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nevermind, sorry. I found want I was looking for. screwtape fucked around with this message at 21:22 on Nov 18, 2008 |
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Nov 18, 2008 20:25
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You have a lot of options for this kind of thing. Assuming you are looking for something you could put in your pocket, the M-Audio Microtrack II, Roland R09HR and the Marantz 620 are all worth a look. The Microtrack is the only small, relatively inexpensive one I know of with a TRS jack that can phantom power a mic, the others use mini jacks. edit: well this was for the guy above me but I left the reply window open while I was getting some work done and he edited.
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Nov 18, 2008 21:54
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I'm trying out Ableton Live, what's the best way to go to make bangin' techno type sounds? I loaded techsas in Impulse to get the kick/bass/hh, but I'm also looking for your standard ride cymbal sound that is present a lot in these kind of tracks. I'm finding this software very intimidating with all the options! Thanks.
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Nov 19, 2008 01:59
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You're going to want a drum library of some kind. Vengeance Essential Club Sounds is a good one that Yoozer recommended (I think) but there are a million of them, and you can probably find some free drum hits online to start out.
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Nov 19, 2008 02:10
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stun runner posted:You're going to want a drum library of some kind. Vengeance Essential Club Sounds is a good one that Yoozer recommended (I think) but there are a million of them, and you can probably find some free drum hits online to start out. Thanks. So are the packs that come with the software not that great on their own?
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Nov 19, 2008 02:39
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You can make drums in just about anything, but having a sample library saves you time and effort and sound just as good usually. But I like to vary it up and use software kicks/snares layered over samples and EQ the poo poo out of everything and just layer and layer til you have something that sounds nothing like anything. But I don't clash EQ's low end cause drat that sounds hella gay
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Nov 19, 2008 05:18
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I thought you all might know the answer to this. What is this synth? Anthony Gonzales of M83 plays it live and I think it is absolutely beautiful. This is just for my own curiosity. If the picture is not entirely clear, the synth is essentially housed within a clear case. 9b817f5 fucked around with this message at 19:59 on Nov 20, 2008 |
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Nov 20, 2008 19:57
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I couldn't tell for sure from that picture, but I found some others with google. It is a small modular synth. Most or all of the modules look like they are from Livewire who have got some pretty distinctive layouts on their gear. http://www.livewire-synthesizers.com/ And here is a better shot of the modules: http://flickr.com/photos/stevelouie/2526783219/ breaks fucked around with this message at 20:29 on Nov 20, 2008 |
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Nov 20, 2008 20:23
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This is a kind of weird question, but as someone who still has loads of trouble writing songs, a lot of times I start something and it sounds OK but it's not really going in the direction I want. Is it better practice to just try and finish those songs anyway or drop them and try to start something that I like better?
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Nov 20, 2008 21:31
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I vote to finish stuff first, just keep making things. I've been doing it for a year and only just got to the point where I can have an idea in my head and actually get that idea down how I want, just takes experience of knowing how sounds work when combined. I remember trying to be really picky and just getting incredibly annoyed that I had something i wanted but it kept coming out different - so poo poo kept getting scrapped and I never stuck on something long enough to learn any proper techniques. cubicle gangster fucked around with this message at 22:37 on Nov 20, 2008 |
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Nov 20, 2008 22:33
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Anacostia posted:I thought you all might know the answer to this. I see, the clear case is just a cool rack. Interesting, very interesting.
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Nov 21, 2008 01:32
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Fortuitous Bumble posted:This is a kind of weird question, but as someone who still has loads of trouble writing songs, a lot of times I start something and it sounds OK but it's not really going in the direction I want. Is it better practice to just try and finish those songs anyway or drop them and try to start something that I like better? FINISH SONGS. The most important skill a producer can have is the ability to make a FINISHED PRODUCT. If you can't make a finished product you are nothing. Nothing. You could be a musical genius but if you can't say, "okay, it's done", then you are useless. Finish poo poo, package it up and send it out, then immediately move onto new poo poo.
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Nov 21, 2008 08:36
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I feel you guys on the finishing songs bit. I do well with a full band, but alone I have 200-300 random projects in Live 6 and 7. How do you finish things jesus.
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Nov 21, 2008 15:19
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Rkelly posted:I feel you guys on the finishing songs bit. Yes. YES! In fact my current project is the one where I've actually made a commitment to finish, whatever the cost, and never NOT EVER start another project until this is done. Which means that I've got stuck a few times, but actually gone through it with a slightly better product at the other end. Not that its any good, just a lot better than any previous effort I've made. I guess you'll be able to hear for yourselves before long!
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Nov 21, 2008 17:05
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Rkelly posted:I feel you guys on the finishing songs bit. I do well with a full band, but alone I have 200-300 random projects in Live 6 and 7. How do you finish things jesus. Keep going even if you hate it. Make a product that you cant stand to listen to if you have to, so long as it's a product with structure and development thats all that matters. Next time, you'll hate it slightly less, and so on. It seems really counter productive to keep going on something after you start not liking it, but you just need to force yourself through it. Set yourself a target - finish something you started in the past 7 days by next weekend. I want to see it in this thread, haha. I probably only make 3 or 4 different files of short sections before I use one to finish a track now. 6 months ago I had two finished tracks and over 300 ableton files. haha. cubicle gangster fucked around with this message at 17:10 on Nov 21, 2008 |
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Nov 21, 2008 17:06
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This is a long shot but does anyone know where I can get a bunch of Star Wars sound effects? Before you say OH HOW CLICHE, I'm not gonna stick a fuckin TIE fighter screech into my brand new rap $ong, I just really like the random esoteric THX sound effects in general and would like to tweak the gently caress out of them and slip them in here and there. It's actually about liking how they sound rather than HURR DID YOU KNOW THERES A HIDDEN AT-ST SOUND IN MY SONG??? Now I was hoping for clean clips but I assume the original recordings are locked the gently caress up deep in the bowels of Skywalker Ranch, so as long as they're reasonably high quality, I really can't complain if they're just rips off the DVDs, I just don't have time to go and rip seventy million clips. And actually, if they were really clean/good I be down to pay for them (maybe somebody sells sound effect archives and pays royalties to THX?). Hell, does THX sell sound packs??
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Nov 22, 2008 05:42
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 I don't think it's finished but if anyone has comments on it in this state I would love to hear them.
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Nov 23, 2008 00:04
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stun runner posted:
Those high hats are mixed way, way too high above the melody at the start I think. Interesting variations in the middle, though they kind of feel direction-less for a while. Hmm, that'd be my main artistic criticism actually, the lack of a direction or building up and dynamics, until that section at the end at least. Can't knock the production too much though, lots going on and lots of hear within the song.
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Nov 23, 2008 00:29
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Hey dudes, I just finished up a song. My sound card and speakers are poo poo though so let me know how it sounds on your setup. 
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Nov 23, 2008 04:18
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dookie posted:Hey dudes, I just finished up a song. My sound card and speakers are poo poo though so let me know how it sounds on your setup. I was a bit lukewarm about the beggining, but a second before hearing this I was listening to Roule releases, and I have to say the baseline and drums work quite well reminds me a lot of filter house. For mixing, the lower end of the bass is a bit much, but its lower midrange is ok.
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Nov 23, 2008 05:07
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Sorry if it's been asked before, I tried searching but didn't find anything: What's the opinion on the new Korg nano series? At $50-60 each for keyboard, pads, and slider controls, not only are they nice and portable, but it's also some of the lowest prices I've seen for this kind of gear. I want to start learning production with Live, and these look like they might be good to start out with. I'm thinking of getting the nanoKEY and nanoKONTROL, since the keyboard can pass for pads for now. I can't play an instrument, and I know the nanoKEY isn't optimal for learning keyboard, but I really just want to experiment with things rather than formally learn the keyboard right now. I'm interested in making house, so mainly simple piano rolls anyway. With ebay cashback, that's like $80 for nanoKEY and nanoKONTROL...
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Nov 23, 2008 21:28
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I'm thinking of buying the NanoKontrol tonight so I can DJ with it at my next gig on friday. I REALLY hope this thing is legit because if it is.. I'd be stoked on life. It looks really clean and functional with alot of action in a small space. If they did a good job with it they're going to be top sellers for sure.
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Nov 24, 2008 02:17
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I've heard of at least three people buying multiple NanoKontrol to replace their BCR2000s. Only nitpicks I've found have been of buttons getting stuck when you use them in a way that'll get any buttons of that kind stuck, plastic flimsy feeling and that the black models aren't out yet. Which is why I'm waiting with my NanoKey purchase, but hey Jordan Rudess seems to love 'em! From his videos alone it seems their laptop keyboard like sensitivity and size is of a great advantage that allows for very fast play. For that price it's hard to complain.
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Nov 24, 2008 02:49
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I am a huge nub. Should I give each drum sound its own track or mix them all on the same track? Using Logic-Ultrabeat if that changes anything. EDIT: ALSO how do I make that stutter effect with samples? I think that sounds really cool. A MIRACLE fucked around with this message at 21:13 on Nov 25, 2008 |
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Nov 25, 2008 21:03
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A MIRACLE posted:I am a huge nub. Should I give each drum sound its own track or mix them all on the same track? Using Logic-Ultrabeat if that changes anything. Every timbre on its own channel is my preferred method. Gives more control over the mix. There's nothing stopping you from bussing out all the drums into one group once that's done though. Stutter-effect can be achieved either by bouncing the audio and cutting-pasting it or by using something like dBlue Glitch (VST): http://illformed.org/blog/glitch/
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Nov 25, 2008 23:42
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The Fog posted:Stutter-effect can be achieved either by bouncing the audio and cutting-pasting it or by using something like dBlue Glitch (VST): http://illformed.org/blog/glitch/ That program looks cool, is there a VST like that for Apple computers?
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Nov 26, 2008 04:12
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A MIRACLE posted:That program looks cool, is there a VST like that for Apple computers? Audio Damage's Replicant, Automaton, or Sugar Bytes' Effectrix are all decent Mac glitch plugins. But really, bouncing the audio and cutting it up yourself is the best way of doing it.
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Nov 26, 2008 07:38
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I'm not sure if this should go here or in the "(re)create a sound" thread, but I just got Massive and I'm going nuts trying to get a decent distorted meaty bass out of it (aka the Electro House bass). I've got some neat percussive plucks going, but the bass is totally eluding me. For reference, here is what I have going right now:  Needless to say it sounds like total poo poo. Anyone have any pointers for me (slash any suggestions for what sort of bass might sound good with what I have going currently, because I just semi-randomly chose the distorted bass sound)? nah thanks fucked around with this message at 07:49 on Nov 26, 2008 |
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Nov 26, 2008 07:43
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squidgee posted:I'm not sure if this should go here or in the "(re)create a sound" thread, but I just got Massive and I'm going nuts trying to get a decent distorted meaty bass out of it (aka the Electro House bass). I've got some neat percussive plucks going, but the bass is totally eluding me. For the electro house bassline you usually want 2 oscillators (square). One of them should be 0 octaves and 0 semitones and the other one should be +1 octave and either +4, +5 or +7 semitones.
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Nov 26, 2008 12:00
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The Fog posted:For the electro house bassline you usually want 2 oscillators (square). One of them should be 0 octaves and 0 semitones and the other one should be +1 octave and either +4, +5 or +7 semitones. It's sad that certain elements of the creative process are so drat formulaic... but then what's new? Scales work like that. The drat colour wheel works like that. Strange though...
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Nov 26, 2008 12:44
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Symptomless Coma posted:It's sad that certain elements of the creative process are so drat formulaic... but then what's new? Scales work like that. The drat colour wheel works like that. Strange though... To be fair, working in genres is pretty formulaic. Personally, I don't think getting the bassline sound is part of the creative process, because in order to make it work for the genre, you gotta stick to the formula. The creative process for me starts when the formulaic process ends. That is, if you know the basis for the bassline, there's nothing stopping you from mixing and matching with other timbres, using modulation, filters, automation, distorting etc. There's a world of ideas out there, you just gotta get the foundation right.  Speaking of foundation; I like to think of making music as building a house. Every house (track) needs a solid foundation (formula). Once the foundation is done, you can build whatever you want (creativity) on top of that.
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Nov 26, 2008 19:08
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squidgee posted:I'm not sure if this should go here or in the "(re)create a sound" thread  quote:but I just got Massive and I'm going nuts trying to get a decent distorted meaty bass out of it (aka the Electro House bass). I've got some neat percussive plucks going, but the bass is totally eluding me. Don't sidechain it so hard because the attack makes it lose its impact. Also, distortion. Also, this: http://www.theheartcore.com/megathread/LectroBaes.zip Symptomless Coma posted:It's sad that certain elements of the creative process are so drat formulaic...
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Nov 26, 2008 20:49
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Yoozer posted:If you did it gets bumped again at least The Fog posted:For the electro house bassline you usually want 2 oscillators (square). One of them should be 0 octaves and 0 semitones and the other one should be +1 octave and either +4, +5 or +7 semitones. Awesome, thank you both! Those are a lot better than where I was going with things. And yeah, I'm discovering easing off the sidechain is a bit of a good call. Ironically though I went a whole other direction with the track since last night. I think it's a lot better for it, albeit a bit more formulaic? 
nah thanks fucked around with this message at 22:27 on Nov 26, 2008 |
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Nov 26, 2008 22:24
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Yoozer posted:Go check out these: Could anyone recommend me a digital piano? I noticed Best Buy has a selection of three or four ranging from $150 to $400 but the differences in features seemed minimal. If I plan to get a digital piano only to learn how to play piano on, and a midi keyboard separately for use with my PC, is it best to get the cheapest digital piano possible and spend the difference on the midi keyboard? Is it even a good idea to buy both separately? edit - I went onto the Yamaha Music site and the two keyboards they seemed to feature (CP33 and CP300) were priced at 1300 and 2300!! Holy poo poo. What's the difference between the $200 dollar Yamaha keyboard at Best Buy and that? Good Sir fucked around with this message at 23:38 on Nov 26, 2008 |
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Nov 26, 2008 23:27
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My one drum machine is a Roland TR-626, the tempo wheel is horrifyingly inaccurate and constantly pisses me off and the sounds are tragically bad unless piped through my Korg KP3. As a sequencer, it could come in handy - if it wasn't for that piece of poo poo tempo wheel. 180.2 is the closest it comes to 180 BPM, doesn't take long until you can tell it's out of tune, and forget about uneven numbers like the magical 135, it jumps with 4+ beats after 170ish and it's so sensitive it will change on its own if you bump into the machine or the table it's on. The question is, can I force it to sync externally and listen to an external BPM? (No luck so far, with testing and google and cleaning and tweaking the wheel with surgical pliers) I'm this close to selling that bastard, I hope an MC-303 is enough of a drum machine to make up for the loss of it. e: Now that I think about it, this is more of a technical question with an opinioncheck, but then again it's only guitar people outside of this thread Ghosts n Gopniks fucked around with this message at 03:57 on Nov 27, 2008 |
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Nov 27, 2008 03:55
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I've got two different questions: 1) I recently purchased my first deck, a Technics SL-1210M5G, only to discover that it doesn't include a cartridge.  I use Ableton Live to DJ, remix and produce, and I'd like to incorporate this turntable in a number of different ways (primarily mixing with songs in Ableton, recording samples from vinyl, and scratching). I have a very basic understanding of how cartridges differ, but I don't know which sort of cartridge would best suit my needs (brand name, type, etc.) and how much money I should invest. Would a $50 model suffice, or should I wait, save and invest $150?2) I've recently been reading up on some different production tips (mainly EQ, as I've been fairly ignorant on the subject) and I've been trying to apply them as best as I can. I'd appreciate it if someone could comment and/or critique some of my work. I've been producing mash-ups almost exclusively for the last couple of months, so this would be the most recent, unreleased thing that I've produced: 
DJ Dain fucked around with this message at 05:40 on Nov 27, 2008 |
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Nov 27, 2008 05:35
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Good Sir posted:edit - I went onto the Yamaha Music site and the two keyboards they seemed to feature (CP33 and CP300) were priced at 1300 and 2300!! Holy poo poo. What's the difference between the $200 dollar Yamaha keyboard at Best Buy and that? Here's why: The CPs are digital (stage) pianos with built-in speakers. The regular Yamaha YPGs and PSRs are low-budget arranger keyboards. Arranger keyboards come with a lot of built-in rhythms - you play a chord with the left hand and the entire arrangement, bass, comp, anything will follow that. The CP has nothing like it. If you play them and compare the feeling of the keys and the build quality, you'll pretty much know immediately why the CPs are more expensive. Also, a regular arranger keyboard has to be a jack of all trades in terms of sounds; which means that piano sounds are just one part of the memory (it's got to share room with strings, brass, drumkits etc.) while a digital piano has fewer, but higher-quality sounds (mostly obvious in the piano sound, of course). This has to do with the way you sample a piano. Here follows a story about sampling a piano. Method One: The cheapest way is to record a single note and then let the sampling engine transpose it up and down. This sounds like rear end when you play any note higher or lower than 6 semitones from the original sample. This is how it was done on the earliest samplers. Method Two: The next cheapest way is to look at the piano sound and divide it in an attack (the "tock" hammer sound) and a portion that can be looped (the tail). A sampler can control volume easily with the envelope, so that's not the part that's rocket science. When you then transpose the looping part up and down the keyboard, it doesn't sound like absolute rear end and more importantly, the sound doesn't stop after half or double the time which makes it slightly more realistic. The Ensoniq synths and Roland D-50 use this. To make it touch-sensitive, you let the velocity (the speed you hit the keys with) control the volume, so playing with more force results in a louder sound. Method Three: When memory sizes grew, the problem of the sample sounding like rear end (lower notes too dull, higher notes too bright) when transposed up could be solved, somewhat. One trick is to not take just a single sample, but to take more of 'm - and the number of samples grew, from one per octave to one per 6 semitones to eventually each note, separately. The Yamaha PSR keyboards probably do this for every 3 or 6 semitones with some clever volume editing that makes it sound consistent over the range of the keyboard. Method Three-and-a-half: When you strike the key of a piano with more force, not only the volume changes - but the timbre, too. So, you get a grid of samples - one per key, 3 or 4 samples for each velocity. This is what they mean with a "triple strike" piano in the marketing blurbs. The more expensive digital pianos have a sample set like this. Piano libraries for software samplers have this too and advertise in the gigabyte sizes - but a well-programmed 64-meg sample set can be superior to a shittily sampled 3.5 gigabyte one. Method Three-point-seventy-five: A real piano has a soundboard and a phenomenon called "sympathetic resonance". When you hold down the lower C with just the hammer being lifted off the strings and then hit the higher C, the lower C will start to sound because they share the frequencies. This gives a piano more richness in sound, and it's possible to mimic this even if you use samples for everything, so, the more expensive digital pianos will advertise with having sympathetic resonance. Method Four: gently caress samples, use physical modeling. This shrinks the immense 5 gigabyte library down to an 8 mb plugin, but it's a lot of work to make the model sound good and it rapes your CPU. The Gem Promega III is supposed to use something like this. Which is neat, because CPU speeds will go up but (embedded) storage stays rather expensive. My advice: when you want to learn to play the piano, get the thing that's closest to a piano, and even the cheap P85 will be better for that than the YPG or PSR. While the latter ones have gotten larger sample libraries over the years, it's the feeling that counts for a bit more than the sound. MrLonghair posted:As a sequencer, it could come in handy - if it wasn't for that piece of poo poo tempo wheel. 180.2 is the closest it comes to 180 BPM, doesn't take long until you can tell it's out of tune, and forget about uneven numbers like the magical 135, it jumps with 4+ beats after 170ish and it's so sensitive it will change on its own if you bump into the machine or the table it's on. It has MIDI on the back, so any device sending a MIDI clock signal should be able to make it listen (once you convince the 626 to act as slave). Also, the 303 is its own world of hurt - while it's dirt cheap, to save yourself frustration you want to get the 307 or the 505 or the RM1x if you're looking for a groovebox. Laserjet 4P fucked around with this message at 08:46 on Nov 27, 2008 |
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Nov 27, 2008 08:31
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Yoozer posted:It has MIDI on the back, so any device sending a MIDI clock signal should be able to make it listen (once you convince the 626 to act as slave). Also, the 303 is its own world of hurt - while it's dirt cheap, to save yourself frustration you want to get the 307 or the 505 or the RM1x if you're looking for a groovebox. I have now tried, and I doubt even John Romero could make the 626 his bitch  Off to auction it goes. My budget and the market has me choose between the MC303 and the Korg EA1 at this very moment, since September I've checked forums and our little national eBay, only MC303 and Electribes - 505s and later and the Yamahas aren't going anywhere after people get them. After having this reply window up for 30 minutes and investigating in some closed music forums it looks like EA1's something with less frustration (randomly skipped 16th notes, 50 pattern limits, etc) and more fun for this synth nerd here. e: Yep, Sunday it's EA1 for less than that MC303 I was looking at Ghosts n Gopniks fucked around with this message at 17:01 on Nov 27, 2008 |
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Nov 27, 2008 16:09
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Dain22 posted:I've got two different questions: If you are actually looking to scratch and also mix I'd suggest a Shure M44G, it doesn't have quite the hold of other more scratch orientated needles but to my ears it does have a better sound and won't chew up your vinyl quite as much as something like a M447 will. You can pick up one with a cart for about 30 quid here in the UK so I can't imagine it'll be that expensive where you are. Dain22 posted:
This sounds alright if a bit generic. I'm not super keen on the reverb slathered all over the vocals but that's a personal preference. Having listened through to it a few times through nothing really stands out in my mind at all which in my eyes is a bad thing however I'm sure there are a lot of DJs would have no problem playing it out. I'm only using a pair of lovely ipod headphones so I can't really comment on the actual mixing itself.
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Nov 27, 2008 16:48
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Dain22 posted:This isnt bad at all. Vocals are pushed abit far back though. (reverb/other effects?) I'd also try and get a break in there, break it up abit. Otherwise nice work. (I normally hate LOLMASHUPS )
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Nov 27, 2008 18:18
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