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Okay this is a dumb as shit question from a prod pleb here, but: how do I make a not last longer than half a measure on Ableton? I need a note to be able to go on for about eight measures, but I can't do it. I have the sustain and everything turned on, too.
Me and my buddy have been working on this. I engineered or produced it.
Okay, general question
How do I get my vocals to sound like this?
Is it just yelling close to the mic and over blowing it? Is there any bandpass or lowpass filtering?
record fairly clean and then run it through an amp sim or an amp. For one reason or another yes, it is filtered fairly narrowly (200Hz-6Khz probably), either from the amp or it was just eq's pre-amp.
If you have a green bullet™ or other harp mic and a little practice amp you're set! Otherwise do it in post with some sort of amp simulater.
it's a classic mic. i don't think it's really an appropriate purchase for anyone who only has one or two mics (unless they're a harmonica player of course) but if you got a couple decent mics already and want something with a bit of character and color, the green bullet's sweet.
took a while to find this thread but hopefully it's still active.
I'm working on this song solo, recorded everything myself but the drums, which are logics own 'play along' track thing.
Just want some mixing advice really, and to know if it's any good at all. Kind of wanted a lofi feel but don't know how to do it.
What exactly does youtube do to sound quality? I'm specifically looking to sample cheap recordings, but maybe not badly transcoded cheap recordings.
But some light bitcrushing and it won't really make a difference, no?
if it sounds fine, it sounds fine. i wouldn't rely on the quality of stereo ambient recordings for putting in movies, but if you want some foley stuff it should be fine.
I ran some IRs of youtube awhile ago to see what it does to the frequency response. Didn't do any S/N measures or phase distortions, but the frequency response tells you enough. Pyschoacoustically optimized data compression. They apparently use mp4 video compression, but the specific audio compression they use seems to be an issue of contention amongst audio theorists, or at least inconsistent in quality.
Evening /prod/. I'm at a crossroads here, wondering if anyone can give me some advice. Considering getting a hardware sampler to aid my workflow, namely an MPC (2000xl or 2500) or an SP-555. Right now I'm simply using my PC, DAW & an MPK49 as my midi controller. I have done a fair bit of research on them and the MPCs seem so much better for creating full songs. I realize they are more suitable for Hip-Hop which I will be producing, but I focus more on varying experimental genres like Industrial, Dark Ambient and some Noise, relying on effects and rhythmic sound-mangling. Anyone have any experience in these machines that can give me insight of whether I should bother at all or even machines that would better suit me?
Greatly appreciated in advance.
Pretty interesting. Ultimately, there's really no reason to look for better quality than I can hear myself, but I'm just not confident in my ears yet.
Anyone got advice for ear training? I really should know what to look out for.
hmm ear training for audio compression is tricky, i personally don't know of any routines or anything that people have made for that, although I'm sure some exist. just listen for aliasing (that high-mid swishing sound you get with cheep mp3s) and noise. if the recording is distored, noisey, or aliasing don't use it. if you can't tell, it should be ok. it depends how eatured it'll be - like I said before, if you're ripping an ambient recording of crickets chirping in the country to feature in a movie scene or something, an mp3 version probably won't fly. if it's just some bangs and percussive stuff, it should be ok.
Dispite the mpc' being known for their use mainly in Hiphop they are still powerful samplers and will suite any genre well. Some of the bigger emu samplers might be just as good as option as an Mpc as would a rack mounted Akai from the same era. You already have the midi controller too. The MPC also has a built in sequencer so that's pretty handy if you want to /prod/ without a computer.
I've been thinking about getting a MPC for a while now too but starting to sway towards an Emu Ultra
protools with an mbox i guess. i like protools and the mbox line is pretty good mid to high-mid -tier stuff. you can probably find a retailer (musiciansfriend or b&h or the like) offering protools with a scarlett or something which might be a slightly better (maybe) interface but probably will not be as a good a deal/value as getting PT with an mbox.
just my two ¢ though. if you aren't interested in protools don't bother with an mbox at all
Its true, I feel like they would still be powerful I just don't know if they can help me do anything I can't already do on my PC. I still need to evaluate that I suppose. Hopefully I can route the channels into my PC to add effects as last resort.
Personally a rack style sampler wouldn't do for me but its all whatever gets your music going. Cheers man.
What goes into merging two sounds so they feel like a single thing? Normally I'm aiming to EQ things out of each others way to make them all distinct, bringing out the highlights of each and here I guess I'm aiming for the opposite? But then simply doing the exact opposite would just ruin both sounds.
If I want to turn my guitar's signal into MIDI data, what is the easiest way? Or are there other options for connecting my guitar to a DAW to use as a control some how. I just want be able to use my guitar the way that people use keyboards so I can change the sounds. I am constantly torn between making electronic music or playing guitar and want to combine them on a real time level.
no i think that's exactly what you want to do. for example, if you were turning a click and a thud into a bass drum sounding thing.
the real thing that'll make it not work is if there's any ambience/room reflections in either recording. that'll put each element in its own universe and it'll be realy hard to make them fit together. so yeah, make sure that shit is an anechoic as possible, or at least matching each other.
I accidentally got my vocal chops to call me a "bitch"
was producing merrily along when suddenly I noticed it.
check it lol
There are a metric shitonne of options here man.
You could just get a pedal like the gt 100 and send that into a DAW.
Or you could fuck around with adapters and read/watch a tutorial about how to do it for your specific DAW and the plugins that support it.
How did y'all learn to play piano? What would you say your level of competence is, and how has that helped/hindered your projects?
a took a couple keyboarding classes. it was good, but i never got proficient. i know the keys, and i can play my own chords and melodies pretty well with practice, but i'm not good with sight-reading two hands. and i don't play with proper technique. as with any instrument, it would kickass to be able to really play the fucking thing but it's not to be.
also i own a two-manual hammond organ and it taunts me because i'm not so good :[
This is all-time plays since I started my SC in like Jan/Feb this year. I have like 23 tracks up, and hardly anyone cares.
sounds good to me super sick manipulation of the sample/bassline
imo i'd scrap what drum samples you are using as they sound hella generic to me, particularly the snares, maybe use some rawer slightly distorted clips or something
but music is subjective so idk
I've been uploading one cover a day since I started around a month ago now (28 now I think). But I have no idea where to go.
internet, and I think I sound good while playing but then i hear or see a real piano player playing and i want to kill myself. and i think it has vastly helped me while writing music
I got rid of the snare and replaced it with some more lo-fi stuff, also bitcrushed the kick slightly, what'd you think, plus any idea of what would be a good follow on from this, no idea how to extend it or take it to a different place
you should have dropped-out years ago but it's not oo late to get started now, you just have some catching-up to do!
dude would you be so kind as to just tell me the tempo? i wanna spend some time layering some things in for fun, because it's groovy.
i'll post results when i'm done
That is a beautiful organ anon, please
learn it. For me.
Which sites did you like for learning? It doesn't seem like theres anything of the same calibre for piano players online as there is for guitar players
I feel like I'm melodically retarded when it comes to writing songs. Like I know how to make songs "work" as in not sound like total garbage, but it never crosses the threshold into "that's fucking amazing". My melodies just sound really lackluster, like they're just sort of "there".
For example (please ignore that it's vocaloid): https://clyp.it/g2mjhvxy
I have such trouble making a melody and then adding to it and making everything work. Building chord changes that support a great melody, having catchy parts that compliment the main melody. I feel like I'm just soullessly adding parts I at least know won't destroy the song, but I don't really enjoy my songs as a result.
This is by far the best song I've written so far, because I played it incredibly safe in what I did: https://clyp.it/jqeyqebi
But even then, I don't feel like the verses really work thematically.
I came to this realization tonight after toying with a melody I rehearsed on guitar earlier in the vocaloid editor, and it sounded so fucking good. Like way beyond what I usually can do. Every note hit a sweet spot. And I felt something I only usually feel when taking apart other people's music. That feeling of "fuck, this works SO well". I know that feeling, that's the feeling of knowing something is great. I never feel it writing songs though, especially on guitar. It's like my brain can't put my vocal melody and the chords on the guitar together and work off each other.
It was also incredibly depressing in the fact that almost 700 people downloaded my EP though I've really seen nobody talking about or listening to it. It made me realize my songs really just aren't that good.
I just want to write incredibly catchy, odd pop songs like this: https://www.youtube.com/watch?v=rs74nK2c4gw
How do I improve this besides continue to write songs? Practice pitch recognition? How do I better understand what sounds good with what chords, how to identify a great melody from an "it works" melody?
Well anon, I didn't get as far as I would have liked because the tuning was weird and I had too much troubel getting things tuned/detuned and finding the tonality of it all. But I added some fun stuff - enjoy!
It's my first time going over the 1 minute mark, can I get some opinions on this?
Thanks in advance.
Not a pro, but here are my two cents.
In the two examples you posted, the instrument playing the melody (piano) seemed detached from the rest of the sounds. I guess it's because 1)it's too loud in the mix and 2)you're playing you have no similarly timbred instruments playing along with the melody. You could solve this either by having the instrument playing the melody and chords simultaneously or having another instrument doing this.
> How do I better understand what sounds good with what chords, how to identify a great melody from an "it works" melody?
You don't construct melodies out of a pre-estabilished harmony, it's actually standard to make do it the other way around. Come up with a nice sounding melody and then build chord progressions to support it. Check out fundamental basses and basic harmonization if you haven't already.
This is dark and grimey as fuck, and I'm really liking the variation. One thing I think it could really benefit from is some atmosphere or melodic elements. Not in the foreground, though, the bass is already there. It needs to be in the background, just providing something as a backdrop maybe.
I made this a long-ass time ago for a friend to write some rap lyrics to, and he just now got around to writing them. Just recorded them a couple days ago and did a quick mix.
This is my first time working with a rapper (or even another musician for that matter), so any criticism is much appreciated.
I like it; what'd you sample?
That was an interesting piece. I'm admitably jealous of your soundscape because most of my work falls flat because of a weak sample or lack of mixing prowess.
Ha! I barely did anything anon, I deserve little-to-no real credit. Usually I'm really good at writing organ parts, especially groovy syncopated ones, but I just couldn't get it in tune. I guess the guitar sample audio is stretched and it was hard for me to find the tuning.
It's all in the cowbell bro.
Thoughts on seaboard? Anyone tried using one before?
Would buy or wouldn't? What reasons?
Personally I think it looks promising as fuck, but that price-tag hurts, it really hurts.
me again, and offering again
if anyone needs any help with music theory, from learning it from scratch or just help with a few gaps or patches, i'm more than happy to help out, can be about diatonic harmony, chromaticism, orchestration, its all good!
skype id is senatordaschle
Digging it deep here. Only gripe is that the overall flow of the song kinda just comes and goes randomly. maybe restructure? that bass feels subdued but i like that, you could throw a tiny highpassed reverb on there to give it more space or compress it so its not gobbling the mix levels too much. these are mere suggestions though, you are the creator.
I'm really enjoying your drumwork too, how did you get them to sound so visceral in timbre?
Well, are you familiar with compression? Not trying to sound pompous or something, but I assume you know how a compressor works? In case you don't, It basically detects when the input signal is above a certain level (threshold), and then when it crosses that threshold, it turns the signal down a certain amount (ratio). The way you get that effect is by using a "sidechain". and what a sidechain does is this:
You have a signal running through the input of the compressor. But then instead of using that signal to determine when to turn it down, you use an external signal, in this case, a kick. That way, whenever the kick crosses a certain level (aka every time it hits), the signal being run through the compressor is turned down.
Well the track is inspired by how tides come and go, rise and drop. I understand it might not have the "traditional" song structure but as long as it sounds interesting instead of sounding bad, I'm cool with the critique.
>how 2 visceral
Uh, I don't know. I usually start my day by making a new random beat/groove with some restrictions I impose to myself. Maybe only a handful of odd samples, an awful vst, stuff like that. Then I shove the sample into renoise, filter the fuck out of it, and try to find a place for it in the song.
Found a One Direction song that was pretty catchy and sampled it for some reason. lol
>inb4 shitty mix
My headphones crapped out on me and I'm stuck with shitty Sonys. It was time for me to get some A-Ts anyway.
I really like it, especially the lady singing in the background. My suggestion would probably be to fuck with the drums a bit more, at least in the EQ department. Just do something to make them sound different, I like the drum patterns being used but the 808 itself sounds really generic which I don't really dig. Besides that nice job.
Here's a little beat i made
Hey all, looking for crits on this dub techno WIP.
The low end is super hard to control so I'm really wanting advice on how to tame it. It sounds great on speakers but shit on headphones.
And yeah I'm probably pushing the limiter pretty hard. I just have a basic mastering chain going.
Yeah ditch that 'ow' thing. Sounds like when you get jumped by an enemy in Earthbound, i.e. causes PTSD flashbacks.
Production sounds good, but it doesn't feel very dub. Maybe maybe the rhythm section more sparse and add more delay to fill it in. That's if you want it to be true dub techno.
I'll let a more qualified anon get into the low end stuff
Yep changed it to a vocal cut
I know it isn't really dub techno but that's the closest thing I have to put a genre to it.
It's more house/techno now though, suss this one?
The future is now.
Could someone quickly explain how to chop/slow down audio in Ableton lite? I try to cut up samples I've dragged into the audio area, but whenever I crop it doesn't seem to do anything. Also when I slow stuff down it does a time stretch rather than slowing down the audio and dropping the pitch.
you're an idiot
i don't get it, what's so revolutionary about having multiple tracks bundled in one file? it's really only "the future" for dj controllers that work with it
Because right now, you have to use separate files; which require their own decks and need to be in sync withing the DJ software. Having it all in one file means, theoretically, you'd be able to do 4 decks worth of mixing with just one deck.
I use up to 6 decks at the moment, so this would give me much more flexibility.
As long as the software supports it, most controllers should be fine.
Every time when in FL I want to put a pattern on the same track where's another pattern it automatically makes me put there the same pattern that's on the track instead the new one. A minor thing but pisses me off. Anyone knows how to turn this off?
If you are copy-pasting patterns, the last pattern you clicked/selected will be the one you paste onto the pattern playlist. There is also that drop-down menu that lets you choose which pattern to select (but unless you remember which is which out of 1, 2, ... 45, 46 etc it's hard to use this effectively.
I should probably upgrade my FL10 to whatever the latest version is.
I know that but when the last pattern selected is, let's say, pattern 4 and i click on track 5 which is empty it pastes pattern 4 but if i click on track 1 where pattern 1 is it's gonna paste pattern 1 even though I selected pattern 4.
This isn't bad, but I'd do more with the female vocal sample. Add some reverb or something to let it fill out the focal space. It might be my speakers but it was a little loud as well, so perhaps tweak the volume or velocity.
This is a fun track. The heavy distortion on the instruments is fairly well-dispersed. You do a good deal with a small number of instruments.
I would probably work on tweaking the position or panning of some of the instruments, especially those that are not supposed to be lead, or front and center. It feels that a lot of them, if not all of them are hitting the dead center which can make it sound "too full." If sounds have room to breathe you are usually halfway through solving a lot of arrangement problems. I really dig the ending!
Looking for some opinions/feedback on this track:
Particularly concerned about the drums and lead instruments. I always feel less confident about how well percussion sounds and overall mixing (though with years of doing this I have picked up some things). Appreciate any input, /prod/!
It's always exciting to finally get into music making - it makes us very eager to try out all the ideas we have in our head.
But these ideas are paired with technical inexperience. This fades over time, though we never stop learning.
In this piece, I see already some things that you should keep in mind for the future:
-If you are using FL Studio, you have an easy way of controlling the velocity (or volume) of any single instrument (or all of them). At points during this track, the strings sound overwhelming and sound close to popping the speaker.
-the panning meter (one of the two knobs on the side) is also an indispensable tool as you make more music. You can shift things around, and put instruments off-center. This great improves the sound, range, and feeling of your piece because it will sound muddy if everything is hitting dead-center.
-filter effects will be your friend. These are very tricky to learn at first, but once you do you open up a new dimension to your sound. They can be added by opening up view>mixer, and you can start attaching tracks to various channels. Afterward you can add filter effects from the sidebar and experiment to see what you like.
It's unrealistic to think you'll get all of this at once - making music in my experience has been a very incremental process. E.G., my first FL track ever was just learning how to put notes on the piano role. Fifth was discovering volume/velocity. Fifteenth was finding out how to do panning. 20th filter effects, etc etc. It takes time but just keep at it!
Synth of the future?
Looks really neat, but I'd rather get a Grand Piano for that amount of money.
I have the chance to buy an old Juno 106 but it looks kinda rough and aged cosmetically. It apparently plays fine but I am worried about the voice chips since I heard they are kinda flakey. The only thing is that I can basically buy it for half of what any ebay auction is asking for. But that is usually a sign that something is secretly broken..
>have the same love for you that i have for any other /prod/ member
do not mistake captivate with love, you fool
1st of all you got 700 people to download your EP?
I'm getting ready to release something, please teach me how you did that, I'm really lost as to getting listeners; I don't have any friends I can have promote my wares, you know what I mean?
2- the japanese pop song wasn't all that catchy to me, so just fyi.
3- writing melodies IS tough.
When I first started writing songs, I was..14; I don't think I wrote a really solid melody where I thought "okay, this is a fucking hit" until I was 17 or 18 (and I'm 24 now).
so it does take time, and just continuing to write songs will help. Studying the songs you want to write will also help, I used to just sit and listen to pop songs I thought were good for hours and really analyze and think about what they were doing in great detail.
How is the melody interacting with the chords? The rest of the arrangement? how "singable" is this? Is it easy to remember? WHY did the writer choose those notes over anything else?
boning up on your music theory won't hurt you; and I've always found it helpful to read sheet music as it makes it a little easier to analyze over listening, and most of the time, the sheet music is reduced to melody/rhythm/harmony and or chords
Who are your favorite song writers? do what they do. MIKA, a writer I like mentioned that he'd record a melody into a tape recorder and then play it back and super high and super slow speeds to see if it still "worked".
Elton John writes the song and then adds Bernie's lyrics/melody later; so his melodies have more options because his harmonic structure is typically more diverse.
One of the major tropes of western pop structure is the the 4 chord element, so consider-is this a repeatable 4 bars?
When I write songs recently, I typically write the "hook" something SUPER easy to sing, and have the lyrics first; then I'll come up with the chords for that (and the progression typically is very simple and easy because I started with melody first) then I go back and do the verses.
In all honestly, I prefer to write lyrics first, because that has a big influence on melody, and in my experience, trying to shoe horn lyrics over melody rarely works for me.
as far as the rest of songwriting, you have a few essential elements, and then build around that, remember, you're trying to highlight the _____, and everything else is subservient to that piece.
uhhhh, idk, the last thing I can think of is that LYRICS ARE IMPORTANT.
it's a fucking pop song man, you have to have something /humans/ can immediately identify with, and thats the human voice; even if the subject matter is w/e, or the words aren't easily understood, thats what we're drawn to first.
example- check this
do you like it?
do you understand it?
do you see what I mean?
and if you're really in doubt, go steal melody/harmonics from beethoven or mozart of chopin, or one of the many western classical greats.
they're dead-they don't care.
bruh, I hate to see the rest of the thread leave you out in the cold like this.
>Particularly concerned about the drums and lead instruments. I always feel less confident about how well percussion sounds and overall mixing (though with years of doing this I have picked up some things). Appreciate any input, /prod/!
what is supposed to be the lead? the drums were fine; I would have liked more panning to get stuff more open in the stereo spectrum. the low end was a little loose for my taste, but I like punchy low end. If you're open to it, I'd add some parallel compression on the kick, and maybe the snare just to give it some clarity.
that synth playing melody was very cheesy sounding for my tastes, but maybe thats what you're going for? it has a very 80s vibe, because of the patches you used, and I don't know if thats intentional or not.
I liked the musical change up @3 minutes ish, as well as that keyboard doing 1/8 notes over on the right side.
on second thought I think the shaker needs to be moved a little bit, idk, maybe more to the right or left, maybe some reverb on it, but I think it needs some more space.
I also liked the manner in which you faded it out; switching it up harmonically and then fading, as opposed to just ending it.
your beat is fucking solid, the sound scape is brilliant, love the use of the sidechained compression on the kick, although I think the rain/water sound could stand to not lose so much volume when the kick hits.
maybe take it out of the chain entirely, idk.
yeah, I played it at namm last year.
it's cool and all, but it does take some work in learning to use it.
I don't know that I'd spend money on that over something like this though, but maybe it's because I'm very much a "pianist"
it's easy enough to learn to mix on headphones honestly, I used to do it all the time in school, and I almost always had the best mix in classes.
this looks cool.
i wonder how quickly it can catch on though.
instant crush was one of my least favorite songs on the LP, because I didn't like homeboy's vocal, but I like this.
i liked then the other elements came in @1:15 ish.
the whole thing is too repetitive to not have some other lead elements for my taste though.
I've been looking for ages and can't find anything good...
I need a sample of a big deep bass drum with a long decay, the kind of thing you hear when you're in the cinema and there's a trailer for some shitty action movie and everyone says dramatic one liners
This kind of thing would be good, except with maybe a bit more presence/attack