build on the theme/loop at the end. thinking the drums are not solid enough.
anyway i'd love to hear what you think so far.
Motivate yourself to get a job, earn some money then buy yourself Reason. You will realise how hard and long you had to work for enough money to buy it and might realise how much work has gone into making Reason. This will hopefully make you grateful of all the great synths, sounds and features you have to work with and you'll realise you don't need vsts to make music. It might also help you feel motivated as you have bought the software so you might want to use it now.
Guess who's back?
DAVE "MOTHERFUCKER WHO FUCKS YOUR MOTHER" SMITH
Yes kinda, I feel as if I'm making the best music I can, but I imagine I could make better music if I had a larger variety of VST effects and synths to work with.
I want to change because I feel I'm missing out on a lot of stuff that VSTs can provide.
>acting like you didnt clean shit up for the pic
I'm watching you anon. Seriously though, I'm mirin. My desk is kind of a mess. What's the hardware you have under your screen? A volca keys?
Has anyone used Hydrogen for arranging drum samples?
All my samples clip when they're imported to the program. A lot of the stock samples clip, too. It's not a matter of gain being too high in the program, they clip no matter what. I've tried looking online, but I've only seen people complain about the problem and no solutions.
I had a download of Kontact 5 that came with my interface, and I was planning on importing my samples into that to use. But apparently it's a timed demo when you build your own library, and you only get full access to stock libraries. So now I'm trying to find free alternatives
I started using it because I thought it represents what these threads should feel like, a bunch of people just hanging out, making music and having fun.
Plus bluck people are funky.
Not Reall I moved that huge stack of paper out the way a few days ago as this desk doubles as my office for work. Today I moved my coffee mug to the kettle to make a brew. I like to keep my surface clutter free as much as possible, kinda feels like I need to have a clear space as I'm starting a new project. It's quite often not this tidy though!
Under the monitor that's a Volca Sample
Its really good. No I've not uploaded my own samples yet as have been busy with making music in Logic, I will do soon though. Normally that would be the first thing I'd do is get rid of all the stock sounds,but I was a little bit excited to just get on and use it so I've just been messing around with it as it is, its actually got some really good sounds as stock too.
why isn't there a DAW-like version of Hydrogen?
every fucking drum machine I've found is 16 step. How hard is it to have a 64 step drum machine without having to do it in the piano arrangement in Ableton?
the one in reason is 64 step, you view 16 at a time
i disagree. yes thye make it look like rack gear but irregardless i think it would be more complicated clusterfuckery if 64 buttons were stuffed in there
by anyway you look at it, it's still easier to just put it into the sequencer anyway and not program directly onto the device. cntrl+c is your frenn
Yes, thank god for sequencers. I used to do in the Ableton's piano roll too and it was satanic. Now I use sequencers in it, almost never use the piano roll.
It's easy as poop in Renoise, though. Now I've almost forgotten what a piano roll looks like kek
idunno i grew up with piano rolls so I'm a diehard buuuuut year, you gotta go with whatever's efficient for you, and of course whtever gets the jerb done. nobody who enjoys your music should find any of the process relevant
no. this is a production thread. you can post WIPs in clyp.it with a short description of what you're trying to do and specific parts that you're concerned about. SC threads exist for a reason. go there for your mindless self promotion
Renoise is amazing.
Here's something I made in like, 5 minutes, only using a sample from beavis and butthead.
doesnt it seem a bit retarded to go out of your way to upload shit to clyp.it instead of linking your soundcloud? Of course there will be sc's in production threads, producers fucking use sc.
>no lunga in the op
this is a signal
I need some help mixing this song. It seems like no matter what I do to equalize the tracks, it's just not good enough, especially in the second half. Also, how can I make a good loop out of it?
ok bro, here's the skinny as I see it.
1. balance balance balance. yes, it's difficult to get a final balance before EQ and dynamics work but you have to start with a better balance. as the mix progresses the balance will being to move - in other workds, automating levels is going to be necessary to keep interst, but start with a fundamental BALANCE
2. panning. there is not gret necessity here except to pan things so it makes sense, always good to separate things in space before you resort to changing sounds. panning at least gives you horizontal freedom
and now we get into the thick of it...
3. EQ. unless absolutely necessary, never boost with EQ, only cut. expose what you want to hear as opposed to "pushing" what you want to hear. remember these fundamental points about EQ: A: every sound is complex and needs to have a proper width of spectrum to work. this is more important for some elements than others, but one of the most important is drims, especially kick drum. treat a kick like it's 2 drums - a lower element and a higher element. make sure BOTH are present in the mix... usually the space between can be cut to allow for a bass or synth to sit-in nicely. B: the missing fundamental. you don't need to keep low/bass notes in the specrum on just about EVERYTHING. synth, leads, effects, etc. high pass filter that shit! let the one or two bass instruments fill the bottom and if done cleverly nobody will know you HPF most everything else, because they'll connect and dovetail into one beautiful *incompeting* wall of sound. C: masking. remember that sounds mask other sounds of similar spectrum, especially adjacent higher sounds. this requires careful EQ and level balancing, with panning incorporated, to keep things from masking. masking causes a ton of technical and psychoacoustic problems that make a track sound unclear and unstable and it's horrible. i master a lot for people and i tend to spend half my time notching-out these issues
4. ambience, reverb, and space: as panning moves thing left and right, and level moves things up or down (or back and forward), and EQ adds or removes presence, all of this structure you're building will get finalized with reverb and other time-based effects. keep it subtle - long sloppy wet trails are amateur hour shit. the slightest reverb or reflection pattern will totally move an element to its rightful place in a mix and make it all make sense. everyting should have its own little space and be stable there (creative panning and level rides excepted). when someone listens to your mix they should be able ti identify, clearly hear, and follow any single element they want - even when a track gets loud and chaotic your levels, EQ, panning, and space should all hold together to keep that possible. Reverb can muddy up a mix so craft it carefully and EQ the fx send if you have to. there's nothing more satisfying than having a track with a subtle amount of spatial effect that remains totally crystal clear.
5. practice. keep at it! have like 5 songs in-progress at once so you can take a break from one for a number of days and then hear it back fresh some time later. you're telling a story in an abstract way with a song, it's impossible to hear your own stuff "for the first time" but you have transcend that and craft it so it makes perfect sense to the listener the first time
your synths are all in the same specrrum area, they all have a lot of 2-4k presense. they're competing. your durms (especially that kick) are lost due to balance and weak spectrum. i would embellish the kick more, maybe with more layers of other drums, and then EQ the middle out a bit so you get "thud" and get nice "whap" but you don't have too much in between. you should pan things more to separate. also, from a spacial and presence point of view, everything is right in your face. move things around a bit. dulling a sound with some EQ make sit sound further away, as does a little reverb of course. the character of the sounds have to stay out of each other's way, one way or another. they can't all be the same spectrum, same level, similar panning location
what software? the send is 100% dry, the effect it goes into usually has a wet/dry balance control. except of course usually you want the send to be 100% wet and the original track to handle the dry part. if you want it 100% either you don't use a send at all...
...but that depends on your software i guess
Hey guys a bit new to producing and would love some advice.
Now Ive been using Ableton for about a year now because I wanted to put out an Ep with the songs I write and its been going pretty good I guess but now Im at the part where its all recorded down but I have 5 tracks without any mixing or anything.
Now first off what exactly is mixing what do I do now? Ive pretty much just been recording/structuring writing never thought about plugins or anything like that.
Where should I start with this? Would anyone be willing to listen to what I have to help me out? Is this the hard part?
for example, say i threw ableton's reverb plugin on 2 channels and put the dry/wet knob to 75 on one and 66 on the other. if i was to put that reverb on a send instead how would i replicate that balance of dry and wet signals?
>Where should I start with this?
Check the OP, there are plenty o' books in there.
>Would anyone be willing to listen to what I have to help me out?
> Is this the hard part?
oooh i see. you just do it with your ears. the reverbs (as sends) should of course be 100% wet, so you just have to get the fader levels back to where it sounds rights.
no, i'm an audio engineer who was trained and works on large format consoles, so my whole philosophy is NEVER put a reverb directly on a track, only manage them as sends. other things work well as inserts, such as EQ and compression and whatnot, but fx are a nightmare if they aren't sends - at least they become a nightmare as your mix gets bigger and closer to final polishing
>so you just have to get the fader levels back to where it sounds rights.
but that's the thing though, the send knob on the channel when turned all the way up is still just the dry and wet signal playing at 50/50 balance and doing audio to sends only just makes it 100% wet signal. would i add gain after the reverb on the send to make it louder than the dry signal? this all seems so much more convoluted than just duplicating the string of plugins i want on every new channel and setting the values that need to be changed, which i thought was supposed to be the very thing that sends made less complicated lol
send me a screencap of what you're doing, because it doesn't make sense. when you SEND to an effect you've got two tracks, the original dry track, and then the wet track with the effect on it. you will hear both. you adjust how much reverb you want not on the SEND level but the RETURN level (the fader for the reverb level). if you want less dry and lower the orignal track level, if you want went you raise the reverb track level.
first of all, it is not definitely 'the hard part' it just depends on where your talents are i think.
right now the mix probably sounds a bit muddy and frequencies are clashing.
so first of all you remove all the unnecessary high and low frequencies with a filter of an EQ. stuff like the guitar rumble below 500hz and the bass above 15000 for instance. You can practically remove any frequencies for every track below 20 hz and above 20.000 because thats the audible range.
then you find the frequencies of the instruments that sound a bit muddy and things like static (if you want it removed) and you can alsdo accentuate the places where the instruments sound best. if you do this it is sometimes also cool to mix tonally, bring up the frequencies that are in the scale you are playing for instance.
sometimes this works, sometimes it doesnt.
if you do all this shit your mix probably is a lot brighter sounding. then you can also pan the stuff left and right.
next you can do dynamics. add a bit compression to the bass for instance, because some of the low tones resonate excessively and some don't at all. with compression you can make sure it stays within a certain dynamic range, or volume.
then you can mess around with reverb to give the sounds their own space in the mix, just add a little bit to emulate natural reflections, not a big sounding reverb like in a hall but just a natural reverberation. but you can experiment with this as you like of course.
and then you have all the other effects like chorus and distortion.
I hope that made sense.
i think im just saying send where i actually mean return. i was using send to mean the channel with the reverb on it.
>lower the orignal track level
in my experience this just lowers the return volume along with it
>you raise the reverb track level
so you do add gain after the reverb like i mentioned earlier?
i know where dry/wet knobs are, learn to follow a conversation.
so you increase the return to get more reverb, yes. as long as the plugin is set 100% wet. also you can make the send PRE so that it sends the dry signal to the reverb independent of the fader or mute status of the original dry track.
feedback appreciated, posted earlier in this thread but worked on it some more!
Ive recently bought 2 bits of audio software and both the fucking manuals are written in broken gibberish. Shit fucking sucks!
Ive gotten all comfy ready to have a proper learning session for both of them and I'm confronted with this for Quattro DSP:
If you are already used a digital audio editor, the Audio File Editor of DSP- Quattro will look just like what you may have already used. But please do not stop at the use of DSP-Quattro as a simple audio editor, although it has all the possibilities to do so. In fact, DSP-Quattro introduces a new dimension of audio editing, and the time you will spend to understand how it works will be very well worth in the end by the improvements that will come from it.
The manual for Audio Finder is even worse and their support forums are full of spam.
I must admit I was expecting a little more from 2 paid bits of software. Fuck Me, Fruity Fucking Foreigners
Ok thanks guys. Dont get it all 100% but Im reading the pastebin stuff and slowly getting it. Ill start hanging here and learning slowly.
I guess Ill post a pic of what im doing and a copy of what unmixed song.
So what I get from this is that I should Use the EQ8 plug in and basically make it so that I'm only hearing the frequencies that I want (cut the hig frequencies from the bass etc)
Anyway this is what Im working with If anyone can lend any specific help Im just reading the thread and looking stuff up.
so i'd have to put a utility on the return track and add gain to replicate the highest dry/wet setting i had on any of the reverbs and then dial in all the lower balances below that with the send knobs on the channels?
thanks but no thanks, i'm going to keep going with direct reverbs until it actually hinders me in some way
>So what I get from this is that I should Use the EQ8 plug in and basically make it so that I'm only hearing the frequencies that I want (cut the hig frequencies from the bass etc)
yeah, but this is no exact science. the high frequencies on a bass might as well be extremely important for the overall sound. catch my drift?
its just a matter of training your hearing and developing your taste for sounds so you can identify frequencies that dont sit well rather objectively -or- subjectively.
I recommend you dont use eq8, it is a shitty eq. I use the Fabfilter Pro-Q.
utility, the ableton plugin that adds gain, on the return track (the one with the reverb on it) and ADDING GAIN (like we were just talking about, remember?) until the dry/wet signal balance is what it would be if i had a direct reverb set to 75 and then on the channel where the direct reverb would've been set to 66 (and all the subsequent channels with lower reverb values), i would have to use the send knob to find the balance.
don't tell me i'm not speaking english because you can't follow through with all the instructions you're trying to give me
dude nobody does it like that or has to do it like that.
send to the reverb at unity gain, adjust reverb amount on the return fader.
if there's too much dry you just pull the dry signal down. make sure your send is PREFADER so that it doesn't change the send level. now you have one reverb that you can send a million things to instead of putting an identical reverb on every track that you want it and mixing with the wet/dry knob
Wanted to buy a kaoss pad KP3 maybe....is it worth it?
Not playing live. It's for my composition but I ask myself if its the right choice cause everything I do with it I can do in Ableton/Maschine too (and more). Just not that intuitive
i'd recommend it, they're shitloads of fun
great for hooking up to a tv or a radio or something and effecting the output in realtime (and recording that effected output into a computer or sampler or something to fuck with even further)
ok i get it now, nobody ever mentions the pre/post thing. i don't know why ableton's default setting is post, seems like the far less useful/intuitive of the two
>If you are already used a digital audio editor, the Audio File Editor of DSP- Quattro will look just like what you may have already used. But please do not stop at the use of DSP-Quattro as a simple audio editor, although it has all the possibilities to do so. In fact, DSP-Quattro introduces a new dimension of audio editing, and the time you will spend to understand how it works will be very well worth in the end by the improvements that will come from it.
what in this paragraph do you not understand? this isn't even giving you any instructions to follow, why would you quote this part to show how bad it is?
>i'd recommend it, they're shitloads of fun
great for hooking up to a tv or a radio or something and effecting the output in realtime (and recording that effected output into a computer or sampler or something to fuck with even further)
holy fuck that sounds amazing...how would you connect all that? sorry i'm new to all this.
thanks man, any tips for the mix? i think it sounds a bit plastic and childish/corny at times, know what i mean?
>How did you get the white noise/distortion effect near the end?
it was a saxophone sound that i warped, pitched, consolidated and warped and pitched/stretched again with different warp settings. this way you can make tons of original effects.
Ah ok I get you.
Also thanks for the pluggin tip I will try that out.
Also if I may ask what makes an EQ shitty? is it about ease of control or sound?
Thanks man. I did it all myself. (my old band kicked me for being a "control freak")
nothing too complicated. the kaoss pad 3 has rca inputs and a 1/4" input so it's just a matter of getting cables that have either one of those on one end and an adapter for whatever you're sampling on the other end (example: you could hook up an ipod with a 1/8" to 1/4" cable or if you have those old red/white/yellow cables from old dvd players and vcrs, you could use that to go from your tv's output to the inputs on the kaoss pad). same deal for sending it out again, the kaoss pad has rca outs and a 1/4" headphone jack.
Gonna Plod on through, I can't even work out where the slicing tools are for cutting samples.
>If you are already used a digital audio editor,
I understand all of it but its not technically written in real plain english
Exactly. This is on the first few pages, When I'm trying to read a fucking manual i want it to be in plain english and it to be as simple as possible! What I don't want to do is read something and wonder what the fuck that means because its written in bad english.
dude that sounds a lot better! i still think your balance is a little off (drums are pretty buried), and it's a little L heavy and R heavy at times, but ultimately it balances out
you're mixing in headphones aren't you? this reminds me a lot of donkey kong country and such and i mean that as a compliment
sure no problem
>Also if I may ask
you're still on 4chan
>what makes an EQ shitty?
im not completely sure but every eq has different algorithms for filtering frequencies and ableton just isnt dedicated to making plugins. the native logic eq is a lot better. its really technical to explain it exactly but it just sounds a lot clearer and precise.
ease of use is also very important and pro q has at least 16 different bands while eq8 has, 8.
pro q also has a notch filter and a really neat pre/post eq visualizer.
Mostly, yeah. I did this some of it with my laptop plugged into a radio, but most of it was done with headphones. It's actually a remix I'm planning on submitting to the soundtrack of a Touhou fangame, so I'm trying to get it down before I submit it since the guys in charge aren't music guys. That's also why I was wondering how to make it a good loop, since I can get it to loop in the DAW but it doesn't actually render as one.
What kind of fixes should I apply so that the drums aren't so buried?
you're better off if you learn scales.
friggin liability dudebro.
eventually songs will sound more the same if you play everything in c.
pic related, its you
i would just push the drums up in the mix as much as you can. it's tricky if the drums aren't alone though on their own track. if they have other stuff in with them try to use some specific EQ boosts to maybe bring out the kick and the high frequency rhythmic stuff.
somehow you gotta get more punch and impact out of them, it'll make the whole thing much more exciting. if you're really savvy you might be able to use an expander or even multiband expansion to throw the percussive elements up more, but that takes a bit of practice. if the drums are isolated on their own track though just push dat fader up!
>unless absolutely necessary, never boost with EQ, only cut.
I wouldn't try and make someone that scared of boosting. Subtractive EQ is important but it is up to the discretion of the mixer if they should boost or cut. Sometimes an instrument just needs a little boost in a specific area, even when it's not being masked by anything else in the mix. Instead of "never boost unless absolutely necessary", I would say the mixer should consider what the cause of the problem is. Is the instrument being masked? Or does it just need a character change? Whether or not to boost or cut will depend on that answer.
we're saying the same thing. I would say your examples are examples of when it's absolutely necessary, in that, cutting won't get the job done.
the point i was aiming for of course was that to expose elements of an over-crowded mix, subtractive EQ solves the problem directly (even if it's not the first instinct) whereas additive EQ tries to overpower the problem and generally leads to more crowding. this is speaking from a rescue/probem solving point of view, not a creative "i would like this to sound more mid-rangey so i will boost the mids a bit" point of view, because all those decisions are subjective and up to the auteur
It sounds pretty solid to me. Maybe pick something from the mix you want to be a little brighter, so it stands out a bit more. Everything blends(which is really good) but I think something specific should stand out a little more.
You're right, I just thought you were leaning a little too hard towards cutting.
Though I don't completely agree with your distinction between rescuing and making creative changes. Making a character change can also be a way to solve a problem. If the problem is "The guitar isn't cutting through", you can solve it but cutting something else if it's masking, or boosting it if there's nothing masking it.
But you're right and I'm completely just nit picking. People should definitely thinking about cutting more often then they are when they've got an over crowded mix.
OK, here's what will probably be the last revision, unless there are further problems. After this I will probably start making the looped version so I can ship it off.
I think it's imbalanced to the left. Instruments keep coming in on the left channel and the ones on the right are comparatively quieter the whole way through. Or my headphones just broke?
No, that's probably my fault. I still haven't quite fixed the L/R balance yet, I'll make sure to do that now that I've got most of the other stuff down.
Thank you everyone for the advice and feedback though!
You will never find a more wretched hive of scum and villainy. It might even be slightly worse than the SAE crowd.
Dave's alright but he's become a bit of a limellight personality and it's kind of out of character for mix engineers, so meh. Mostly the culture of his FB and youtube followers is exhausting. Gearheads, smugness, audiophiles, half-experts, etc. These are all dirty words and not the kind of place I tend to wantt o hang-out.
Can I get a honest opinion on the mastering and mixing here?
Thanks in advance.
Its pic related; surprisingly sounds WAY better than the shit right next to it (old ass shire SM78) but that's probably because I don't have a interface for it. It doesn't have the hiss or pops the SM has. Fuk now I have to get a pop filter so I can sing loud without splosiveing the mic. What do you think, anon.
on first listen:
The bass is too (low)mid-rangey and lacking in low end. It also doesn't really have any presence.
Vocals are a little thin. They sound nice, but could use a little beefing up. Also they could use a somewhat higher ratio on the compressor.
The occasional percussion is being masked by the guitar. I didn't even notice there was percussion at first.
I think the guitars could use a faster attack on their compressor. I think the transients stick out too much.
Aside from that I think it sounds pretty good. The mix just leans too far towards the high mids in general can could use some more balance.
How does deadmau5 manage to keep songs interesting even without lead synths, just chords and stuff?
Also what VSTs are good for stabs? Massive isn't really suited to stabs, tried a minimoog emulator with mixed/bad results
Going for something like this (around 3:00) ideally:
>How does deadmau5 manage to keep songs interesting even without lead synths, just chords and stuff?
He takes something from (good) techno. A lot of repetition, but with subtle little changes that manage to make the music feel interesting.
It's something really hard to do.
>Massive isn't really suited to stabs
sorry to tell you but if you can't get stabs or probably most any other sound you want with a synth like massive sure as hell you won't be able to get that sound with another synth. Massive is more than capable of getting that sound. Even Synths that are a lot simpler than massive can do it
>look at Reason
>hey this looks like it's not complete shit
>go to download demo
>have to put in my damn email, whatever
>wait for download link to arrive in inbox
>500 internal server error
Anyone else here use DSP Quattro?
Ive been reading the manual to try and get a bit more in depth with it and although it seems to be a powerful audio editor it seems to be a little bit unnatural in the way it works.
literally every audio editor I've ever used I have never needed a manual to do basic editing you normally select scissors and cut, paste etc.
I'm nearly halfway through the manual and I've just learnt how to cut some audio...WTF!
Think I might just buy Wavelab?
Dude, it's not that I don't want to try it; I literally can't download it. Tried it like 5 times and when I click the download link I get in my email it goes to 500 internal server error.
is there a name for the effect used that makes the music go quiet for every bass drum hit? or I guess whenever there's some low end?
sorry if this is is a poorly worded question, I can't think of any eloquent way to put it
Guys guys please.
Newfag to /mu/ here. I play the saxophone and drums and have a good sense of rhythm and I know music theory.
However, when looking at VSTs and DAWs and shit my mind just goes empty. I'm trying to fucka round with it and such but nothing is working.
A mate of mine was teaching me but we only got 2 lessons in before I had to move countries (my dad's work).
Can anyone give me inspiration or stories of how they started producing?? It's literally my dream although I can't do it haha.
P.S I am also DJ and would love to play my own tracks
Learn how to use that one first, and work a few pieces with it. After that, if you still feel you don't like it or would do better with Wavelab, buy it.
>or you can do whatever the fuck you want; it's your money
arg anon now you got me all excited to try it
I know nothing about music theory nor do I know how to play an instrument. Where should I start? I want to produce some cool ideas that I've been thinking about for years but only now I realize what I can learn on the internet.
Hello today anon's! I'm currently working on my first album, but you see I've hit a snag; I have no idea what I'm doing.
I have all the lyrics done and all that jazz and I've played around in FL studio but never enough to create noteworthy music, so here's my questions.
1. What can I do to get better/understand what I'm doing
2. What VSTs should I get to obtain a dreampop and or ambient sound (Similar to Ricky Eat Acid, Youth Lagoon, Washed Out The Radio Dept, Julia Brown and DNTEL)
(I own a Jazz Master with proper input cables, but no midi controllers ETC.)
Thank you so much for all your help anon(s)
Soz mate. The dude who was teaching me was using FL Studio but I have another mate where I have moved using Ableton.
FL Studio looks easier/cleaner but Ableton looks like a much better program overall which is the one I try and screw around on the most.
Because it's something I've wanted to do for a long time, it's like you see everyone else doing it, so you decide to go for it! It's ambition, and the need for a creative outlet!
I know my way around FL but I don't know how to make it sound good, I can make some okay Com Truise style synthpop pieces but other than that I can't do anything special, or that I want to do!
I have limited sperience but I love the Propellerheads™ Reason® Subtractor™
so much fun, I wish they actually sold a hardware version just for keks
lately i got into psytrance again and have been working on a few songs, but i feel my current project is my best so far
i'm working with live and mostly use sylenth or massive for creating loops, then i bounce the audio and process the shit out of it
it's very hard for me to get feedback though, because i dont know any other trance producers IRL, the internet community is not that large either
pic related, it's a screenshot of my current project
Again with the assumptions. I'm not that guy, I just find it ridiculous how you autists get so furious at someone linking their stuff that you feel the need to make like six shitpost replies.
It needs more swing.
Drum programmers usually say to offset the samples just enough that is is varied, but if you overdo it, it just sounds like you hired a shitty drummer. Burial overdoes it and that is what makes it sound unique.
Slow down that kick sample by 1/2. Layer the snare with a wood block. The hihats sound good, but that is what all of the swing should be applied to.
would any of you visit the SAE? any suggestions?
i am actually from germany, some great debts commin because of this... any other tricks like others just slipped in into business (audio engineer, musician, etc...)
I went to SAE, biggest waste of money of my entire life. Steer clear.
Use the money on rent and equipment. Buy the book Modern Recording Techniques, everything they teach is in there.
Place is a fucking money making scam.
I'm somewhat familiar with them. Decent equipment, decent knowledge and teaching, not the best way to stand-out. i do advise people to study at a place like SAE, but the best thing you can do while you're studying there is take an internship. that's what'll get you into a job, in addition to your diploma/certificate/degree.
they don't have the best reputation for quality but honestly they aren't bad
Stop posting on Chan and go learn how to use Fruity loops, if you get stuck come here for advice.
Thats almost like saying I'm going to be a keyboard player in a band thats going on tour in six months but I can't play the keyboard! Help Anons. How the fuck are you making an album if you can't use your DAW?
Alright fair enough! I ask this of you, I really need plugin/sample suggestions, because the ones I don't have don't work to well for the sound I'm going for.
I really want drums that don't sound too harshly digital, like the DR 808 I run now. I want something subtle
Aw shucks anon, that sucks. I studied at Berklee and it's been quite good to me, and I've taught at a couple music/audio schools but not SAE. A lot of students that came through defected from SAE, but I assume a lot of their students defected from elsewhere too. They are pretty grubby for your monies through, which sucks. Art Institutes is like that as well apparently. Kinda makes me sick in a way, the whole "education for profit" thing, when they don't really believe in the content, just thei money :[
i can for the love of god not make a bass synth that isn't metallic, buzzy, or that talking bass shit in absynth. i just want something that isn't those 3 i mentioned. i spent half the day trying and i keep getting the same shit. i made a cool ass acid bass sytnh and i put on a mod and some filters and like the sound changed completely and even after i pressed undo a thousand times i could never get that sound back.
you gotta save incremental presets bro.
then you can always choose the one right before you overdid it
in terms of synthesizing a bass you'll like i don't think i can really help
there are so many negative comments about SAE Institutes. i think what is the most important thing is to stand up and do everything for your self, i am only scared if i am sitting there and they teach me just the stuff i already learned by my self and friends through the years, but i think there is still a lot i have to learn... why is everybody hating the SAE? Isn't there anyone who's made some good experience?
I can't really help you with that m8 as I sample all my own sounds, but doesn't fruity loops come with a fuck huge library of sounds? Every DAW Ive ever used comes with gigs of sample there must be something in there thats usable?
....Or listen to some music with drums in, sample those drums.
Concentrate on getting a full sound that would work in the track, without using (many) filters/distortions. Then once you've got the hang of that, add effects more sparingly, when you think it's appropriate
So, I'm not really super into traditional production but that's because all the music I like is really lo-fi and based on layering and cool textures as opposed to neat hi-fi recordings. My question is, since I really don't know much at all as far as EQ/compression/anything like that goes, are there some basic tips or pointers or "things you should know" before I actually try to record my stuff with a DAW instead of an iPad?
By that I just mean some essential/useful techniques I probably wouldn't have thought of. I'm gonna be recording into Ableton if that makes any difference, it's the only program I sorta know how to use.