The "how do I make electronic/club/DJ music" Megathread!

The Something Awful Forums > The Finer Arts > No More Drake > Musician's Lounge > The "how do I make electronic/club/DJ music" Megathread!

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Mannex: Apr 12, 2006

Pretty chump question here, but what is the easiest way to take two samples, layer them together, and end up with one sample in Ableton?

# ? Mar 24, 2009 04:12

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# ? May 12, 2024 11:02

oredun: Apr 12, 2007

Mannex posted:

Pretty chump question here, but what is the easiest way to take two samples, layer them together, and end up with one sample in Ableton?

you can have them on two channels and open a 3rd channel and resample them together, or if you have sampler, you can drag them in there and if you look around on the different tabs you can make and edit layers and which keys theyre on.

# ? Mar 24, 2009 04:23

h_double: Jul 27, 2001

Mannex posted:

Pretty chump question here, but what is the easiest way to take two samples, layer them together, and end up with one sample in Ableton?

If you have Sampler, just load them into the same patch with zones so that they trigger simultaneously. (or you could maybe do the same thing with a freeware sampler like sfz)

Otherwise, you could put two Simpler tracks side by side with the same MIDI data, which would let you pan/crossfade/effect/whatever the samples seperately if you wanted to. If you don't care about any of that, I'd probably layer the samples in something like Audacity and bounce them to a new .wav.

# ? Mar 24, 2009 04:26

PRADA SLUT: Mar 14, 2006; Inexperienced,
heartless,
but even so

If you group a device (Apple+G), you can have multiple devices sharing the same track.

# ? Mar 24, 2009 10:00

The Fog: Oct 10, 2004; -I spent the whole day trying to pull a peanut from that heater vent. Turns out it was just a moth. -How was it? -Dry.

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.)

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.

They DO have a tone, but you don't have to worry about it. The kick drum is considered a percussive instrument rather than a melodic instrument.
If you have problems with your kick interfering with your bass even when you're sidechaining, try to make the release time of the kick shorter. All pros do this AFAIK, so it's a tried and true technique.

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?

This depends a bit on the genre you're making, but listen to what others do and you'll find that most melodies are 8 bars long and sometimes the are 4 bars long, but repeated once with a slight variation to make it 8 bars and sometimes it's just 4 bars long period. 8 bars is the most common in the music I've heard.
You can also make a melody 16 bars, but then you're probably doing a bit more progressive music. I wouldn't go there until I feel comfortable doing 8 bar loops.
What you'll find a lot is that there's key changes every 2nd bar in 8 bar loops, and every bar in 4 bar loops. It's quite common to just use 4 bars.
Don't let this limit yourself, but keep these guidelines in mind when doing your melodies. Sometimes it really helps to know what the common approach is.

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.

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.

Mostly minor.
Again, listen to other tracks in your genre, copy the chord progression, alter it to your liking and make melodies around it. Chord progressions aren't copyrighted and you're free to steal them. You'll notice that most music you hear uses the same chord progressions, just like with I-IV-V.

OMGWTFAOLBBQ posted:

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?

This depends on what you're trying to achieve. If you could post a clip of what you want it to sound like and a clip of how far you've gotten, maybe we could give some guidelines.
What quality are you missing in your basses?

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.

I'm not really sure about this, but I think it's a multiband limiter. The ones wayfinder mentioned are quite commonly used.
T-RackS 3 has one as well, which is quite good, imho, but your mileage may vary.

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.

When you EQ you have to keep the arrangement in mind and vice versa.
For example, if you have pads that are never gonna be played at the same time as the kick and bass or any other prominent bassy track, there's no need to low cut it.
What I personally do is to low cut everything (somewhere around 150-300Hz depending on the EQ I've used) except for the kick and bass and then I don't need much more. I'll give the high mids a little boost on the elements that I want to stick out and give the low mids a little cut on the elements that I want to sit in the background.
Just make sure you know what elements are the most important ones.
Usually the order to level your tracks is:
Kick
Bass
Vocals
Lead
Everything else
So keep this in mind when EQing.

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?

No, but that doesn't matter because it wouldn't sound very good anyways. The pros, whose mixes you enjoy, are using the same tools you do. Just learn how they use them.
A more technical explanation is this:
Whenever you use a filter, it doesn't filter the signal completely. You can have steeper cuts by using more poles. Each pole will attenuate the signal 6dB (or 12dB, I can't remember really) but filters that are too steep don't sound very good, imho.

OMGWTFAOLBBQ posted:

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?

Yes, that seems like a reasonable explanation.
To try this out, use a synth that generates a pure sine-wave at 0dB and check in the spectrum display if it peaks at 0dB.

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?

Remember, the kick is the most prominent part of the track. If you have a conflict with the kick and something else, guess which track is the conflicting one that needs EQ? That's right... Not the kick track.
Instead of cutting everything above 120Hz on the kick track, try cutting everything BELOW 120Hz on EVERYTHING BUT the kick track. Make sense?

OMGWTFAOLBBQ posted:

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 don't use Live myself, so I can't really answer that specific question but I wouldn't necessarily use a multiband compressor on a track, but rather on subgroups. After all, you have the choice of EQ and single-band compression, which is even better than multiband compression.
Using a multiband compressor does have its uses, but I think your mixing problems lie in the fundamental mixing areas, so concentrate on that first.

OMGWTFAOLBBQ posted:

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.

Again, I don't know Live, so I can't really comment, but yeah, sometimes the tools aren't that good. If I were you I would try out different tools (for example different compressors, different EQs) and ask myself which I get better mixes with. If I can't get good mixes with tools that are KNOWN to be good, then it's probably me who's to blame.

OMGWTFAOLBBQ posted:

Thank you for your time and effort in reading and answering my questions.

No worries

# ? Mar 24, 2009 17:57

wayfinder: Jul 7, 2003

The Fog posted:

Remember, the kick is the most prominent part of the track. If you have a conflict with the kick and something else, guess which track is the conflicting one that needs EQ? That's right... Not the kick track.
Instead of cutting everything above 120Hz on the kick track, try cutting everything BELOW 120Hz on EVERYTHING BUT the kick track. Make sense?

How does that help with clashing treble?

# ? Mar 24, 2009 18:33

The Fog: Oct 10, 2004; -I spent the whole day trying to pull a peanut from that heater vent. Turns out it was just a moth. -How was it? -Dry.

wayfinder posted:

How does that help with clashing treble?

Either you or I misunderstood his question, but to me he didn't seem to have any problems with clashing trebles.

# ? Mar 24, 2009 19:01

wayfinder: Jul 7, 2003

The Fog posted:

Either you or I misunderstood his question, but to me he didn't seem to have any problems with clashing trebles.

I understood it this way because he wanted to cut the kick's treble, presumably to make room for something else...

# ? Mar 24, 2009 19:13

h_double: Jul 27, 2001

The Fog posted:

They DO have a tone, but you don't have to worry about it. The kick drum is considered a percussive instrument rather than a melodic instrument.

Especially if you're using a typical 808/909/electronic sounding kick, it should be in tune with the key of the song. If your kick is anything other pure white noise, it will interact harmonically with other parts of the song. It's not something that's likely to sound horribly dissonant, but having your kick in tune with everything else is a simple little thing you can do which will help the track sound tighter and more pro in a subtle yet noticable way.

# ? Mar 24, 2009 19:37

The Fog: Oct 10, 2004; -I spent the whole day trying to pull a peanut from that heater vent. Turns out it was just a moth. -How was it? -Dry.

wayfinder posted:

I understood it this way because he wanted to cut the kick's treble, presumably to make room for something else...

Aye, I know what you mean. TBH, we can't really tell which track is the conflicting one, because he hasn't uploaded a clip, so all we can do is guess what the problem is.
From my personal experience, the kicks I mainly use (VEC) are all very well equalized and don't really need any EQing, so I try to work the tracks around my kick, rather than the other way around.

h_double posted:

Especially if you're using a typical 808/909/electronic sounding kick, it should be in tune with the key of the song. If your kick is anything other pure white noise, it will interact harmonically with other parts of the song. It's not something that's likely to sound horribly dissonant, but having your kick in tune with everything else is a simple little thing you can do which will help the track sound tighter and more pro in a subtle yet noticable way.

I'm not sure I agree with tuning the kick.
Most of the time, you'll be using sampled kicks and as such you'll lose quality AND transients if you pitch the kick up or down.
If, however, for some reason, you're using a synth to make a kick (i.e. your genre more or less requires it), then by all means go ahead and tune the kick if you want.
In genres like Gabber, the kick is very tonal (because it's so long) and as such it should be synthesized AND tuned.

# ? Mar 25, 2009 01:25

h_double: Jul 27, 2001

The Fog posted:

I'm not sure I agree with tuning the kick.
Most of the time, you'll be using sampled kicks and as such you'll lose quality AND transients if you pitch the kick up or down.
If, however, for some reason, you're using a synth to make a kick (i.e. your genre more or less requires it), then by all means go ahead and tune the kick if you want.
In genres like Gabber, the kick is very tonal (because it's so long) and as such it should be synthesized AND tuned.

Sure, that's a valid point about not pitch shifting a sample around too much. You could always try using something like Ableton Live's audio warping to preserve the transients but then you risk introducing other sorts of artifacts.

It didn't really cross my mind because I do use synthesized kicks most of the time -- I really like Audiorealism Drum Machine for bread & butter 808/909 style kicks, or something like Albino if I want something a little more exotic. Microtonic is another cool drum synth plugin, and Drumatic 3 is really nice for a free plugin (although, being SynthEdit based, I seem to remember it being a bit of a resource hog).

I remember reading an interview with (I think) Derrick May a few years ago in which he was talking about how he liked to build his drum sounds from the ground up in a lot of tracks -- how part of the allure of electronic music was in discovering new sounds, and blurring the line between melody and percussion was one way to do that (I hear a lot of that in a bunch of older Detroit tracks, Juan Atkins in particular comes to mind).

But even with a standard issue 808 kick, there's a ton of tonal content and you can hear that used to good (tuned) effect in everything from old electro/techno (Richie Hawtin is another good example) all the way to jungle and psytrance. There's a reason all those classic drum machines let you tune the hits. (And, as Wendy Carlos said, any parameter you can control, you MUST control).

h_double fucked around with this message at 02:50 on Mar 25, 2009

# ? Mar 25, 2009 02:47

Stux: Nov 17, 2006; Can't post for 14 days!

I did a remix of the labyrinth zone music from sonic 1 for the genesis, what do you guys think?

# ? Mar 25, 2009 19:23

mezzir: Jul 1, 2007; I'ma rub your ass in the moonshine.
Let's take it back to seventy-nine...

I really have no idea what prompted this. Still rough but I actually like it a bit :gay:

It's a remix of Craig David - Fill Me In

# ? Mar 25, 2009 20:45

archie: Sep 16, 2003; Mr Lee! Why You No Wear Uniform?

hahaha

i'd say that would be a million times better as an original and without those lyrics.

craig david hahaha

bo selecta

# ? Mar 26, 2009 01:39

9b817f5: Nov 1, 2007; weeps quietly in binary

For curiosities sake, a lot of trance sounds use a sort of pad in the backround to fill out the sound which sort of sounds, I guess since I'm forced to use adjectives as I don't have an audio example, like wind blowing (woosh). It's really common so I'm sure you know what I mean. How is it made/used? I'm always looking for new ways to add cheese to my music

# ? Mar 26, 2009 02:10

colonp: Apr 21, 2007; Hi!

...

colonp fucked around with this message at 17:21 on Mar 8, 2014

# ? Mar 26, 2009 08:42

Laserjet 4P: Mar 28, 2005; What does it mean?; Fun Shoe

Anacostia posted:

like wind blowing (woosh).

BP works, plain old lowpass filter works, too.

- add a bit of resonance to make it howl
- add effects like flangers to create up/down effects
- add an LFO on the filter or amplifier that increases or decreases its speed so you get the idea of a helicopter
- stack sinewave oscillators being modulated in the same way (or at least direction) to give more detail to the effect.

For some reason these things are called uplifters (which I can understand) downlifters (which is probably the most retarded name someone could ever conceive).

# ? Mar 26, 2009 13:50

TheForgotton: Jun 10, 2001; I'm making a career of evil.

colonp posted:

There's a sort of sale on Jazzmutant Lemurs right now at my domestic dealer, ~1700$. God drat that is tempting. I'm just worried Jazzmutant is about to release a new version of it, as that's almost half the regular price..

I found this thread while looking to see if anyone had experience with using touchscreen monitors with audio software and I got really excited when I saw the Lemur's site. Thanks to the wacky euro number system, I thought it was 1 Lemur for $770, not $1,770.

Ah well. So has anyone here done any stuff with a touchscreen monitor? The few models that I've looked at didn't seem to have that much resolution.

edit: such as this.

TheForgotton fucked around with this message at 02:38 on Mar 28, 2009

# ? Mar 28, 2009 00:39

oredun: Apr 12, 2007

http://monotouchlive.com/

# ? Mar 28, 2009 06:35

Quincy Smallvoice: Mar 18, 2006; Bitches leave

mezzir posted:

I really have no idea what prompted this. Still rough but I actually like it a bit

It's a remix of Craig David - Fill Me In

not too shabby. abit.. loungy, but whatever. cut the vocal abit and boost carefully around 5k to bring it to the front. also, variation.

# ? Mar 29, 2009 17:19

trill ass: Sep 30, 2004; buttcop

is there a way in ableton to put an effect on the master and only have it effect certain tracks? im trying to put a lowpass on the entire beat except for vocals and the only way i can figure out how to do it is to make an auto filter preset then automate each track individually.

# ? Mar 29, 2009 17:42

oredun: Apr 12, 2007

make two buss tracks and send the beat to one and the vocals to another and then automate the filter in on the drum channel.

# ? Mar 29, 2009 18:05

Rkelly: Sep 7, 2003

trill rear end posted:

is there a way in ableton to put an effect on the master and only have it effect certain tracks? im trying to put a lowpass on the entire beat except for vocals and the only way i can figure out how to do it is to make an auto filter preset then automate each track individually.

Make a channel in ableton. Put a autofilter on it. Go to the "Audio to" of all the channels you want to be filtered and select the name of your channel with the autofilter on it instead of master. Make sure to either arm or change monitor to in on your autofilter channel.

If you want to automate the lowpass, then make a fake clip in your new channel with no audio material in it. Go to the automation window in clip view. Automate the lowpass freq. Hit play on everything. Your blank clip will now modulate the lowpass freq.

Hey turbop I think vampz is the best thing you have ever done. Keep it up.

Basically you need to route all audio to submix channels you specify and create in ableton. You could use a send or bus to do this if you change "audio to" to sends only.

Rkelly fucked around with this message at 19:10 on Mar 29, 2009

# ? Mar 29, 2009 18:41

trill ass: Sep 30, 2004; buttcop

Rkelly posted:

Make a channel in ableton. Put a autofilter on it. Go to the "Audio to" of all the channels you want to be filtered and select the name of your channel with the autofilter on it instead of master. Make sure to either arm or change monitor to in on your autofilter channel.

If you want to automate the lowpass, then make a fake clip in your new channel with no audio material in it. Go to the automation window in clip view. Automate the lowpass freq. Hit play on everything. Your blank clip will now modulate the lowpass freq.

Hey turbop I think vampz is the best thing you have ever done. Keep it up.

Basically you need to route all audio to submix channels you specify and create in ableton. You could use a send or bus to do this if you change "audio to" to sends only.

thank you sir

im working on a smudge remix

i did it the ghetto way for the lowpass but i will try your method out later
thank

# ? Mar 30, 2009 00:00

Meatsplosion: Oct 25, 2006; +3 Meat Elemental

My HD is dying so I'm selling my nearly-new M-Audio Fast Track Pro in SA-Mart, cool little portable interface for production/recording/DJing and I'm selling it cheap since I need to get rid of it fast before my hard drive dies as I haven't been able to back it up yet and my productions and hundreds of beatport tracks hang in the balance. :pwn:

http://forums.somethingawful.com/showthread.php?threadid=3107676 :f5:

Sorry for the spam but I figure something like this'll get buried pretty quick in SA-Mart though, and I'm sure there's probably someone in the lounge who could use a nice interface at a killer price.

# ? Mar 30, 2009 07:00

Tokit: Dec 16, 2004; I was doing the composing.

I've been following this thread for a bit and learned some things, but I never make house and tried my hand at some, it's not very finished because I don't know where to take it. But tell me what you think.

# ? Mar 30, 2009 22:29

Mannex: Apr 12, 2006

Tokit posted:

I've been following this thread for a bit and learned some things, but I never make house and tried my hand at some, it's not very finished because I don't know where to take it. But tell me what you think.

I wasn't impressed at first but then the beat started and I was FEELIN IT!

Throw some bass on that sucker.

# ? Mar 31, 2009 06:23

nah thanks: Jun 18, 2004; Take me out.

Just finished an initial sketch of a synthpop tune I'm working on. Feedback would be nice since it's still more than rough enough to change poo poo around.

Todo:

1) Vox
2) Additional parts/spruce up the arrangement
3) Mix

EDIT:

trill rear end posted:

thank you sir

im working on a smudge remix

i did it the ghetto way for the lowpass but i will try your method out later
thank

I really like this a lot, make sure to post the final version!

nah thanks fucked around with this message at 07:50 on Mar 31, 2009

# ? Mar 31, 2009 07:45

trill ass: Sep 30, 2004; buttcop

here is the newest version, i might be done with it

# ? Mar 31, 2009 16:16

Rkelly: Sep 7, 2003

trill rear end posted:

here is the newest version, i might be done with it

I think you guys are like the good crystal castles, or the super happy knife.

My band, The merlins, just got together and are playing a four song set at a Cage the Elephant shows after party. If you guys are ever around nashville and want to swap shows holler. We are recording a ep in the next few weeks.

How did you end up doing the lowpass thing? Sounds sick. I would use a tiny bit of side chained band pass on her voice if I were you. Like a really skinny notch filter on a send.

# ? Apr 1, 2009 02:16

Laserjet 4P: Mar 28, 2005; What does it mean?; Fun Shoe

Since everyone's posting their stuff here:

http://www.theheartcore.com/music/pentothal.mp3

# ? Apr 1, 2009 06:41

Rkelly: Sep 7, 2003

Yoozer posted:

Since everyone's posting their stuff here:

http://www.theheartcore.com/music/pentothal.mp3

I really like the synth with portamento in the background. It rocks rear end. I think it is a little much at times in there, but it is totally awesome too.

# ? Apr 2, 2009 16:42

h_double: Jul 27, 2001

I want to put together a (sampled) drum kit where for several of the drum hits I have multiple pitched samples. I would like to still have (for example) all snare hits triggered by MIDI note D1, but I would like to be able to use a MIDI CC or something to select different pitched samples of that same hit.

The best idea I've been able to come up with is to map the different pitch samples to different velocity zones, so that more velocity = higher pitch. I could then route the drum hits to individual tracks, and use the track volume to change the volume of the drum sounds. This is not hugely complicated but is still sort of clunky.

Any ideas for how I could do this more elegantly? I'd like to do it Kontakt or Battery (to be portable across apps), but I also have Ableton Live 7 + Ableton Sampler on hand.

h_double fucked around with this message at 23:09 on Apr 2, 2009

# ? Apr 2, 2009 23:07

The Fog: Oct 10, 2004; -I spent the whole day trying to pull a peanut from that heater vent. Turns out it was just a moth. -How was it? -Dry.

h_double posted:

I want to put together a (sampled) drum kit where for several of the drum hits I have multiple pitched samples. I would like to still have (for example) all snare hits triggered by MIDI note D1, but I would like to be able to use a MIDI CC or something to select different pitched samples of that same hit.

The best idea I've been able to come up with is to map the different pitch samples to different velocity zones, so that more velocity = higher pitch. I could then route the drum hits to individual tracks, and use the track volume to change the volume of the drum sounds. This is not hugely complicated but is still sort of clunky.

Any ideas for how I could do this more elegantly? I'd like to do it Kontakt or Battery (to be portable across apps), but I also have Ableton Live 7 + Ableton Sampler on hand.

Sorry dude, I think you're out of luck there.
All samplers that I know of will only let you choose the sample by the maps and the maps are only triggered through the MIDI note.
Why do you want to do this anyway? Can you not use pure audio instead? Or maybe assign the different keys instead?
How many drum sounds are we talking here anyway?

# ? Apr 3, 2009 05:03

h_double: Jul 27, 2001

The Fog posted:

Why do you want to do this anyway? Can you not use pure audio instead? Or maybe assign the different keys instead?
How many drum sounds are we talking here anyway?

A lot of classic drum machines (like an 808 or 909) have tuneable drum sounds, where there's more going on than a simple pitch shift of a sample. And if I've got a beat with a standard MIDI drum map, I don't want to have to do a bunch of crazy note reprogramming just to get it to map to one specific kit.

I'm sure I can build something in Reaktor or Synthedit, I just wanted to figure out if there was an easier way before I put together something from scratch.

h_double fucked around with this message at 05:32 on Apr 3, 2009

# ? Apr 3, 2009 05:28

The Fog: Oct 10, 2004; -I spent the whole day trying to pull a peanut from that heater vent. Turns out it was just a moth. -How was it? -Dry.

h_double posted:

A lot of classic drum machines (like an 808 or 909) have tuneable drum sounds, where there's more going on than a simple pitch shift of a sample. And if I've got a beat with a standard MIDI drum map, I don't want to have to do a bunch of crazy note reprogramming just to get it to map to one specific kit.

I'm sure I can build something in Reaktor or Synthedit, I just wanted to figure out if there was an easier way before I put together something from scratch.

Ah, yeah! You make a very good point!
Maybe it would be easier to find something like an emulator for that specific drum machine?
Then again, those come at a price.

# ? Apr 3, 2009 17:15

evilocity: Jul 6, 2004; a simple trap in a dark corner of the mind, and their nightmares catch up with them

Yoozer posted:

Anyway, here's all the banks dumped as System Exclusive (SysEx) files.

The zip file also contains a concatenated SysEx dump, which means you can import them in one fell swoop into FM8.

Enjoy!

http://www.theheartcore.com/zip/hypra-rom-all.zip

Holy poo poo, I know I'm a little late to the party, but thank you so much, these are awesome.

# ? Apr 3, 2009 23:02

A MIRACLE: Sep 17, 2007; All right. It's Saturday night; I have no date, a two-liter bottle of Shasta and my all-Rush mix-tape... Let's rock.

general question: when you produce a new song, is there a certain sound or instrument you usually create first?

# ? Apr 4, 2009 02:48

Laserjet 4P: Mar 28, 2005; What does it mean?; Fun Shoe

Kick, hihats, bassline.

# ? Apr 4, 2009 02:57

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# ? May 12, 2024 11:02

IanTheM: May 22, 2007; He came from across the Atlantic. . .

I've been working away at trying my hand at dubstep, just wonder if anyone could comment on these:

http://dl-client.getdropbox.com/u/71572/Goodbye.mp3
Starts off fast, but I had a mid-song writing process epiphany and made a chilled out track instead.

http://dl-client.getdropbox.com/u/71572/Phantom%20%28Prof.%20Emp.%20Dub%29.mp3
Remixed my favourite Justice song so that I could use it at my next gig, easy song to remix I think.

http://dl-client.getdropbox.com/u/71572/Medium%20Cool.mp3
More burial-esque playing with vocal samples but, the synths are kinda weak and there's still work todo.

# ? Apr 4, 2009 07:56

The Something Awful Forums > The Finer Arts > No More Drake > Musician's Lounge > The "how do I make electronic/club/DJ music" Megathread!

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