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colonp posted:Do they need power? I can get them from the UK for not much more than that, so that'd be pretty good I reckon. The UK has a different power plug system though. Those are them, although the badging looks slightly different. Yes, they need power, they're active monitors. That price, though...outrageous! I feel for you, dude.  The 6s will serve you just fine. I bought the 8s because frankly I was prepared to spend twice that on each monitor, so I still came out ahead.When you say you need a sub too...what are you building? I'm pretty low on the engineering totem pole, but I wouldn't think you'd need a sub for home studio mixing. I got these monitors to be able to try and produce a fairly flat sound.
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Mar 17, 2009 06:00
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mezzir posted:
This is an incredible production. I don't know what the original sounds like, but this is balls-to-the-wall top notch. Who gives a poo poo what style it's in. This is in a league of its own.
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Mar 17, 2009 06:29
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I need a definition on a couple of terms that I've seen floating around in electronic music writing. The first is "jacking." While I have an idea of what that kind of beat sounds like, I've heard the word used to describe anything from Mastiksoul - Run For Cover to Jesse Rose - Forget My Name to even Deadmau5 - Ghosts N Stuff. What exactly is someone referring to when they use that word? Same goes for "ravey". This one I have absolutely no clue about, cause I hear it used to describe everything from techy tracks with only a piano chord and drums, to massive wobbly out of tune beasts, to trance-like emotional euphoria music. I'm lost! Also, since my current computer is extremely low performance, I'm in the market for a Mac (I want to start using Logic). If I were to get a laptop, what would be the minimum suggested specs I could get away with? I want to save as much money as possible.
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Mar 17, 2009 06:40
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Altoidss posted:I need a definition on a couple of terms that I've seen floating around in electronic music writing. The first is "jacking." While I have an idea of what that kind of beat sounds like, I've heard the word used to describe anything from Mastiksoul - Run For Cover to Jesse Rose - Forget My Name to even Deadmau5 - Ghosts N Stuff. What exactly is someone referring to when they use that word? Jacking originated in the old Chicago house sound: http://www.youtube.com/watch?v=tFuujExs03A It's hard to put into words, it's just that particular combination of the bassline, rhythm and everything else that is just so unique to Chicago house. You know it when you hear it. Rave to me is basically, well, the stuff they were playing at raves in the early 90's. Big gently caress-off hoovers and all that. http://www.youtube.com/watch?v=CZuuPVk8e9Q http://www.youtube.com/watch?v=bgEws2ljGQ0
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Mar 17, 2009 07:50
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colonp posted:Hmm, might settle for 6's, any experience with those?
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Mar 17, 2009 09:33
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Altoidss posted:Also, since my current computer is extremely low performance, I'm in the market for a Mac (I want to start using Logic). If I were to get a laptop, what would be the minimum suggested specs I could get away with? I want to save as much money as possible. You don't have many options. Any of them will be fine with Logic, although I'd at least get an aluminum one.
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Mar 17, 2009 10:37
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colonp fucked around with this message at 17:23 on Mar 8, 2014 |
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Mar 17, 2009 16:39
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mezzir posted:
that's a way general and unhelpful suggestion, i know, but i think if you sit on this for a day or two and come back to it, you'll be able to take it to that next level.
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Mar 17, 2009 17:23
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ManoliIsFat posted:i like it, but i think you gotta cut the horns harder or do SOMETHING to make it seem like more than just a blend. now it just seems like a dj trick and you're playing both songs at the same time. i REALLY like how the horns sound with your beat. nice and spacey, but i think the whole thing needs more of an edge. Hah thats like the exact thing I was hoping for, more specific maybe, but still. I like it so far, but its still just not quite there in some intangible way. Anyone got any opinion on possibly taking it in a more deep direction, doing a deep house-y bassline and toning down the 1.8 notes? Think that may be what i try next regardless. Those horns just make me want some real nice flowing relax and ever so slightly funky bassline.
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Mar 17, 2009 18:10
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Selects posted:The production on this track is pretty good. If you added more melody variation it would really make the track stand out more; it's sounding generic at this point. I like the break because it gets rid of the repetition, but I don't know if that's what you were going for or not. I definitely think the piano hits that come in as the second melodic element are boring and need at least octave changes, same goes for the delayed hits that come afterward. Kai was taken posted:The production value is really good, although to me it sounds like a filler track you'd find in the middle of a DJ set. I see what you mean, will definitely attempt to keep it varied and interesting throughout the whole track. Gonna try to tighten up the bass a bit too then, and perhaps take a better look at the overall mix to make it stand out more. Thanks a lot for listening! 
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Mar 17, 2009 21:34
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Can I get a physical drum machine suggestion <$250? I've been wanting to mess around with rhythm and make beats for a while. Doing it on the computer bores me.
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Mar 17, 2009 23:58
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See if you can score a secondhand Akai XR20. The issue with drum machines is that you're stuck with the built-in sounds, so if you get an older model you might miss out on some of the cooler newer stuff. The solution is a sampler; but for that price you'd be incredibly lucky to get an Electribe SX; rather consider an Electribe S, then.
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Mar 18, 2009 07:41
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mezzir posted:
You're right, it is pretty mau5y. Good though. You could try creating a lounge-ish bass sound to replace your Deadmau5 sound, but I don't know how to do it. In particular I mean something like this or maybe this. I guess it's just a low pass filter on a square or pulse waveform? I didn't manage to figure it out though.
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Mar 18, 2009 12:49
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How about........this: Not sure if I like it or not
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Mar 18, 2009 16:22
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Click here to download miss u.mp3 workin on this track today give me some feedback
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Mar 18, 2009 23:17
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All I'm missing is a return of the intro melody / break somewhere, for the rest I really like what you did with (what I assume was) transposing the samples down an octave. It sounds both crispy and pretty open.
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Mar 19, 2009 01:11
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Yoozer posted:All I'm missing is a return of the intro melody / break somewhere, for the rest I really like what you did with (what I assume was) transposing the samples down an octave. It sounds both crispy and pretty open. you talkin to me?
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Mar 19, 2009 01:31
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Yes . Sorry, should've quoted you.
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Mar 19, 2009 06:26
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here is a newer version http://tindeck.com/listen/ezkp
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Mar 19, 2009 06:34
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I'm having an issue with Reason rewiring into Ableton. I decided to get all fancy for this song I came up with and I programmed 2 different drum patterns into Redrum. Is there some way to make Ableton switch between patterns 1 and 2 at certain times in my song or what is the best way to sequence both my Redrum loops into my Ableton? Should I just give up and record the actual sound output from Reason?
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Mar 20, 2009 05:55
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Just in case anyone is interested... Sied van Riel briefly goes over the arrangements of his remix of Offer Nissim featuring Maya - For Your Love as well as his chilling production "Rush" in this video: http://www.youtube.com/user/siedvanriel Check it out! e: I'm looking for some quality samples of whales singing. I guess any whale will do, but I'm looking for a humpback's eerie call in particular. Anyone know where to look? Googling "whale song sample" and all its cousins hasn't lead me anywhere good. Maybe there's a "world music" sound sample library out there somewhere? SynthesizerKaiser fucked around with this message at 12:25 on Mar 20, 2009 |
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Mar 20, 2009 12:16
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Fortuitous Bumble posted:Is there some way to make Ableton switch between patterns 1 and 2 at certain times in my song or what is the best way to sequence both my Redrum loops into my Ableton? No. quote:Should I just give up and record the actual sound output from Reason? Yes. Save your Reason project in case you want to come back and edit later, but other than that, flatten that bitch.
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Mar 20, 2009 12:36
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SynthesizerKaiser posted:e: I'm looking for some quality samples of whales singing. I guess any whale will do, but I'm looking for a humpback's eerie call in particular. Anyone know where to look? Googling "whale song sample" and all its cousins hasn't lead me anywhere good. Maybe there's a "world music" sound sample library out there somewhere? I found a nice whale song CD years ago that I think only cost $4. It was part of a budget environmental sounds series (I also got "Sounds of the Okefenokee Swamp", which is awesome). I'm sure there are a bunch of similar nature sounds albums, just make sure to look for one that doesn't have any lovely new age music on top of it. Kai was taken posted:Save your Reason project in case you want to come back and edit later, but other than that, flatten that bitch. You can also export your Reason drum patterns as MIDI files which can be imported into Live clips. Though I don't know how well that would work if you're doing a bunch of crazy automation, and all in all it's probably more reliable and less labor intensive to bounce to audio (unless, say, you wanted to do something tricky with Live's MIDI effects). h_double fucked around with this message at 16:48 on Mar 20, 2009 |
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Mar 20, 2009 16:34
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Yoozer posted:See if you can score a secondhand Akai XR20.
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Mar 21, 2009 02:02
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SynthesizerKaiser posted:Just in case anyone is interested... i have a record called songs of the humpback whale. ill get some samples of it if you have some good samples to trade.
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Mar 21, 2009 06:32
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mezzir posted:How about........this: I love the hell out of this. It's a mix of house with trip-hop/hip-hop. I would say fix the levels because it seems sorta loud but that might just be tindecks flash player.
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Mar 21, 2009 20:50
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Tokit posted:I love the hell out of this. It's a mix of house with trip-hop/hip-hop. I would say fix the levels because it seems sorta loud but that might just be tindecks flash player. Yeah it might be a little but iirc if the volume on the tindeck player is over 50% you get some distortion / clipping. Newer version too, should be up later tonight.
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Mar 22, 2009 00:09
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trill rear end posted:here is a newer version Hey man this is real cool, reminds me of some old Bochum Welt stuff. Everything is just really in place, very solid mix overall, can't think of any problems really, nice work!
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Mar 22, 2009 10:27
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Could someone recommend a good MIDI controller for a beginner?
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Mar 22, 2009 13:45
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Self Important posted:Could someone recommend a good MIDI controller for a beginner? Without a budget we can't recommend poo poo.
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Mar 22, 2009 14:38
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Yoozer posted:Without a budget we can't recommend poo poo. $200 max
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Mar 22, 2009 14:54
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Self Important posted:$200 max A Radium or an Oxygen8? I'd spend an extra $50 and get an Axiom, though.
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Mar 22, 2009 16:02
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colonp fucked around with this message at 17:20 on Mar 8, 2014 |
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Mar 22, 2009 17:02
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Self Important posted:$200 max http://www.zzounds.com/item--EMU7705
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Mar 22, 2009 18:42
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colonp posted:My axiom25 is a bit too large for what it does :[ .. Other than that, I like it. Quite a few options, nice display, both of which my friend's ucontrol keyrig (IIRC) doesn't have. i had read a lot of things about the axiom 25 but it seemed on the small side to me. I'm planning on simultaneously learning some music theory and finding my way around a keyboard while I practice making music. Yoozer posted:http://www.zzounds.com/item--EMU7705 This is more along the lines of what I'm looking for. Thank you all for your suggestions! Self Important fucked around with this message at 20:38 on Mar 22, 2009 |
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Mar 22, 2009 20:33
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I have some questions regarding mixing, chord progressions, and overall structure of dance music. These might be obvious and ridiculous questions, but here they are. (For reference, I make electro/progressive house in the style of my hero, Deadmau5.) Structure Questions: Do kick drums have a tone? As in, that kick is G#, etc. When I put a tuner plugin on the track it seems to indicate that there is indeed a discernible tone being generated, not noise. Is this perceivable by the human ear? Is it something I should worry about in terms of melody and, most importantly, bass line? The interaction between the kick and the bass is very important, and I want to get it right. Are there any rules in terms of creating bass lines and melodies? I try to make them 8 bars long, but sometimes I make them two, four, or even one bar in duration. When this happens I try to combine them into an overall 8 bar structure with a crash or something at the end of the 8 bars to make sure it all wraps up. I've noticed that with this approach that the shorter the loop is the faster is gets boring/repetitive. Should I avoid shorter loops all together and focus on making longer, more complex melodies and bass lines? On a guitar I know that I can't go wrong with a I-IV-V progression. It always sounds good. Is this applicable to electronic dance music? Creating strong and interesting melodies is my greatest weakness, in my opinion. Any help in this area is greatly appreciated. Are most electronic dance music chord progressions/melodies major or minor? Does anyone have any advice in terms of general musical composition as applied to electro/progressive house? I'm taking community college theory classes this semester, but the class doesn't discuss actual applications of the things we've learned yet, at least not in any way I can apply to my dance music productions. Production Questions: When I go about creating bass tracks my methodology is thus: I synthesize what I mentally label as the "upper bass", which is above ~120Hz, and a "lower bass", which is below it. The lower bass is essentially a sine wave, slightly modified to give it a more interesting timbre. When they combine, the lower bass is more sub sounding and the upper bass is more audible. I sidechain them both to the kick so that they don't conflict with the kick. I seem to get good results with this approach, but it doesn't sound anywhere near the quality that I hear on other people's records. What am I doing wrong? What is a maximizer? Is it just another name for a limiter? I'm using Live 7 and there doesn't seem to be a limiter native to Live, at least that I can readily find. I've been using the compressor with aggressive settings to act like a limiter. Is this acceptable? It doesn't seem to work very well. In fact, it seems to work very poorly. Are there any plugins that I can use in this application? If it's worth it I'll definitely shell out some $ for quality software. Does anyone have any advice on EQing? Once I have the track arranged how I want it the next step I take it to try and EQ the individual tracks so that the mix is as clear as I can get it. Is this typical? I've had limited success with this approach. It's my understanding that the principle behind EQing is that you want to cut out frequencies on certain tracks in order to make room for the frequencies on other tracks, which would be boosted to stand out even more. Utilization of side chain compression in order to duck tracks at certain times seems to yield better results then EQing, which leads me to think that I'm EQing poorly or incorrectly. I'm using the EQ Eight device in Live. When I view the signal with Spectrum it seems that the EQ Eight doesn't attenuate the signal very quickly, even at a 48dB attenuation setting. Is there a way to have the signal completely cut out at certain frequency ranges? Spectrum seems to be visually deceiving to me. When the level meter is peaking out towards 0dB, Spectrum displays even the highest part of the visualization as coming in at less than that. Is this due to the fact that the level is the sum of all frequency ranges, and that when viewed in a graphical way it is simply displaying that highest level of the individual frequencies that comprise it? I want my kicks to sound as full and lush as possible, but it seems like I have to utterly gut the frequencies above 120Hz in order to make room for the other tracks to come through. Is the solution to sidechain practically everything to the kick in order to deconflict them by time? (I'm hesitant to do this because of the effect it will have on the overall sound or the track. I think it sounds like it's "pumping" too much.) Or is it possible with very careful and precise EQing to allow all the tracks to come through without compromising the full sound of all of the component tracks? Is there a multiband compressor native to Live? The compressor seems to only effect the entire track. Can anyone recommend me a nice multiband compressor that I can use to selectively sidechain and duck specific frequency ranges? I love Ableton Live. I use it as a performance tool as well as a DAW, and I find the workflow to be smooth and utterly organic. The only thing I have to criticize about it is that it seems to lack precision tools for mixing/mastering. I'm fairly content with the sound design/arranging in my productions, but at the end of the whole process I feel that my tracks are too muddy. I want it to sound clean, clear, and professional. Could the solution be to arrange the tracks in Live, and then export all the tracks and then mix/master them in another DAW like Cubase or Logic? I'm interested in Cubase, and I intend to purchase it in the near future just to experiment with it in general. Thank you for your time and effort in reading and answering my questions. OMGWTFAOLBBQ fucked around with this message at 17:19 on Mar 23, 2009 |
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Mar 23, 2009 17:15
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OMGWTFAOLBBQ posted:I have some questions regarding mixing, chord progressions, and overall structure of dance music. These might be obvious and ridiculous questions, but here they are. (For reference, I make electro/progressive house in the style of my hero, Deadmau5.) OMGWTFAOLBBQ posted:Are there any rules in terms of creating bass lines and melodies? I try to make them 8 bars long, but sometimes I make them two, four, or even one bar in duration. When this happens I try to combine them into an overall 8 bar structure with a crash or something at the end of the 8 bars to make sure it all wraps up. I've noticed that with this approach that the shorter the loop is the faster is gets boring/repetitive. Should I avoid shorter loops all together and focus on making longer, more complex melodies and bass lines? OMGWTFAOLBBQ posted:On a guitar I know that I can't go wrong with a I-IV-V progression. It always sounds good. Is this applicable to electronic dance music? Creating strong and interesting melodies is my greatest weakness, in my opinion. Any help in this area is greatly appreciated. OMGWTFAOLBBQ posted:Are most electronic dance music chord progressions/melodies major or minor? Does anyone have any advice in terms of general musical composition as applied to electro/progressive house? I'm taking community college theory classes this semester, but the class doesn't discuss actual applications of the things we've learned yet, at least not in any way I can apply to my dance music productions. OMGWTFAOLBBQ posted:Production Questions: OMGWTFAOLBBQ posted:What is a maximizer? Is it just another name for a limiter? I'm using Live 7 and there doesn't seem to be a limiter native to Live, at least that I can readily find. I've been using the compressor with aggressive settings to act like a limiter. Is this acceptable? It doesn't seem to work very well. In fact, it seems to work very poorly. Are there any plugins that I can use in this application? If it's worth it I'll definitely shell out some $ for quality software. OMGWTFAOLBBQ posted:Does anyone have any advice on EQing? Once I have the track arranged how I want it the next step I take it to try and EQ the individual tracks so that the mix is as clear as I can get it. Is this typical? I've had limited success with this approach. It's my understanding that the principle behind EQing is that you want to cut out frequencies on certain tracks in order to make room for the frequencies on other tracks, which would be boosted to stand out even more. Utilization of side chain compression in order to duck tracks at certain times seems to yield better results then EQing, which leads me to think that I'm EQing poorly or incorrectly. OMGWTFAOLBBQ posted:I'm using the EQ Eight device in Live. When I view the signal with Spectrum it seems that the EQ Eight doesn't attenuate the signal very quickly, even at a 48dB attenuation setting. Is there a way to have the signal completely cut out at certain frequency ranges? OMGWTFAOLBBQ posted:I want my kicks to sound as full and lush as possible, but it seems like I have to utterly gut the frequencies above 120Hz in order to make room for the other tracks to come through. Is the solution to sidechain practically everything to the kick in order to deconflict them by time? (I'm hesitant to do this because of the effect it will have on the overall sound or the track. I think it sounds like it's "pumping" too much.) Or is it possible with very careful and precise EQing to allow all the tracks to come through without compromising the full sound of all of the component tracks?
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Mar 23, 2009 17:46
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wayfinder posted:Outstanding advice.
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Mar 23, 2009 18:15
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wayfinder posted:In short: yes. Bassdrums do have a dominant frequency, mostly around 50-60Hz for the kind of music you are making. You can find out which frequency this is with FFT analysis, most wave editors have a function like that (Soundforge, for example, has View > Spectrum Analysis).
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Mar 23, 2009 19:18
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Self Important posted:Could someone recommend a good MIDI controller for a beginner? I was going to get an Axiom but I heard the knobs on them are "zippery" so you can't get smooth filter sweeps on them as easily, and I wanted to be able to do faster stuff on it so the weighted keys weren't my first choice. I ended up getting an E-MU Xboard 61, based on reviews that say the keybed feels just as solid as the expensive Novation controllers. After playing around on it for a while I have to agree. The keys feel comparable to my dad's Korg M1 or Roland D-50. The knobs and wheels are smooth and solid feeling, and the buttons are rubberized. No drum pads but if you're jonesing for it bad enough you can map them to keys instead. $215 shipped from audiomidi.com 
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Mar 24, 2009 03:50
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