Remember to use:
>clyp.it for WiPs
>soundcloud for completed tracks and getting called a fruit for not going to soundcloud threads
We're making an album! (or trying to).
Check the next post for info.
>Pastebin - Links, books, videos, articles, tutorials and stuff:
link to pastebin.com
>/prod/ wiki - looking for contributors (wink, wink)
link to mu-sic-production.wikia.com
Well it was like
"do you need to cut frequencies outside the range of human hearing"
"the frequency output range of most speakers doesn't exceed the range of human hearing"
So a motherfucker could get confused and think that was an implied "no"
i am in need of a magic box i can put sounds in and get mad effects. naturally i figured i'd cop a 202, but they're so overpriced on ebay i'm hesitant (and broke). i looked at the sampletrak, but i like the 202 bc i've used a 404 and 505 before and they're all quite intuitive as opposed to most other samplers. is there a cheaper, more lo-fi sampler than the 202 that still has at least decent effects capabilities? i'm talking <$100
Just working on stuff kind of just messing around
this is a faster track than the others ive made but im having fun haha, any feedback on where I am so far would be appreciated, its still super simple, havent messed with the drums or levels past setting them up so still super early.
How are you tonight /prod/?
if your audio interface isn't totally shit then it should have a custom made ASIO plugin to work with it
ASIO4ALL (what his image shows on the taskbar) is for bottom of the barrel/consumer grade sound cards. It's glitchy, crashes and it's just a band aid
pls upgrade to a decent DAC/interface
i use asio seems alright but im no expert at knowing shit like this. although asio makes it to were if i have my DAW open it mutes my other windows and literally won't even play videos while my DAW is open so i can't watch tutorials while i mess around in ableton.
how to make a track fade in another on a album?
Like,a track starts 30 seconds before on the track before it
i can't express myself and that's annoying,english isn't my native language sorry guys
hope u guys understand what i meant
>build both tracks in the same project, combine to a single one if you didn't
>build a transition
>export one track till a certrain point, the other from that point onwards
>enjoy your two files that have a smooth transition
Sorry to be hijacking these threads but we are still looking for contributors to Project 1EP.
For this project, each participant gets the month of February to make 1 EP of a max total length of 15 minutes, containing at most 15 separate tracks. Anybody is allowed to submit any content under any artist name, provided it's your own material, not offensive and not OLD material! No folder dumps! There are no genre restrictions, make anything you want.
When you are done, submit your EP in a ZIP to mikewestaudio (at) gmail.com , together with all relevant info, before March 1st.
All contributions will be compiled into one MASSIVE digital release - including top of the line mastering, provided that you don't brickwall your tracks. The album will be available on bandcamp (project1ep.bandcamp.com, currently empty as this is the first edition) as pay-what-you-want and ALL proceeds will be donated to the international charity Medicines Sans Frontieres / Doctors Without Borders.
This is a cross-community project involving several established artists and people experienced with running compilations and labels. We currently have around 30 artists involved in this, but we can always use more. We are also looking for people who can aid with compiling the final playlist, as well as illustrators who would like to contribute covert art & design.
The main goal here isn't to raise so-and-so much for DWB - the main goal is to make some great music - but the charity side is a way to motivate support for a good cause, and raise the profile of all artists involved. If you have any questions, just drop me an email.
It worked for the Touched compilations and I don't like it when compilation releases include some sort of option of monetary support, then take the money themselves - it would be a logistic nightmare to distribute evenly amongst the artists anyway.
I've been running these types of things for years and it seems to work out fine for all involved, but then again, some people think this kind of thing is more fun than fretting over their soundcloud plays. If you really want to stand out your best bet is to make some good tunes.
ears are very adaptible and adjust themselves to hours of producing. you might be producing on too high volume, your monitors suck or you might be trying to produce only on headphones.
try to work on a lower volume than you will be listening on, try to keep a spectrum analyzer handy, as well as a well produced track you're trying to sound like, etc. the idea is to be proactive and keep your ears from adjusting to a bad sound. this stuff becomes second nature after a while, but it's impossible to prevent entirely, take plenty of breaks and just fix things as you discover them.
i get weird glitches where i have to reset my audio device after using my daw or else all audio will be dropped one octave.
if your monitor has speakers and you happen to be running hdmi to it you can switch the audio device under windows audio to the monitor and have the tuts come out of your monitors speaks while ableton will still work
Track in question:
Vocals are probably weak in the first place, but what else can I do to fix them up?
>several established artists and people experienced with running compilations and labels.
Who are they? Just curious. It might be good to mention them, a compilation of nobodies is not the same as being in the same compilation as, I dunno, whoever is contributing. Big names draw attention
Sorry man, but I was here the first time you posted and googled you. I don't believe you have any support from anyone with a name on on this project, if you have any support at all.
Not to rain on your parade, but without knowing more, it just seems like you're spamming forums in hope someone picks the idea up.
reverb always helps, but that's kind of obvious. maybe a small slapback delay?
i recommend stacking vocals/harmonies. it really helps make any vocals sound better, good or bad. use melodyne to help the each track fit together. melodyne is a godsend for vocal editing.
oh damn. well, yeah melodyne is the way to go then. i've gotten some decent fake overdubs from it. just change the tuning/timing for each track slightly. not as good as real overdubs obviously, but it sounds alright. it might help? idk, just throwing out ideas.
Just record the vocals over and over again, then when you got like 30+ vocal tracks just overlay them.
No reverb, no effects, just mix them down a little and be done with it.
Voicings. try singing an octave lower in some parts and overlay your vocals together.
I have no idea clue mixing vocals but i guess you could try a driver effect or an exciter. Other than, compression.
Quick update on P1EP
There'll be global cover art for the whole thing but everybody who submits artwork will have it attached to their submission, so it's option. Also note that WAV files are essential for mastering purposes, if you submit a shoddy brickwalled mp3 there are no guarantees you'll have a decent presentation or even be on the comp
There's an FB page now if you want updates, just started so its a bit empty but it will all come. Design is temporary while I wait for MSF headquarters to approve this whole thing for their affiliates program, so we can use some neat logos and stuff
>project1ep on facebook
It's a bit early for all that, we're not exactly talking "big names" (which isn't the point of the comp) but not nobodies either, many of these are genuinely good and quite successful artists, i'll throw some examples ur way.
just make sure to check phase if you're fake overdubbing.
just finished building my new ikea desk, what do you guys think? i need some cable management and a nifty monitor riser shelf thingy as well i think.
Who's gonna buy this? Did you have success the previous times you did this? I would offer a few songs that I make this month, but it just sounds so pointless. Who is going to listen to a massive collection of random music by 20+ artists?
Im struggling to stay in key so bad. Like I have this awesome ambient sound and it'll sound fantastic. But when I try to put another synth over it, it sounds like shit and mismatched. I wonder if its a timing thing, or timbre, or keys? Maybe the ambient synth I have is too complicated? Ugh.
Do you know about keys at all? If you are musically inclined ambient music can be very easy to make. Also what >>53368976 said. Make sure oscillators in your synths aren't detuned dramatically or anything.
This "compilation for charity" thing is a first for me. In my experience people like to support things on bandcamp when the music doesn't suck, I've made a fair bit from sales on there from my private accounts. I have been involved in a lot of compilations over the years and the truth is that people listen to all of it, if you're first or last in the list doesn't matter, if your music stands out people are gonna talk about it. People aren't idiots, they understand that there might be really good shit more than halfway through.
People also tend to dig big community things and I've seen a lot of people support so-so compilations where all the money goes to the guy running it, I'd have felt pretty bad doing that so if you leave the option of paying but putting it all to a good cause, that eliminates a lot of hassle but also raises the profile of artists involved.
If it sounds pointless it probably isn't for you, most people who dig the idea of this are already getting busy making tunes and not asking how much of a return they'll see from it
Putting all the charity and artistry stuff aside, the main point of this is getting people creative to a deadline, it's quite an energy boost when you get into it, you might surprise yourself.
This is the synth I'm talking about:
I really think perhaps it's got too much going on by itself?
It's just at -1.73.
Is that too much?
I tried to remove it entirely and it still sounded like shit matched up with everything.
What is the 440hz tuning?
I've only been working with music at all for a few months so I'm still piled under things I don't know.
I know basics about keys, I'm very new, I'm trying to look into chords because you can see from the spectrum in the image that it's all kind of set up oddly.
Is the detune the part in massive where the "3" envelope is?
You're making things too complicated for yourself. Don't worry about the spectrum analyzer or anything for writing the music, go by how it sounds. User your ear.
The detune on that massive patch would come from osc 3. but I know it's not active in pic because the blue light isn't on. but yeah the -4 means you moved it down 4 semitones. If you want them all in tune put them to 0 or +-12. and that's not an envelope that's an oscillator. the oscillator generates the pitch while the envelope manipulates the pitch. look up attack decay sustain release. hope this helps
-1.73 doesn't say much because it depends on what synth you're using, in the case of massive it's too much, that's almost 2 semitones - but that's an envelope doing it and I have no idea what envelope settings you've got going on, it might be set on zero for all I know
please take it easy with the spectrum analyzers until you have an idea what you're doing
it sounds like you've got some detuning going on occasionally anyway, it seems envelope-determined
that bass is quite pronounced and might be fucking things up for you mix-wise, might be creating distortion on the master track
I mean I was talking about the "3" under the first oscillator. It's basically an envelope changing the pitch on OSC 1 on a small scale. (1.73)
But I don't think that's what causing my problem.
It might be the sound itself, like there is too much going on?
there are specific scales that sound asian, but its more traditional (google asian scales)
j pop and rock have pretty vanilla songwriting from what i've heard (inb4 a weaboo corrects me). its really the sound engineering side of things that makes that stuff impressive.
you have a lot of sub bass going on and it tends to steal energy, especially when you play polyphonic synths, try shelving out some of the sub 100hz frequencies with an EQ, add the EQ8 and do like the pic does.
Yeah that's what I was thinking, though even when I turn off the envelope on the pitch it still sounds off.
Yeah, I've just been so in the dark about things that it's been a rough start in terms of theory, but I've been studying chord stuff and I think it's helping. (Scales too)
Working on it right now, because trying to get the keys from looking at the spectrum just makes me want to kill myself.
Yeah, I noticed that. I EQ'd out some of the lower frequencies and still sounded like shit.
I still think I should stick with it though.
I would go insane if someone threw massive at me in my first few months of music making.
Some of the wavetables in massive are kind of wonky regardless of tuning, especially the additive one you've got running. Start with a simpler subtractive synth and learn what each thing does, try to make a few tracks that work well harmonically, then move onto the bigger things
actually there's a switch to turn on keys in the spectrum analyzer, you need clear tones though
yeah but it doesnt work so well with melty ambient pads
nah the microkorg is a bit of a bitch to program, but if you plug your guitar in there with the vocoder you can get some cool spacey effects!
go for synths where ALL the controls are on the same page, so you dont have to flip through ten sections to make your sound - that sort of stuff is gold when you've been at it for 5-10 years but it's painfully obvious you are rushing into things and overcomplicating everything.
learn what each of those controls do on that simple synth. this way you will quickly figure out how more advanced synths work.
i'd recommend these, don't mistake them for "weak" synths, they are quite capable when you know how to use them:
korg polysix vst
is there any difference in rights between uploading your stuff on bandcamp as free vs uploading your stuff on bandcamp as name your price? because i dont want to get in trouble for samples
unless you have actually cleared the samples, you are never in the clear. depends on how far you want to push your luck - when there's money involved you're more likely to end up in trouble, but some of the plunderphonics guys around here don't seem to care
s'goin on, /prod/?
what do y'all think about the mobile DAW app "Caustic"? Im using it and liking the ability to make beetz anywhere. Thinkin about making the 10$ investment as it looks like a useful little tool; just wanted to know if y'all have any specific opinion on it.
We're making an album! (or trying to).
How to join:
>Take a good look at this picture
>Be inspired by it
Anything goes, feel free to find anons to collab and have fun with in any way you want. Or just work solo.
We're doing this for fun and you got until end of February to submit.
>tfw I have all day to produce because I'm neet but it all feels forced and I hate everything I make and I can't come up with anything or find inspiration
It might be because of my head isn't in the right state to make music, but it's driving me insane. I've been neet for 4 months now and only managed to finish one song which was done in a day.
Maybe I need pressure to finish it, or I need to change my environment or lifestyle or something.
Hey /prod/, I'm reinventing my soundcloud project thing and this probably isn't the best place to ask but you guys know things I guess
Which of these logo concepts look the best?
I'm planning on getting a synth in the future, the Roland FA-06 looks like it'd be a good one, and not sure what speakers to use with it.
What are Rokits like?
I really want to be signed to a specific label. It's not too easy to get signed by them but it's literally my lifetime goal.
What is the best way to approach this?
Like most, they have a demo submission email, but I'm really scared of sending them my demo, them saying "meh" and then sending another demo a few months later and eventually them knowing who I am and getting tired of seeing my name or identifiying me or whatever. Hopefully you understand what I mean.
send them a few different demos with different artists names, each one with different songs so if they decide they dont like you once they will still listen to your other music thinking its someone else and maybe one of them will get picked lol
not that guy but i would say logos brand an artist, and simplifies recognition, same reason you can recognize aphex twin by a symbol.
cheesy for a starting artist, but beneficial for popular ones.
are you autistic?
if they think your 1st demo is fucking shite, and by the 3rd demo they like it, they will recognize your name as being someone who can actually learn and not just talk all the technical shit
besides, even if the demo is good doesn't necessarily mean you get signed m8
I'm gonna be honest with you here, and I hope you'll take it seriously.
It's probably not happening. It's not you who picks the label, it's the label that picks you. You'll never figure out what they're looking for, if it's a new artist with a different style or more of the same. Just send your demo and not just to that one because you're on a path to getting an ulcer like I did worrying about stupid shit that is out of your hands.
If you think your material is good enough for a label, you're wrong
I've sent maybe 10 demos out, and every time I do I look back a couple of weeks later and think that the song was actually pretty bad
What happens most often: Producers using their synth's standard sound with minimal alterations or producers inventing new synth sounds that sound nothing like their synth's default?
Like, do established producers like Todd Terje or Justice synthesize a new sound every single time they make a new song?
>what is brand
that is like saying "i need a huge awesome logo for my tech start up >insert company idea here<"..... when you are entering an industry dominated by established corps.
brand doesn't really mean shit until you get to the size where brand recognition gives joe shlmo an idea about your quality
do you even entrepreneur 101?
give me a really nice pad preset that I can study so I can see what a nice synth is built from. if you know of any presets withing fl studio that would be nice, but I also have synth 1 some other ones
they even claimed that they had no idea what the fuck they were doing
creativity and luck make the sounds, regardless of how many alterations or lack thereof
and then there are the programmers, but fuck those nerdy aspies
>that is like saying "i need a huge awesome logo for my tech start up >insert company idea here<".....
though that is the general idea when your startup is on say a website like kickstarter
What's wrong with making a simple logo?
I like building a sense of consistency on my soundcloud, it gives the music a further sense of polish imo. As long as you do it right I think it's all good.
I dunno but I have a note 4 and even though I bring my laptop everywhere I've thought of trying to make music on it. I downloaded some free midi piano thing and got pretty good results with the stylus it came with. Thought of getting the FL studio mobile before caustic though. But I haven't even looked at caustic. It's worth a try since it's really just for fun/sketching out ideas.
it's not about brand recognition, it's about portraying a sense of quality through visual means because that's the first impression a person is going to get when they visit your soundcloud. A good logo / visual aesthetic can help separate you from all the other half assed producers.
Todd Terje i was once heard called the preset king. I think he is a fantastic producer but yeah a lot of his sounds are kinda stereotypical, but he really knows how to use them. Also he is probably a good programmer because he made a whole LP using only the ARP 2600. He probably just look at classic synth sounds objectively and is able to recreate them as his own.
Looking for some good drum sample packs or even vst's
If I find 99% of all presets, VST synth sounds, or anything I've ever used on a computer cheesy/uninteresting, is it that hardware is really that made better than software or is EDM just not for me?
Like, I play piano. But I hate the sound my fingers produce on anything other than a grand piano... any suggestions?
shit nigga you're better off than those of us that need to learn how to play the piano and how to synthesize. just learn how to use synthesizers, watch the videos in the pastebin
just keep it at piano, or learn to use the settings on the synths and plugins to better get a sound youre looking for.
its probably just personal preference because there are plugins that sound identical to some of their analog counterparts
Use virtual instruments instead maybe?
I'm working on a hip-hop track and I barely have any synths in it at all (pretty much only sub bass), it's mostly sampled stuff and some recorded shakers n shit.
I love it, except for the vocal samples. It's like when you're seeing a beautiful view from the window of a building and then the window cleaning guys in the catwalk get in the way. It feels like it's in the way or like it shouldn't be there.
Remember that adding more things isn't always the best way to go; less is more, etc etc.
>tfw have a gr8 home label with a legendary mastering engineer despite making shite tunes
Nah it's because synthesizers (the software ones especially, I find) are COMPLETELY sterile unless you breathe life into them. If you want a synth patch to be expressive and to be playable with a keyboard you need to program it to be expressive. Start assigning keyboard velocity to things. More than just volume. Things like the filter envelope's depth, the decay time on the filter envelope, the waveform. Assign things to the modwheel and use it while you play - you can get much more natural sounding modulations as opposed to simply using an LFO.
thanks gon' try dem tricks later today
The kick really has two parts. The low end boom, and the high end click. If your kick sound dull or lacks presence, boost the high frequencies. A good trick is to layer two different kicks together and use the click from one and the boom from the other. High-pass one and low-pass the other at the same frequency and then blend the two together. It obviously depends on what you're going for but I find that the 200-400Hz range sounds muddy, especially with kicks. I often find myself cutting around 320Hz. Try using a compressor on your kick - an 1176 sounds pretty nice a lot of the time. Think logically about your attack and release. If you want to accentuate the transient (the initial click) use a longer attack. If you want to accentuate the boom, use a fast release. Someone else suggested parallel compression which often sounds pretty good. Duplicate your kick's track, and send one of them through a compressor and CRUSH the absolute fuck out of it. This sounds especially good with compressors that have attitude and distort a bit when pushed hard - the 1176 with all buttons in sounds dope and explosive. Ease in a LITTLE BIT (seriously, don't overdo it) of that overcompressed kick along with your dry (main) one.
Not that guy but that's bretty good advice, thanks
If anyone's interested I screenshotted a thread on /b/ a few months ago where some anon shared all his production wisdom, only about 4 screenshots but there's some good stuff in there