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My favorite phaser is probably the one from oligarc. http://www.stillwellaudio.com/?page_id=39 There is one that's a clone of a famous guitar pedal that's not too bad either but only mono, but I seem to have forgotten which one it was.
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Jul 10, 2008 22:41
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breaks posted:My favorite phaser is probably the one from oligarc. Well it makes sense for guitars, but don't most DAWs have a way to convert mono-->stereo? Well, at least Logic has the capability I know for sure.
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Jul 10, 2008 23:24
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Sure you can use it even on stereo channels in any decent DAW, but sometimes mono in mono out is not what you want. Also, being a guitar pedal clone there were only two or three controls on it. Now that I've had a chance to think about it more, I'm pretty sure it was Antti's Phase 90 clone. http://antti.smartelectronix.com/
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Jul 11, 2008 00:19
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breaks posted:My favorite phaser is probably the one from oligarc. Thanks for the site man. Anyone ever use the schwa sculpto? Looks pimp nasty. Draw envelopes on audio in real time. Rock. I wonder if I can hook it to my novation's touch screen? Rkelly fucked around with this message at 02:26 on Jul 11, 2008 |
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Jul 11, 2008 00:49
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Ben and Stew posted:This is the second song I've made in Logic and I feel like I'm finally getting over the steep learning curve. I'd appreciate critiques of the mixing or the song in general. I feel like I might need to do a little bit of detail work so consider this song a rough draft.  Updated with more goodness
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Jul 11, 2008 01:58
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Can anyone point me in the right direction on how to create that panicked, rave-y stab synth? The opening chords of this track http://nz.youtube.com/watch?v=RblVmEOFXY8 are pretty much what I'm talking about. It sounds simple but I haven't been able to replicate it.
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Jul 11, 2008 06:06
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Terrible Horse posted:Can anyone point me in the right direction on how to create that panicked, rave-y stab synth? The opening chords of this track http://nz.youtube.com/watch?v=RblVmEOFXY8 are pretty much what I'm talking about. It sounds simple but I haven't been able to replicate it. Sounds like saw waves and portamento to me.
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Jul 11, 2008 06:26
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Ben and Stew posted:
Are the jittery vocals intentionally mixed so high at the beginning there? I can barely hear the drums and synth on my laptop speakers. Otherwise it's rad, though.
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Jul 11, 2008 19:11
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hm, not really. i haven't had really good results through this song with laptop speakers just because they can't pump the kind low end this song needs. once the drums come in it should be pretty loud in the mix. hopefully when I get all my stuff professionally mixed it will come through better.
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Jul 11, 2008 22:40
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Ben and Stew posted:
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Jul 12, 2008 00:09
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sithael posted:Sounds like saw waves and portamento to me. theres definitely some glide between the chords, but I'm just talking about the tone of the stab itself. It doesn't sound like a straight saw to me. Saws sound kinda like dzzzzttt and this sounds more like Ah! Ive been messing with both saws and squares with a fast but slight lfo vibrating the pitch, but thats not it. Maybe i'll just download some rave sample packs 
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Jul 12, 2008 02:31
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cubicle gangster posted:Hi everybody! After a few months out of making music I went out and bought a new laptop, and some vsts, and upgraded ableton...
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Jul 12, 2008 03:25
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Terrible Horse posted:theres definitely some glide between the chords, but I'm just talking about the tone of the stab itself. It doesn't sound like a straight saw to me. Saws sound kinda like dzzzzttt and this sounds more like Ah! Ive been messing with both saws and squares with a fast but slight lfo vibrating the pitch, but thats not it. Maybe i'll just download some rave sample packs So the basic sound is saws, 4voice or so unison, crank detune and then turn it down until it stops beating real bad. The "aaaah"y quality you can get with careful positioning of the filters and use of reso. Unfortunately a nice easy formant chart is probably not so helpful with this particular sound. I would set a 12db lp wherever it needs to go to get the timbre right, then put a 12db bp below it and start sweeping around trying to get the ah bit. Use a pretty high resonance on both when doing that, then back it down later to get back to the ravey sound. Oh and don't forget to play minor thirds. Feel the ruuussshhhhhh breaks fucked around with this message at 05:32 on Jul 12, 2008 |
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Jul 12, 2008 05:26
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That stabby sound is just a sample that's included in every stab sample pack. Most stabs are sampled.
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Jul 12, 2008 11:15
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sithael posted:Sounds like saw waves and portamento to me.  Seriously, either give sane, reproducible advice or don't. You can not do this with saw waves in the conventional way*. The Fog posted:That stabby sound is just a sample that's included in every stab sample pack. Most stabs are sampled. Exactly. Where to find it? Old-rear end sample CDs like this. Protip: Classical music with lots of choirs. Carmina Burana, for instance! Let's hear what happens when we sample a choir: http://www.theheartcore.com/music/carmina_sampling.mp3 Problem solved  .Pick any minor, major or fifth, make sure it's short, and load the fragment up into any software sampler. Yeah, they can do portamento, too. Try the same with old disco and pop music, you'll be surprised at the results (and the fact that you don't have to pay anything to clear these samples since they're almost impossible to trace back to the source.). edit: This is why recreating the lead chord sound of James Brown Is Dead on any synthesizer is so goddamn hard. * the unconventional way is to take an additive synthesizer with complex envelopes and 20,000 partials, and then to resynthesize everything so you end up with the separate sinewaves. You can do this either the clever automated way with a dose of Matlab or the manual way with a dose of autism. Laserjet 4P fucked around with this message at 17:13 on Jul 12, 2008 |
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Jul 12, 2008 16:47
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Yoozer posted:Where to find it? Old-rear end sample CDs like this. Hell, I can think of three sample CDs off the top of my head that feature that exact sound. One of them is fairly recent too (Zero-G Nu House). If you're looking for tons of ravey stabs you could do a lot worse than Zero-G's Technotrance, which consists entirely of that kind of thing. Of course, you could always go straight to the same source the compilers did. quote:Protip: Classical music with lots of choirs. Carmina Burana, for instance! Let's hear what happens when we sample a choir: 
HifiSerious fucked around with this message at 18:23 on Jul 12, 2008 |
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Jul 12, 2008 18:21
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Mandatory material: http://www.vimeo.com/1309545
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Jul 12, 2008 22:06
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Yoozer posted:
it sounds like some typical ravy supersaw stabs to me, it dosnt really sound like the chopped up sample you posted.
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Jul 13, 2008 02:02
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I got this in the ol' ableton news letter. He seems messed up a bit. http://www.ableton.com/hot-chip?i=nl
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Jul 13, 2008 02:22
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Rkelly posted:I got this in the ol' ableton news letter. He seems messed up a bit. http://www.ableton.com/hot-chip?i=nl Speaking of the News Letter, I love how I got to find out about that production contest a week after it finished.
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Jul 13, 2008 03:59
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Yoozer posted:
Thanks so much, thats exactly the sound I was looking for.
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Jul 13, 2008 08:57
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oredun posted:it sounds like some typical ravy supersaw stabs to me They're not as choir-like as the example, they weren't invented in the early 90s, and they're unlikely to be resampled. This is classic rave re-done - in fact, the track is almost a preset gallery from material they used back then. quote:it dosnt really sound like the chopped up sample you posted.
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Jul 13, 2008 15:06
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I sang the Carmina Burana with a full orchestra. Intense is a good word. How do people get strings that sound so good in all this disco house? I have been trying to use string samples and melodyne, but I still sound like freaking robert miles or brian eno.
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Jul 13, 2008 17:42
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Rkelly posted:I sang the Carmina Burana with a full orchestra. Intense is a good word. Robert Miles and Brian Eno?  I don't see the connection.
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Jul 14, 2008 03:23
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Rkelly posted:I sang the Carmina Burana with a full orchestra. Intense is a good word. gently caress, I wish my strings sounded like Robert Miles.
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Jul 14, 2008 03:32
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I was thinking about getting a MIDI piano, specifically one of the M-Audio ones with the pads on them (since you can get student discounts on them at journeyed). I'm torn between the Axiom 25 and the Axiom 25. There is a fair price difference, and I will kind of be learning as I go, but I don't want to get a 25 and then down the line go "Well gently caress" when I decide I need something more. Anyone have any advice on this for someone new?
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Jul 14, 2008 10:06
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Yoozer posted:
Nearly every sound in that youtube vid (sans drums) is from an Alpha Juno or Alpha Juno 2 using the 'What the?' preset as a base. Certain passes during the song have the VCF envelope polarity inverted (so it sort of sounds like its reversed. Its hard to explain.) You can try building those sounds on a 3 oscillator analogue or analogue modelling synth but you will probably fail because: 1) Roland's chorus on the Juno series is unique sounding and is unbelievably noisy (you will seriously not believe how bad it is until you switch it on and off with all the oscillators disabled and observe the swirling hiss). 2) Alpha Juno's LFO modulates pulse width and chorus of all pulse oscillators independantly (which you won't do properly because you don't have the chorus) and: 3) All of Alpha Juno's DCO pulsewidths can be modulated independently which you might be able to do with a synth that has really flexible routing (though its easy enough with the Juno which isn't a complicated synth anyway). Fortunately for the guy who wants to know how these sounds are made, Alpha Junos are dirt cheap on the second hand market so just buy one. Get whatever obsession with it you have out of your system so you can move past that and get on to making something unique and interesting. If that still involves the Alpha Juno then fair play since it is capable of more than hoovers. If not then you can sell for close to what you paid for it to another guy that needs to get the fetish out of his system. Like most things, it is easy to build once you know how it is done. Alpha Juno is a real easy synth to program and its not difficult to make monster evil hoovers from hell in minutes. They sound great too. In fact, buying an Alpha Juno is probably going to lower your opinion of hard house and early hardcore because it is like the great arcana and elixer of hard house has been exposed and you realise how effortless it is. WanderingKid fucked around with this message at 15:05 on Jul 14, 2008 |
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Jul 14, 2008 14:31
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Piuro posted:I was thinking about getting a MIDI piano, specifically one of the M-Audio ones with the pads on them (since you can get student discounts on them at journeyed). I'm torn between the Axiom 25 and the Axiom 25. quote:Anyone have any advice on this for someone new? I had a Korg Micro-X which had only 25 keys. Heck, even the 49 keys of my Xboard didn't seem much (I'm raised on 61 keys) and had me octaving up and down. The 25 was incredibly limited to play with so I mostly hooked it up to another board which gave me full range.
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Jul 14, 2008 14:53
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Kai was taken posted:gently caress, I wish my strings sounded like Robert Miles. Different strokes for different folks. I want sampled strings I guess. I just don't know much about what makes good strings. I guess I need standard string quartet practices and what intervals the harmonies are and what not. I mean I want real disco sounding strings not fake poly synth ones which I love for different reasons. By the way I love Robert Miles. Gofriller cello or something I guess?
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Jul 14, 2008 16:35
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Yoozer posted:I assume you mean 25 and 49? Ah poo poo, knew I messed up something! quote:Stick with 25 keys if you know for sure that you're not exactly planning to play on something bigger ever or you want to travel. This is what I don't know about, though, I don't have any idea if I'll want something bigger, so I'm trying to figure out if the initial increase in cost is justifiable to myself. I'm leaning towards the 49 though.
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Jul 14, 2008 18:08
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I honestly wouldn't go below 37 keys. I have a Korg MicroKontrol, and while I love it I find having only three octaves a bit limiting at times. I couldn't imagine only having two.
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Jul 14, 2008 18:23
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squidgee posted:I honestly wouldn't go below 37 keys. I have a Korg MicroKontrol, and while I love it I find having only three octaves a bit limiting at times. I couldn't imagine only having two. I have absolutely no idea how to play a piano though. Like I said, I'll be learning as I go. But I do think I'll go for the 49 at this rate.
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Jul 14, 2008 18:31
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squidgee posted:I honestly wouldn't go below 37 keys. I have a Korg MicroKontrol, and while I love it I find having only three octaves a bit limiting at times. I couldn't imagine only having two.
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Jul 14, 2008 18:32
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Rkelly posted:Different strokes for different folks. I want sampled strings I guess. I just don't know much about what makes good strings. I guess I need standard string quartet practices and what intervals the harmonies are and what not. Look into the EWQL orchestral libraries. Huge collections of sampled strings (and brass etc also) that sound pretty drat good. Expensive though.
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Jul 14, 2008 18:57
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ManoliIsFat posted:Its really not that bad if all you're writing are lead synths and the occasional chords here or there. When I use it, its only to try out a couple melodies out before I quantize it all, so I never find it limiting. I guess, but when I'm playing around with chords I almost always need the third octave. It probably depends mostly on what you want to do and if you're content with programming in notes step by step versus playing the whole thing out.
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Jul 14, 2008 19:01
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For the record, I had a Novation ReMote 25 keys and I loving HATED IT. HATED IT SO MUCH. Couldn't play anything in B Minor because the range was so tiny. Melodies had to be transcribed to new keys all the time because I couldn't loving play them on that tiny rear end thing. I upgraded to an Axiom 61 and I still feel like I could use another octave.. but then again I am a die hard piano player/theory buff so whatever. Do what you want. But I loving hated it and I would rather click around on a mouse then bother was a dinky 25 key. I could only see it being useful if you frequently travel and wanted to work on airplanes or something.
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Jul 14, 2008 19:22
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So I've been trying to do something every day, and today I decided to do something that isn't dance music. I'm pretty happy with the results, given that they represent my hour of forced production for the day:
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Jul 14, 2008 23:43
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squidgee posted:So I've been trying to do something every day, and today I decided to do something that isn't dance music. I'm pretty happy with the results, given that they represent my hour of forced production for the day: That's some pretty catchy pop stuff, it sounds good as a whole though I think the piano progression could be less standard, but I really like it.
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Jul 14, 2008 23:49
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IanTheM posted:That's some pretty catchy pop stuff, it sounds good as a whole though I think the piano progression could be less standard, but I really like it. Yeah, if it were to turn it into a full blown song I would definitely change the chord progression. It's currently just a idea I got from dicking with a technique I found in How To Write Songs on Keyboards (which, as an aside, is a really well put together if not basic book about writing chord progressions).
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Jul 14, 2008 23:57
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Okay, I've given up on hardcore. I really love hardcore (lame, I know), but it's just too drat hard to get the beat and bass right. Anyway, here's a house track I've made that I'd like some feedback on. I've been working on Electronica for about a month. 
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Jul 15, 2008 03:24
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