>Resurrection of lunga edition
Post the tracks you're working on, discuss general music composition. Learn whether you should cut or boost on the EQ and why you shouldn't respond to figaro trolls.
Remember to use:
>clyp.it for WiPs
>soundcloud for finished tracks and getting called a gluteus bandit 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:
>/prod/ wiki - looking for contributors (wink, wink)
Previous thread: >>53723939
We're making an album! (or trying to).
How to join:
>Take a good look at the picture in the OP
>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.
how does sample and hold work? I'm inputting the amp which has the filter coming through it, the filter has the vco coming through it and there should be some sound, but nothing comes out of the sample and hold out
isn't the sample and hold just used to modulate an existing signal and not as an audio out?
e.g. modulate osc pitch with sample and hold out.
are you currently going:
vco > vcf > amp > s&h
i imagine it should be some thing like
vco > vcf > amp
the s/h has a trigger input and an in and then an out, idk how to get the modulated signal out of it. I'm trying to put a signal through it and I tried using the gate to trigger it but nothing happened
mind posting a picture?
here's a video for how it works on a arp 2600 if that helps. by default the s&h takes the noise gen as an input on the 2600:
it's a vst modular, sounds pretty good, idk, if this pic has the misc section though
yeh, just got it working.
this one's using noise and input and trig.
output oh s/h to vco in 3. dial it in as necessary.
you can use anything as the the input source though. the trig was being finicky but using noise makes it behave how i expect it to.
I'm looking for tips for layered and textured beat production like flylo or toro y moi. how do I get this chopped up/sidechained beat to sound organic?
how do you use the sequencer to modulate the vco in 12 steps? if you turn up the input from the seq in the vco all the way it jumps octaves and halfway doesn't sound right either
ay im the breakbeat dude from a couple days ago. wasn't feelin my track so i changed it up alot and found some guitar samples(if i had a friend who played guitar i woulda hit him up). i feel like this is about as far as ima take the track maybe add a couple bars to finish it off and need to add in a better transition to the 808 club part of the song. im still pretty new to this shit so any feedback on what to do to clean this song up would be nice. also tell me if it's to loud i produce at low volume.
i'm not sure what u mean by 12 steps.
if it is what i think you mean:
the 1/10th out on the sequencer seems to give you a range of 2 octaves (24 semitones) with the input all the way up.
0% = octave down
50% = inputted note
100% octave up
yea twelve semitones, but can you explain it a tad bit more, I almost fucking get this guy. when I look at it on the eq I see that with the input all the way up it jumps around octaves.
i would love to, m8, but i'm not sure i've wrapped my head around this completely.
changes on the sequencer dial result in the pitch on the oscs changing by the specified percentage. it doesn't seem to have a mode where you can change pitch by semi-tone.
stands to reason though that if you're getting 12 semitones out of a 50% change on the 1/10 mode (with the input all the way up on the osc) each semitone would be about 4%. that said i remember something about changes in semitones being logarithmic so that might not work. i cannae be asked to work it out right now.
use stuff like granular synthesis, layering shitload of delays and time stretching plugins on simple sounds and chopping them up, make weird experimental sounds (like putting a signal through 50 different plugins, recording shit that comes out and then putting it again through these plugins, repeat 20 times) just for the sake of having a rich sample library of living, shapeshifting sounds
I tried that for years, its harder to perform and improvise with one. Also im a tinkerer, and I want to make my own effects units and cross wire them in messed up ways, and run CV signals through delays to see what happens, shit like that
not him but you said it youself: it's harder to improvise with a computer, but at the same time that's not what you want to do right now is it?, right now you need "pitched voices". If the hardware you currently have can't do that for you then why should you wait until you can buy a new piece, if you can do it with the same computer you're using right now?
In my experience it's best to do whatever or use whatever you need to get to where you want as easily as possible. It's more rewarding and less frustrating that way. Great thing is you don't even have to choose one way, you can have both.
So this track is pretty much the pinnacle of what I'm capable of in terms of production, mixing and mastering.
Is it any good?
shit all over my hopes and dreams I guess.
I have a Yamaha portasound that has a limited 2-OP FM synthesis section. You can assign it to the keyboard or the accompaniment, if you use it on the accompaniment and get the settings just right, you can make some really glitchy rhythms. Not sure if you can do the same because you're retarded at the camera.
I don't think mine is a toy, it's just a smaller synth. I'm looking to do something like plunderphonics mixed with unusual beats or something like that >>53754040
I can get wierd sounds on mine by using portamento with auto accompaniment
if you study the picture carefully by looking at the furniture and the way the cables lie you can see that the keyboard and the drink are actually standing on the floor - the picture is just rotated by about 90 degrees counterclockwise giving you the illusion that the drink is actually balanced on a wall
this is why america is #1
A little WIP song idea I've been working on. Kinda wanted to get a jaunty up-tempo feel with a modern twist and just a little bit of late 70s prog in there too. What I'd like to know is: does /prod/ think the main melody is catchy enough, and do you think it'll be suitable for singing? I'm planning on writing lyrics but there's also the opportunity of making it a instrumental if I absolutely need to.
synth overpowers everything else except the main kick. the hihats and snares are barely audible and probably have too much reverb on them.
can't judge anything until you fix the levels.
doesn't sound like shit. i remember when you first posted this and it still sounds nice. the drums in the background you could definitely fix. even tho it's in the background i still want to hear em ya know? i would say raise the volume and add a shit ton of reverb and with very little tail to give it a " in the background" sound. sounds nice and chill man. i like it
Thanks for the feedback, I do see what you mean - I might have a less cluttered vocal line later on in the song. And yeah it isn't intended to be a super-serious track, I'm planning on having some cartoon vocal samples and maybe an intentionally wonky guitar solo later on.
I know nothing about music, literally nothing. Don't even know how to play an instrument.
I want to get into producing though. I have the demo version of FL Studio and I've been toying around with it. What should I do from here?
I have to do an electronic performance in like 2 months for 20 minutes. I'm using kinda house/techno sounds at the moment but I'm having trouble with sampling/warping in ableton.
Any advice on live electronic performance in general and stuff like what i've mentioned would be just lovely.
Thanks for the feedback, I guess I'll consider raising the level of the percussion but in this track I really wanted to focus on using all the space that was available to me in the mix, if that makes sense
m8, he has enough reverb on those percs already. all he needs to do is turn them up by a couple of db and turn the synth down by a little.
but golden ears here knows better obviously. maybe we should all turn our percs down and let our sub basses run in stereo like him.
ikr, fucking dicks huh? yes, music theory, or in other words, learn an instrument. or if you want to make music right now by ear, you can use a whole bunch of samples, you can make samples, and you can use synths, but only use the pentatonic notes(black notes in the piano roll)
>m8, he has enough reverb on those percs already
there's never enough.
i don't really know what you mean to be honest but do what ever feels right man. i'm not really the god in mixing so i can't really give much advice. sorry
>let our sub basses run in stereo
Holy shit you're right, look at all that stereo spread, disgusting
Why am I even bothering to do this? It totally isn't worth waiting for my god awful upload speed
I think it's very well produced. That said I *would* like to hear the drums if only just a little bit more present. But again some trivial levels trifle isn't changing the fact that the production is solid. Definitely above the average here
I enjoyed that. Although to me it sounded nothing like your description. It reminded me of the bomberman soundtrack I think. I listened to it before I read your description and was actually thinkinng that I would like it better if the drums were more 8 bit sounding, but I guess that wasn't your intention at all. Still good
Not my style but I like it I think it has potential for more than 1.30 minutes. I guess I can't really comment on the production I think it's pretty solid. Volume's good braw.
That's not production that's just you playing the piano! JK it's really nice actually
I guess the best advice is keep practicing and turning you r jams into tracks eventually and you can come back for more specific advice. Good start though especially if you don't know what you're doing it could be way worse
Overall pleased by the quality so far
To write: Learn piano. Learn keys, scales, chords and progressions. Learn how to play your favorite songs. Any instrument helps but piano is by far the most directly applicable.
To produce / sound design / mix : Watch youtube videos. Buy FL ASAP and get Komplete 10 ASAP as well. It's like a booster pack for VSTs (synths and effects). Also comes with Battery which should tide you over until you can get some good drum samples.
Buckle in nigga, if you don't give up in a month you're going to be here forever.
IM MIXING AND MASTERING THIS NEW SONG
PRETTY NEW TO LOGIC
LET ME KNOW HOW IT SOUNDS AND WHAT TO DO NEXT PLEASE
The only thing it could be is that my hi pass filter has too smooth a curve. Everything other than the kick and the bass is high passed at at least 200, but because of the vague curve it's still letting too many of the lower frequencies through
Thanks for the advice man
Honestly I think the world would be a better place if no music was mastered. That way you could just design music to sound the way it's meant to, directly, without worrying about how it will change when it's mastered.
Mastering is the final step in the production process and the first step in the manufacturing process.
It takes the skill and sensibility of an experienced producer and/or engineer and also a high degree of technical knowledge. The "golden ears" required of a mastering engineer are the stuff of legend. It takes lots of practice, experience, and sucess in your work to achieve the status of "Mastering Engineer" within the industry. The world is full of people mastering shit, because softwares and DAWs dumb the tools and processes down enough for people to reach it, but it's just not the same. Many master, but few Master.
Sorry bro, you don't know what you're talking about or what Mastering really is. It's getting a product ready and packaged for delivery (whether digitally, CD, vinyl, etc). What they do in terms of shaping sound and how they do it is completely up to the discretion of the client (who hires a Mastering engineer). You go to them to make your work deliverable, this doesn't mean "loud" or "compressed" or "smiley-face-ed'd". If you don't trust your mastering engineer to understand your work and handle it with the sensitivity and sensibilities that it deserves then find one you do trust. It's nothing to do with smashing shit with limiters. We've all been misled by the pop music "loundess war" and it distracts from what mastering really is and can be.
If the sound I hear in 19-2000 is what you're talking about, it sounds like a sine wave with "up saw" LFO controlling/modulating/sent to a LP filter cutoff. Then an ADSR envelope controlling the sine wave/VCO pitch to rise over the course of about 1 second. There would be a parameter, pitch env amount, that controls how much the envelope effects the pitch and you'd want it at a positive value. Then on the envelope, the attack knob would be at something like at least 800ms, thats how fast the pitch rises to the pitch env amount.
I'm non-religious and nontheist but what does that have to do with anything
it's just /pol/ shit from numpties who've never had a decent engineer go near there records.
>mfw a master comes back from 3345
passives with an amp tend to be more expensive overall. but if you're just looking to use a home stereo reciever and some bookshelf speakers that's ok too. 3-way would be good, but 2-way bass reflex (that means it has a bass hole) is fine too. you don't need anything fantsy to get to work, but the more you do work the more you hear and appreciate your upgrades!
I have no doubt they do, but I guess at my end of the success in the music industry spectrum it's not worth the price.
Is decent-tier Ozone 5 mastering considered acceptable by online labels and promoters and stuff?
dude you need to spend some time researching this. I got into mastering about 12 years ago, and got my first proper gig doing it like 9 years ago. I had some really good mentors, and I've since been a mentor to others. It takes even fairly experienced engineers a good deal of time to graduate into the kinds of things we listen-for and attack in mastering. I developed a mastering class for a uni and have been teaching it, but even with like 16 weeks students feel crushed under the amount of information and expectations. Shit's pretty hxcore. And I ain't even one of them Grammy™ winning kind either.
m8, you do not need to send mastered tracks as demos. just mixdown your track and leave the peaks at 0 instead of -6 like you would for a mastering engineer. they'll ask for those later.
if the label isn't going to take on the cost of mastering it's probably not worth signing to them.
for promoters and playing out you can use your ozone masters temporarily.