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still offering to lend a hand in teaching or helping out with music theory, or questions regarding shit like chord progressions work, functional harmony, chromaticism, its all good
skype id is senatordaschle
send a small message about what ya' want help with and ill oblige
I'm always trying to do something different but I end up sounding less or more like this. I can't get rid of the kind of a jazzy sound that I'm really not happy with because I want to sound more like french middle and russian late romanticism. When I listen to my favorite composers it's pretty obvious that there's "something" in harmony and articulation that I must be completely not aware of but I can't seem to find out what's wrong with me.
what im going to write will be relative to romantic music rather than all of music (really shouldnt have to say this but it happens)
in your track, you use a lot of dissonance and a fair few unstable chords, and there's nothing wrong with that, not at all.
the thing is, a lot of your unstable chords and chromatic melodies are left unresolved or are weakly resolved, they're just sorta' individual phrases that are somewhat disconnected from the overall piece.
there are some attempts at resolution, like the few phrases that are modulated up or down to hit the relative tonic, but it's still a fairly weak resolution regardless.
its true that chromaticism in romantic music is farly common, but a lot of it is used as tension points, to set up a strong release or to add character to melodic lines
what i think, from your example, is that you're using chromaticism and atonality as the actual character of your melodic lines as opposed to an ornamentation (reaaaally bad use of the word here, totally not what it means, but i hope you get the gist)
a lot of people who try to stray away from strong progression chords believe the whole 'its so common everywhere lol must mean its shit' and im not assuming you think this but extensive use of 7ths, 9ths, unstable chords reaching across octaves could be a habit you might need to look into changing if you want to write romantic era music.
you dont have to completely omit it from your work, but try to be sparse.
there's a lot more i can write about but character limit and text alone is a bit annoying to do so, but that's the general idea.
actually just one more thing, i'm not necessarily saying you should use simple chords like your stock block triads, but you should avoid extensive use of chords that ask to be resolved more than others, --without a strong resolution-- like using the leading tone within the harmony rather than the melody, and not resolving it to the tonic.
a -really- good exercise in my opinion,learn 12-tone row if you havent already, and try to write a 12 tone row piece with 4 voices that sounds beautiful, try to make it sound as though it isn't atonal. it's a fair bit harder to do than you'd think, but it's a really good way to understand how to write melodic lines with chromatic tones in it, as opposed to writing straight up atonal passages.
Yeah, I've been trying to compose in 12-tone but shit is difficult. My DAW can do all the reversing with just a simple shortcut which made it a little bit easier. I'm gonna try that exercise for sure. Btw, could you give me a brief periphrasis on what's hapenning in these pieces in terms of music theory? I'm pretty sure they have something in common, that's kind of the sound that I always wanted to achieve.
(between around 11:47-13:10)
This is actually a really good example of tension vs release and resolution of unstable or dissonant chords.
it's more evident when you look at 0:13, where every first beat displays tension, with every second beat being a resolution chord
there's honestly not a lot to comment on this except really good derivative use of counterpoint, not actually counterpoint but the composers loosely drawing from the third and fourth species of counterpoint to structure the rhythm and contour of the melody.
what's really nice is, around 1:53, the chord progressions following similar motion, with the root note of the last chord hit being really dissonant in relation to the other notes, but still a resolution from the previous chord.
good example of chromaticism used soley for purpose of creating tension at climax points, and then inverting it every other bar.
really nice example of theme and variation too.
at arround 11:47, its just stock standard cycling of chords in scalic form, the composer's placing the melody in the higher voicings, where he's using notes from the chord he's cycling every strong beat as a starting point, he introduces a phrase that he varies between chords, making sure each note struck on a strong beat belongs to the third or fifth of the chord on that beat.
thx alot once again, I'm gonna save this in a notepad and read multiple times
I'm working on a remix these days and could use some feedback, haven't gotten to building second drop so arrangement is kinda off atm.
Went kinda nuts with nectar on the vocals wondering if it works or is to messy?
anyway here it is;
Hi m80s I'm relatively new to producing but it has turned into a nice side-hobby for me
I don't want to publish anything just make some quality music to pass the time
Therefore I'm looking for relatively cheap studio monitors, what are some good options? Willing to buy used but budget is rather small since I spend most of my money on guitar related stuff
Are you from /jp/?
Are these sounds PC-98 samples or did you synthesize them? I love this kind of sounds so I can't really give you any honest feedback except that when you come back to the original phrase at 1:25 I'd add some more syncopation on the high hats.
I'd add there some high pitched glitches to sharpen the overall rhytm and some kind of a short attack and release pad playing harmonic phrases in the background. After the track finishes I'd say go for a drum solo bridge because drum solos are always good to hear.
maybe go for getting a used pair on ebay? people will tell you that alot of different monitors are the best monitors.
I reccomend u go to a studio gear store and have a listen yourself, stores like that often have listening sections.
the stores also usually have qualified ppl working there also :)
>stores like that often have listening sections.
>the stores also usually have qualified ppl working there also :)
lol maybe if you live in a bigger city, my local store has like 2 or 3 sets of monitors and they have yet to tell me something i didn't know about literally any kind of gear.
I had a class where we used that and Finale. pretty fun times.
I would tell you sidechaining would help, but I don't remember if there was a way to do that in Mixcraft.
I'm sure there's some kind of VST for that.
I've posted in this thread before but I've never told anyone I use Mixcraft because I'm extremely self-conscious. :( I honestly like using it more than something like FL Studio, if only because it's way less intimidating, although that obviously means it can't be any good.
i think im getting burnt out from prod, how long of a break is too long? i dont want to stop improving but i also dont want to feel like i wanna just quit. what do you do in this situation /prod/?
for the past two months or so, i find myself leaving fl studio open with the same project up for a week or so, slowly widdling away at it, ending with a detailed track i am only semi-happy with
the quality isn't the problem though, i know that is something that can only be achieved with experience
how do you guys stay productive?
i know many producers are CONSTANTLY pumping out quality tracks. i have no idea how you guys do it.
I had many breaks and switching of daw's, breaks vary from days to months, prob 6 months is the longest I've had i guess.
it always draws me back somehow tho :) been at it for many years now ^^
do a lot of projects at the same time, instead of one.
it's fine, i've done it on two computers
make sure you install ableton to the folder it generates the patch in though. it says something about ignoring errors that the patcher generates but if you do get an error it's because you didn't install ableton in the right place
Does this remind you of a score in particular? I feel like I've heard this before so maybe I've copied it but it might just be because it sounds like a generic "cinematic" chord progression
Speaking of samples
I've been listening to a lot of sort of alien-sounding albums (at least at first) like Los Angeles and Water Curses and I was wondering about sampling on those albums. Is the majority of that stuff samples or synths? Like I heard the high-pitched humming sound on this song from Los Angeles:
And I thought it was a synth and tried to replicate it but it was just a choir sample.
And on Animal Collective's more recent albums like MPP. Do I just need to get better with my synths or are they mostly sampling this stuff and just supporting it with the synths?
Also - do most of you go out looking for the right sample for a part of your song, or do you just listen to stuff and hear something you think would be a great sample and build around it?
I think I need to change my approach to sampling, it just blows my mind that FlyLo could take a regular sounding choir and turn it into that song. It's amazing. Or the trumpet on J Dilla's Gobstopper. It feels so natural and obviously it comes with years of experience and practice but I don't feel anything close to that, I'll go look up strange and obscure jazz funk stuff just because I think it'd be fun to sample and nothing sticks out to me.
Actually, that is kind of the point of studio monitors: to sound really unexciting and boring. If you put in the effort to make your music sound good on them it will most likely sound good anywhere else.
Who are you and are you a professional musician?
I have seen you post in quite a few threads now and although I've not taken advantage of your kind offer I'd just like to say its very nice of you to take time out of whatever it is your doing to offer this service.
Godspeed kind gentleman
feels good, fams
Go read some reviews from sound on sound or music tech websites of monitors in your price range.
I bought my monitors in a sale blindly knowing very little about them other than they were made by a decent monitor company and they sound great to me. (pic related)
Nowadays I pretty much produce entirely on headphones Beyerdynamic DT250's as I live in a flat and monitoring my bleeps and squeaks on speakers will piss my neighbours off no end.
I usually bounce between making tracks and using my plugins to create samples for new tracks. Been on a sample making binge now for about a month so now I feel inspired to use those samples in a track.
fucking around with samples, effects and synths is great fun and I could probably do this all day every day to be honest
Seriously. And I can't figure out how he does it.
Does he just hear stuff and think "man, that should be something I sample" versus specifically going to look for a sound he imagines?
I dunno. I'm just really confused as to how I get the same bizarre sounds that AnCo and Flying Lotus get and whether it's the sampling or the synths.
That's my thing, though. I know I'll never get it exactly but will I even be able to squeeze something sufficiently bizarre and awesome out of a synth versus using samples? I have trouble managing it but it could just be my lack of experience with Synth1
Well you gotta master your instruments to get the craziest sounds out of them. Learn Sylenth inside and out, maybe another synth as well, and a good sampler, and you'll have an enormous arsenal of sounds at your disposal
i use the h1 and one thing i highly recommend if you're not doing it already is broadband noise reduction. i found one called wave arts mr noise that has a vst version. cuts right through fan noise if you're using the h1 at your desktop and just the noise of the h1 itself for other recordings. i like the workflow of having a vst for it way more than having to run all my recordings through something like wavelab or rx
I was agreeing with you. Its always best to hear them if you can, but if its going to cost over $100 to go check them out and your thinking of only buying cheap monitors that $100 will buy you a lot better monitor. I live in the middle of nowhere too which is why I blindly bought mine online
in reality you will adjust to whatever monitors you end up using/buying.
I use a Tascarm DR-40, same thing basically. I tend to use an external mic unless I'm recording a soundscape/ambience. The thing does have a mono mode with the external mics though which is handy too.
Also, Wave Arts makes some fucking awesome plugins. The user interfaces can be a little weird to get used to but really good stuff them.
Here enjoy a therapeutic blizzard recording I made this winter. My stupid cat was meowing at the recorder :3
Oh, when you said Synth1 I thought you meant you were already using Sylenth. Master whatever synths you like. Sylenth1 is one of the better Analog ones, keep in mind the different types of synthesizer as well though, and what kind of sounds you want to make. An FM synth like FM8 will give you very different options than Sylenth will, for example.
Help me /prod/
Im working on a track with some guitar samples I found and it sounds empty and I dont know what I should do to fill it
Not the anon your talking to but I'm thinking of getting a micro brute as babby's first synth, some of the sounds that come out of this little brute are fucking gritty. Is cheap as shit too
Is this a good choice for first synth.
Totally not my thing, but gave it a listen anyway.
production wise it sounds good i think. Sounds like a kids computer game soundtrack to me. Could imagine a happy bunny jumping about with big ears flopping about everywhere collecting carrots or something? Cant really add anything to that unfortunately