>one more tweak edition
Share WIPs, discuss software and gear. Learn why it's bad to use reverb as an insert, and other unverified audio myths.
Remember to use:
>clyp.it for posting WiPs
No one gives a print about your soundcloud, so don't post it unless specifically asked to.
>Pastebin - Links, books, videos, articles, tutorials and stuff:
http://pastebin.com/pYGCLu6q (embed) (embed) (embed)
>/prod/ wiki - looking for contributors (wink, wink)
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Choose a nick, put #/prod/ as channel. Enter!
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thanks. i think it's a mix of me utilizing the wet of my plates to try and get the sharpness of the highs out of the way, i also threw in a high pass filter on the synth to get the major ones out of the way. i pushed the drums into mono for more space but then dual tracked it. the EQing is a swing and a miss because it's not a graphic but a parametric, called the SlickEQ. i also pushed the dynamics a bit with a molot comp. it helped as well, but the trade off is dynamic range, although i think that's a plus for the vintage effect.
it's very difficult to retain presence and still have a sense of spatial depth/roundness - this is usually the key to the analog sound and not just drowning out the highs that many people seem to think
i think you should be careful with stock EQs because they tend to be quite 2dimensional, like you're just adjusting the EQ spectrum of a flat screen hidden behind a curtain. better EQs tend to bring out or push back things more
maybe try a passive EQ, there are some good algos around
sorry maybe i should clarify. is there one that does a good job emulating analog in the context of treble control without any "digital harshness", giving warm low end and a sparkling top when cutting or pushing.
the one i'm using is this https://vladgsound.wordpress.com/plugins/slickeq/
unless you need crazy quality there are a few sfx channels on youtube that have thousands+ sfx. also I just collect/steal them wherever I end-up. I've raided HDs and CD collections from various studios and such. I got like 40gigs of (mostly) high quality SFX for free nowadays.
You could always get into foley too, that's fun. But it's not gonna help much for the bulk of sound design work
Foley is pretty fun depending on what you're doing. Movies are like 70% footsteps though, but you can find plenty on YouTube like other anon said, just gotta do a bit of searching for the best quality ones
>r u guys cool with guitar stuff?
>tried mixxing this down to make it sound pro somehow but idk like i have no idea what im doing tbh
A bit of compression, i think that the guitar is a bit too present err idk
I've done this once or twice.
Last time I did it I used a bit of software called audio finder it will scan your hard drives for audio and bring up every bit of audio on your computer and hard drives bit like a virus scanner, you can then delete all duplicates of samples etc and tag them all as kick drums, snare drums, hats, synths, loops footsteps etc
Now if I need to find a kick drum I just search for tags kick drum and it will bring up every kick drum I have. It's a really useful bit of software and I'd recommend it to everyone that has audio files on their computers.
There is another one called snapper aswell.
Audio finder also works as a sample editor and will play/preview any audio file you select in any folder once you've found the sample your after tou can send it straight to Logic too which is pretty handy or just drag and drop it into your DAW
How do I mix like this?
I'm sure you guys are familiar with this kind of Saint Pepsi vibe.
How do I get that kind of filter in the beginning? And how do you make that kind of pulsating sound with every kick?
The channel that the video's on has tons of the type of shit I'm talking about.
What do you guys think of this?
Specifically, how can I not make the flute melody at the end cheesy? I liked the idea in theory too much to let it go but I'm pretty sure I'm going to have to
kinda prod unrelated but when making music i really really like the mixing, eqing, compressing, amplifiing, reverberating, all that shit rather than making synths and making noise. well do studios do apprentice ship for mixing engineers? i don't want to go to college but i like mixing and want to get better and maybe turn it into career if i could.
this was my setup for the one track. i also had two other reverbs, poor plate and reverbate on really low settings. i'm probably doing a bunch of things wrong production wise, but it's all i know ;-;
anon from the last thread who was debating on this thing here, i just bought it and hooked it up and i'm pretty happy.
it's an audio interface and control surface with a built in stereo mic that actually sounds pretty decent, plus a built in effects processor you can use to effect the input. you can have one of each of the four effects categories active plus an amp sim and a reverb that are separate from those 4 effects and there's a software editor for the effects that you can use alongside your daw to manage the effects and save patches.
i'd highly recommend this to any of you, the guy i bought it off said he got it for less than $200 new. they're already discontinued though (which doesn't surprise me considering i had no clue these existed til i saw somebody selling theirs, but does still surprise me because where the fuck was the marketing for this thing? it does so much for such a good price and the build quality feels pretty solid, no midi in/out but a midisport or something to that effect coupled with this will still be a way better value than just buying an audio interface)
but seriously, if you see one of these floating around whatever used market you keep tabs on, grab it up
yeah you're getting there! a lot of improvement in a short time so have a cookie. just take it easy on the tape hiss, that shit will stack up like a motherfucker on a full track!
try to increase the asperity a tiny bit and play with the spectrum/saturation controls
try the studer 7.5 as well and increase the overbias
nice man! sounds pretty sweet. I wonder why it was discontinued.. must just not have sold well because it sounds like it works well. Glad it worked-out for you! Hope you get plenty of use and happiness from it.
Probably, seems even quieter in here since irc started. Keep these threads alive guys, I'd be sad to see them go. Get prodding and posting WIPs and chatting about gear and mixing techniques
oh i will
especially since i just discovered that there's also a noise gate built in that you can control with the software. this is almost giving that too-good-to-be-true suspicion lol.
i think their fatal flaw may have been marketing it to guitarists primarily, all the reviews/promo videos/etc i could find about it were all "great for guitar!" "best interface for guitarists!" "guitar guitar guitar!" when it's obviously good for so much more and guitarists as a group are kinda technophobic
>fuck buddy keep messaging me to fuck her
>keep telling her I'm busy with work etc
>she's getting pissed off as I never want to fuck her anymore
I'm spending my evenings drinking beer and making bleeps and squeaks
Do you guys prefer reverb before or after compression? or both mixed?
>"great for guitar!"
hm that reminds me of something
Anyone in prod have a volca bass?
I need a bit of advice programming this sucker
I've downloaded everything in this thread
Now I just have to ask where the hell do I start?
I play in a few bands and actually have a lot of experience working in my uncles home studio but hes not the best I know that. Still question still stands what do I do
What do you play in your bands if you have no gear. Do you just clap along or slap your thigh or something?
Your question about where to start is pretty vague as you have given us no details about fuck all?
If your going to take time to post here and expect people to take time to reply at least give some details.
What is it you want to start?
Do you own a computer/what type is it?
Do you own any music based software?
Do you own an instrument?
do you own any effects units/pedals?
>where the hell do I start
This is our Loomis. See you in three hours, by then you'll understand subtractive synthesis and some FM.
Didn't stop me from becoming a professional. Even if all you have is a phone, you can start producing music. Watch tutorials, read manuals and don't forget to experiment.
Do any of you guys in /prod/ record track-by-track instruments? I play drums and I'm trying to get like a sufjan stevens kind of idea down, but I don't even know where to begin.
What's the best daw for recording live instruments and maybe adding like ambient noise or some shit?
I'm making a remix for a friend of mine.
Struggling with the mix, trying to make it really bright and wide. also the progression is not that good imo. also doubtful about the drums in some sections.
any criticism/comments are appreciated.
I wish I was competent to lay down a track and be satisfied with it enough to make another track. usually i loop little stuff until I have one big thing I can mess with. but no I don't record instruments.
i call this one deanwave. i shouldn't have bussed all tracks to the same chain, i goofed up. oh well i guess i'll give each one their own chain next time. adjusting asperity did help make me notice the effect a bit better. overbias not so much. still got work to do. W&F definitely help give that wobbly tape effect though. damn that's nice.
thanks. i wanna try to get nice kicks to where that basic beat is nice, but i keep reusing samples and just detuning and thinking it sounds good.
yeah try to DL it here https://www.dropbox.com/s/47m94cclfiiymg1/derem.mp3?dl=0
Need to make a nu jazz-like crossover track for a photoshoot video. Has to have that Vogue sophistication sound, using retro 60s and 50s swing band feels, combined with electronic drums and synths.
film jobs always throw up good challenges. this shit will need to be polished as fuck. already started a sketch. anyone know a good torrent for kontakt 5? Zero-G Sax Supreme requires it I believe. I'm still on Kontakt 4
how to program in natural piano chords? I can't really play them in because my fingers have autism, but i was wondering how to place the notes. like I place them one after the other the bottom note going first, but If all the chords are like that it sounds funny. i even took off quantization and played around but it still sound pleb. i really don't want these piano chords to sound to robotic and midi
ok cant help you there. theres a humanizer function in ableton, should be one in FL, maybe someone can help you out. but its generally not easy to program it in. the jist is to place them one after the other but not always do the bottom one first, switch it up and experiment until it sounds good and sorta natural
> I can't really play them in because my fingers have autism,
if you'r talking about playing the piano/midi keyboard, it's not the autism, you just need to practice your fingers.
as for placing the notes, many many options. download some classical music midi scores to find them.
turning off the snap is the first step, then have your chords slightly arpeggiate, with the bass note being played first, then the rest of the notes coming in slightly later, with the highest note last.
for example: (pic)
Helps to know some basic piano technique, like having bare octaves in the bass and building your chords in the right hand (not a steadfast rule, but helps for clarity, having too many notes in the lower register gets muddy)
FL Keys are a pretty awful piano sound imo, might want to invest in a nice piano library if you really want to work with a natural sounding piano.
my nu jazz/swing sketch:
thanks, my concern is its a bit busy for the job. will use what I learned a start another sketch with less going on.
These are the piano libraries I use:
its the reason piano refil, one of the main reasons I use reason. for the piano sound.
I could have done a bit more to make it natural in on the programming side, the chords aren't apreggiated as much as they could be, so sounds a bit robotic in the middle part. still pretty nice piano sounds, even if they're a bit bassy in this mix
Do any of you have one discovery that you are proud of? Something you worked out while producing and regard it as your own bit of knowledge?
I found that personally I enjoy using heavily filtered guitar samples instead of pad synths. Sounds gud.
>heavily filtered guitar samples
They really work extremely well as pads with plenty of reverb and not too much dry.
I've been fooling around with overprocessing guitars and came up with some glorious ambient pad sounds yesterday.
a couple. an early discovery was making an ok synth and effecting the shit out of it, and then playing a scale and recording each individual notes, then making melodies out of those recordings
it's neat-o, but has a weird tonality to it that's aaaalmost working but not quite. the breakdown with the sax sorta thing is cool. mis still needs a little detail work (levels etc) but it's good! i enjoy this
Well I mean more in terms of the tonal center, i.e. the harmony i.e. the key. It's almost working on a modal level, but not quite, almost working in a major/minor scale but not quite, almost is in one key or another but not quite.
It's like one of the background synths/chords is adding a note to the mix that's ruining the sense of key, or implying the wrong key at the wrong time or something
the versilian upright is a great free piano plugin
heres a few small patterns i composed using it
you can edit the velocity of each individual note/chord to make it even more human sounding but i havent bothered. check out the website if you want to see some better demos
I want to start getting into production and making my own music but don't know where to start.
I have learned very basic things with FL Studio from YouTube tutorials but have no idea what to do next especially with not having any plugins or interesting sounds or whatever to practice or play around with.
>no idea what to do next
you know there was a time before youtube tutorials and easily available plugins and sample packs, and people still managed to learn how to make music
look up some stuff that looks cool on http://www.vst4free.com/
try to do some songs with basic stuff and worry about the rest later
just make things and fuck around with buttons. there's a help file for everything in FL. read the help files if you get stuck, they explain the entire program
open up some of the example songs to see how its done by some pros.
you have to actually do stuff. try to make music. keep trying until you get gud
kontakt 5 runs a whole lot of nice libraries
combine that with these:
cker.org/forum/search.php?nm=east west quantum
and you're starting to look pretty good
I can confirm that Zero-G sax Supreme is bretty good. nice smooth soprano sax samples. Cinewinds are sounding great too now that I have them working with kontakt 5
This might be wrong place to post this but I'm at a loss with this shit
I'm trying to edit sound files for something, and I'm trying to add radio static in the background of these audio files.
However I've got over 800 files to do so doing them one by one isn't really much of a choice, so batch editing is pretty much a necessity.
The shit I'm trying to do is a mod for Insurgency, and I need to add radio variants of audio lines, so I need to edit all this shit by adding static in the background.\
It's this sort of shit that I need, the typical background static
Could anyone help me with this?
Quick production tips for someone starting out using Logic Pro X?
Pic somewhat related. Going to see them in may.
Guys, where can I buy all the bass traps and other shit to treat my room in UK? I can't find shit, absolutely nothing.
As a newcomer, all these resources are really helpful. Thanks a bunch.
Speaking as a total amateur with only a computer, a sound card, a microphone, a couple of vsts and a guitar, is it okay to feel totally self conscious about the ways you produce? I always worry about being considered a basic bitch in that regard even if I manage to make something sound decent.
If you get good results you'll get mad respect for being a basic bitch. If you're decked out with sweet gear, people will shit on your results unless they're godly.
Besides, too much gear can be overwhelming. You can learn so much just experimenting with a minimal amount of gear.
They just use presets, man. There are whole threads in forums about people finding the exact sounds for entire tracks on VSTs,
That said, if you learn basic sound design (subtractive synthesis), you can recreate those without effort instead of just browsing presets.
I like how it sounds
lower speed -> less high end and things like wow+flutter will be more noticeable
30 IPS gets you a pro/semi-pro sound
15 gets you a reasonable tradeoff between fidelity and old school
7.5 you start losing things like hihats
but I'M the shitposter, right? listen to yourselves lol
It's obvious you don't want to be a part of the community, and this is why we don't take you seriously.
I'm an admin on a production community with almost 8000 members on Facebook and ever since we applied similar principles used here (no Soundclouds allowed on the main group, clyps for technical problems people had and a special separate group for promotion/feedback) the overall post quality improved a lot.
>It's obvious you don't want to be a part of the community, and this is why we don't take you seriously.
i am a part of the community, you all just think that these are my only posts for some reason. do you think i just lurk every /prod/ waiting for someone to mention soundcloud?
You are only distinguishable by your shitposting though. Maybe if you spent your time helping people, others would rememer that instead. If you're so concerned about shitposting, you should probably stop doing it.
maybe you need a reminder
reasonable suggestion in light of /prod/ slowing down to the point where the last 3 threads have died prematurely (not shitposting)
response number one: "i'd rather have no /prod/ than have ur way because ur the memevillain of /prod/"
response two: agreeing with an unrelated shitposter (>>54357979) and saying "go away"
response 3: "am i edgy enough yet?"
i guess i'll stop getting shitpost replies after this... y'know, because you all just care so much. and i do answer people's questions but since you're still not getting the point: I LOOK LIKE ANY OTHER ANON WHEN IM NOT TALKING ABOUT SOUNDCLOUD
>i am a part of the community, you all just think that these are my only posts for some reason
if that doesn't give you a hint of how these are the posts we don't agree with or want here I don't know what will
we're not having this discussion again
at this point everybody here should be well aware why we don't support unsolicited SC posting
maybe people are too busy with school/work or working on fat new tracks, slow threads aren't the end of the world, people are hanging around on the new IRC which is getting bigger, we're not far off and some cool things are happening behind the scenes.. if a new thread needs to be made we'll make one, we take care of our own
it's a fair tradeoff to avoid another meaningless self-promotion circlejerk, we are adamant about this because there are a million places out there already if you want to advertise your fucking SC. not if you want to discuss production and share clips without having followers & postcount etc being a factor
if anything these threads have improved steadily, less shitposters (except for you), stupid figaro printercore memes don't live long and people don't seem to ignore clyp links nearly as much
and then there's this post,the one that acts like it's offering me a fair rebuttal but it's really just the "soundcloud thread 2.0" boogeyman once more. it's not like this is a community of amateur producers or anything, surely everybody's soundcloud is full of pro-quality stuff that couldn't be improved in any way. nobody would ever post a soundcloud except to promote their perfect tracks that they are totally satisfied with.
>there are a million places out there already if you want to advertise your fucking SC
this is a point for my argument, not against it. there ARE a bunch of LIEK4LIEK#FOLLOWBACK places to promote yourself, so why would you come here for self-promotion instead of just to discuss technical things with other producers? just have a rule along the lines of "don't post your sc/bandcamp/etc for promotional purposes, ask for specific feedback" and you can even keep your snippy attitude to people that just post their soundcloud
Adding to what conversation? It's just people trying to move on from some idiot begging the question. Nobody wants to have this dumb debate but you. So, idk, maybe go find a soundcloud thread and ask somebody there to debate you.
Just bought a quadraverb on eBay. I'm a big fan of that early 90's warp records sound(like SAW)and I was wondering if I would be able to achieve that spacey sound with that verb.
yup, those sure are the sentences i just typed. am i wrong? do they know how to stop replying to me? do they not think replying with shitposts to everything i say will make me leave for some reason?
>yup, those sure are the sentences i just typed. am i wrong? do they know how to stop replying to me? do they not think replying with shitposts to everything i say will make me leave for some reason?
sounds like you all need a healthy dose of nu-pepe.
I'm making a mix tape and I want it to sound more gritty and raw. How should I go about this? recording methods? I'm using ableton
I don't want to be mean but the percussion really sounds like if it was made by someone who doesn't really understand how jazz percussion works, it's annoying and doesn
't suit the rest of the music very well
originally started music with school band and grandpas guitars, then started trying to breakcore. at first, i'd try to do breaks then wank guitar/bass over the breaks like i was a jam band.
eventually, started recording bits of scales into slicex, then I'd chop them up in the piano roll. far more versatile, and I was able to get some dank arrangements that would've taken hella overdubbing and countless takes if I recorded by hand
i like your flow. the bass and pad go well with each other. percussion is well spaced, but the EQ is a bit off, like the mid is too much on all the elements, and there isn't enough sparkle going on in at least one of the tracks to fill up the open space. it's pretty good though.
hahaha. you need to take your audiophile music elsewhere because these people obviously have never heard tape recordings before and wouldnt know warmth if it bit them in the ass. not everything has to be harsh digital bullshit. people cough up serious dough for that "throttled and muffled" sound. sounds unbelievable. great depth and roundness to everything.
>he thinks that mud=warmth
i use tape all the time and i can tell you that there is such a thing as not having enough highs for an analog mix. there's legit criticism in that. you never want to round so much that you lose half your tracks. especially if you ever want to have a dozen or so with reverb. think of all the space involved.
Which electronic genre requires the greatest skill and knowledge to produce?
in all sincerity, I'd say >>54365266 is at least a strong contender. it often draws upon the staples & "peaks" of other electronic genres. done poorly, it's just a jack-of-some trades results, but the good stuff is fucking good.
Unique and fresh sounding synth sounds for traditionally non-electronic music.
Not the answer you wanted but let me explain. You can't generally speak about genres since there are simple songs that are amazing and highly complex songs that will bore you to death.
But making sounds for something like a movie score that is NOT a fucking pad in a lowpass-filter can be challenging.
I think pic related would be a good example of what you mean. One of my all-time favorites.
The thing that starts happening with the sample at 0.04 sounds amateurish and bad. If you took the tempo of the last part and made it sound more three-dimensional and polished it'd be a good track.
It doesn't work that way. When it comes to production you can make anything a simple or as complex as you want/can. Pretty much any genre features producers who are beyond talented. I find that downtempo/IDM tend to have a good chunk of talent, but that's because the genres aren't really defined by the elements that make it up, but rather the vibe of the song, so it leaves much more room of sonic exploration than say dubstep for example, where the flavor of sounds, drum patterns, and the tempo are already predetermined.
thanks for the honest feedback, you are 100% correct, I'll do what I can
you seem like a nice abrasive cunt and all but crispy saturated highs is why i even got a tape deck in the first place
Who do you guys think are the best three or five rock producers? I'm someone who doesn't really know much about the actual process of producing a record, but I have a few producers that I feel strongly about, and I was wondering what people would say who actually do have the technical knowledge.
If I were making a rock album, I'd want Todd Rundgren, Jeff Lynne, Brian Eno, or David Bowie.
Talent of musicians > Recording Engineer > Audio Engineers > Mastering Engineer > Producers > Managers
This is the bottleneck list of every album. Read as: Talent of musicians is more important than recording engineer etc.
It's nice to have amazing people oversee a project but what matters most is the musician.
It depends on the context. With a lot of big name pop productions, the producer plays an integral role in the process of choosing sounds/layers, the arrangement, the recording process, but the mix is done by a separate person. Also mastering engineers are undercredited.
But nobody listens to good music that doesn't sound good. That was my point. You can sacrifice musicianship for good engineering and people will still eat that shit up because it sounds pristine. I agree that a masterpiece is created through good musicianship and good engineering, but the performance isn't worth shit if it's not mixed well.
I did some simple recording on a baby grand today with only an sm57. It actually sounds pretty good. I think people normally use a pair of omni condensers? I'll have to get some and try that.
Just a bit of reverb and nothing else:
It depends. If you're recording with a pair of microphones, I wouldn't recommend using a pair of omnis unless they're hard-panned because you're likely to run into phasing issues and comb filtering. It's pretty useful to have them in cardioid, one getting more lows and the other getting more highs, that way you can control the signal's color simply with microphone balance. Condensers sound really good on pianos most of the time. What I REALLY like is have a pair of ribbons (I use Royer R-121s) in XY above the hammers. Suuuuper warm and full sound.
>make GREAT(to me..) song that you spend hours working on
>make sure everything is perfect and how you want it
>get so into it, keep trying to listen for improvements and what you think you did right
>get burnt out
>only been 2 weeks since written
>man this song sucks
>move on feeling like it's maybe incomplete
i know i am not alone
Anyone use Studio One here? When linking a controller to S1, how do you do it so that the faders automatically link with the relative mixer channel?
So fader 1 controls the first mixer channel, fader 2 the second, etc.
If I had two mixed channels, 1. guitar, 2. vocals, then switch them, the faders don't switch with them so fader 2 ends up controlling channel 1. I know it's possible because if I use the Studio One mapping for my controller it works, but if you use their default mapping you can't edit any of the controls so I'm trying to make a custom map.
Sorry for wall of text.
Hey /prod/, do you guys know of any unique effects plugins where i can throw weird shit in and get even weirder shit out? I've been looking into Valhalla UberMod but I'm sure there's more out there.
You should look into granular synthesis. You can get some pretty crazy stuff. Spectral effects tend to be pretty wacky. Reaktor or Max MSP are perfect environments to create unique effects.
so I just made this, it's an experimental noise piece about climbing a mountain, seeing from the top, then climbing down
I listen to this radio station called "the drone zone" fairly often and they play things kinda like that and they go on and on and on and the only moments I don't like are when they change to something new. Sometimes they'll play an album for like 60mins and the artist did it in a way where it only changes super gradually and it's fucking amazing, and brilliant when properly executed. You got nice sounds and a good texture there, I'd def like it to take its time.
>tl;dr: of course it's not a bad idea
I hate to try and bring up troubleshooting ITT, but this is the first time I've had such a specific problem. Been using Massive in a song, and I decided to map another macro control & my DAW crashes.
Did bit more testing, and found I get a crash anytime I try to click/drag the macro control arrows. It crashes massive if I try it stand alone, as well as fucks up my DAW. I've been able to map macro controls the past few days, so I dunno why it's suddenly shitting like this
thought it may have been a CPU deal or something, but it shits when i try to map macro control, regardless of instance
No prob! And yeah it's a somafm station - they have a lot but the drone zone is the only one that sticks for me. "doomed" is pretty interesting sometimes, it's like the drone zone but in a depressed coma. groove salad is ok for people who are miserable