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It is super simple to use.
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Apr 7, 2012 02:44
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Pinched the proverbial loaf of this track today (I want to move on to fresh poo poo, ill.methodology style), one of my first that is somewhat completed, I would love any feedback from you guys! http://soundcloud.com/dank-zappa/numerology
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Apr 7, 2012 02:45
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WAFFLEHOUND posted:How hard is it to use? I've been tempted by it but I think I may need to pick up Sylenth next.
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Apr 7, 2012 03:31
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Any good examples of it being used for anything other than mad bro-y wobbles? I love the depth of the sound but it seems like a brostep machine.
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Apr 7, 2012 04:04
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WAFFLEHOUND posted:Any good examples of it being used for anything other than mad bro-y wobbles? I love the depth of the sound but it seems like a brostep machine. I don't give two shits about dubstep or the cliche WUBWUBWUBWUB stuff that seems to be in these days. Razor has a ton of amazing sounds included other than the dubstep sounds. The reason people say its good for dubstep is because you can assign controls to everything really fast kinda like in massive so if you want the wub wub effect all you do is assign the keyboard mod bend to cutoff and amp and wub wub to your hearts content. It is a really fun synth that is super easy to work with and for the price it is a no brainer. It has a bunch of amazing features like the bass recovery stuff that maintains low end during filter modulation and the UI is also gorgeous. I have been playing with it for a couple hours now and really loving it.
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Apr 7, 2012 04:31
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https://www.youtube.com/watch?v=yc6DpLLHi5A Skippy is the man. You should follow his channel on YouTube and friend him on facebook. Do it now.
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Apr 7, 2012 06:20
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Sylenth1 is absolutely amazing for trance sounds, just saying 
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Apr 7, 2012 11:30
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ynohtna posted:I dig it! Thanks man, I agree. Also feel it should have more body. Some really proper EQ-ing for starters. Flipperwaldt posted:It isn't very sophisticated as a sound. This may have been a choice, I don't know. I don't really like it anyway. There's a timing issue with the lead synth, I think the second phrase should come a little earlier. It's a bit too off the grid as it is now; getting a good groove is finnicky. I don't like the pitch bend blips either, they don't add much. Either go extreme with it as a feature, or drop them and find some other parameter to automate (Link some poo poo to the modulation wheel, if that's all you've got). Thanks for the extensive feedback, appreciate it! I'm using Ableton and the synth comes from Omnisphere. Tweaked ARP-2600 Saw doubled with a spacey atmospheric one. Some of my own samples and a lot of 808 and 909 stuff basically. Genre-wise, I get you'd call it that haha. But it's actually a pretty common form of rawer, darker German techno. Which does indeed sound somewhat like pitched down hardcore stuff. (See for instance: http://www.youtube.com/watch?v=dKVBhb3dhOQ and http://www.youtube.com/watch?v=SEuYX4ERdvg) I'm definitely not happy with it as it is just yet and will have another go at changing things up. Thanks again!
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Apr 7, 2012 12:05
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wayfinder posted:Sylenth1 is absolutely amazing for trance sounds, just saying
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Apr 7, 2012 16:53
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Vector 7 posted:That's because it's a generic, basic subtractive poly synth?
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Apr 7, 2012 18:29
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FM synthesis making my nose bleed. I hate math 
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Apr 7, 2012 18:54
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wayfinder posted:Not just that, but it does that very well, better than most others. You don't have to fight it for quality, like you have to with impOscar or Zebra2. speak for yourself buddy
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Apr 7, 2012 19:03
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Rivfader posted:Genre-wise, I get you'd call it that haha. But it's actually a pretty common form of rawer, darker German techno. Which does indeed sound somewhat like pitched down hardcore stuff. (See for instance: http://www.youtube.com/watch?v=dKVBhb3dhOQ and http://www.youtube.com/watch?v=SEuYX4ERdvg) I somewhat maintain my point that, while both of these are half techno, half hardcore, you picking the hardcore element from each leaves you with a non-techno track  Anyway, with those examples, I now see you're probably getting pretty close to what you strive for. At that point, discussion about genres is moot. Keep tweaking that lead, though. Rawer and darker is a good thing to aim for
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Apr 7, 2012 20:02
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Quincy Smallvoice posted:speak for yourself buddy Good move there with the condescension, "sport".
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Apr 7, 2012 22:01
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Its because I disagree with you, you see.
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Apr 7, 2012 22:48
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Both of you are wrong the best synth is Massive 
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Apr 7, 2012 22:50
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Massive is pretty nice. I use it all the time. Something to keep in mind is that this kind of stuff is really subjective. No synth can rightfully called "better" than anything else, because there are so many factors that determine what makes a synth good to the individual user. There's the sound quality factor, the usability factor, the versatility factor... the list goes on and on. Personally, when I evaluate a synth, there are a few things I look for that are important to me. One is how deep the modulation system is. Another is how diverse and unique the sound palette the synth has is. I really try to stay away from the sounds that have been used and abused for the last thirty years, so that tends to make me disinterested in synths like Sylenth1. It's difficult to get a novel and unique sound out of that kind of architecture. It's all been done before. Something like Razor is more appealing to me. It's really unique and bombastic, and that's the kind of character I look for in a synth.
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Apr 8, 2012 00:51
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sylenth is the best just normal ole subtractive synth though. Its easy on the computer, and it sounds absolutely spectacular, its actually the only VST i have thatll stand up to my juno 60.
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Apr 8, 2012 03:55
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No. It is objectively not. The post above you tried to explain this and I thought pretty eloquently. Sylenth is a fine synth but so is Ace, Diva, Zebra, Massive, Thor, Maelstrom, Subtractor, Thor, ES-1 & ES-2, Reaktor, Absynth, Alchemy and I would assume so many others. I understand the above post highlighted additive, subtractive, modular, specular and several others but the point remains. A synth is a synth. Any subtractive synth is brilliant in the right hands. Marketing makes us believe there is one amazing synth that will make us superstars but it's simply not true.
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Apr 8, 2012 04:27
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iloveyouall posted:No. It is objectively not. The post above you tried to explain this and I thought pretty eloquently. Sylenth is a fine synth but so is Ace, Diva, Zebra, Massive, Thor, Maelstrom, Subtractor, Thor, ES-1 & ES-2, Reaktor, Absynth, Alchemy and I would assume so many others. I understand the above post highlighted additive, subtractive, modular, specular and several others but the point remains. A synth is a synth. Any subtractive synth is brilliant in the right hands. Marketing makes us believe there is one amazing synth that will make us superstars but it's simply not true. this... this is how you post
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Apr 8, 2012 05:11
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edit:
Peter North fucked around with this message at 06:10 on Jan 25, 2013 |
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Apr 8, 2012 07:57
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Does anyone use Sonar? I'm an Ableton gent myself, but for Christmas I bought my 14yr old cousin Sonar Basic or Essentials or whateverthefuck because he was very interested in music production and because I'm not a millionaire who can give away copies of Ableton like candy. He keeps texting me questions but since it's not my DAW I don't know much. Any good Sonar video series? Any good Sonar sites?
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Apr 9, 2012 15:32
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Anal Surgery posted:Does anyone use Sonar? I'm an Ableton gent myself, but for Christmas I bought my 14yr old cousin Sonar Basic or Essentials or whateverthefuck because he was very interested in music production and because I'm not a millionaire who can give away copies of Ableton like candy. He keeps texting me questions but since it's not my DAW I don't know much. Any good Sonar video series? Any good Sonar sites? There is this: http://www.groove3.com/str/sonar-training/ Other than that he should hang out at the official sonar forums.
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Apr 9, 2012 17:05
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I'm working on an electronic track, and could use some help with general sound design and mixing/mastering. http://soundcloud.com/joelsimon/vainstream-april-demo For reference I'm using Logic 9 stock plug-ins and an NI softsynth. No controller at the moment, just caps lock keys. Whats the best way to get a really clean, pumping sound? I've always liked the way Madeon does it. I've been learning some parallel and sidechain compression; is there a standard compression technique or set of techniques used in EDM?
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Apr 10, 2012 03:51
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I just finished this up today, and would love for you guys to tear it a new one. http://soundcloud.com/pdylanross-1/wildcats
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Apr 11, 2012 02:26
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http://soundcloud.com/stephen-tyndall/amid-the-flowers Here's a little trip-hop piece I knocked out today, or the first draft, at least. a foolish pianist fucked around with this message at 03:02 on Apr 11, 2012 |
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Apr 11, 2012 02:59
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a foolish pianist posted:http://soundcloud.com/stephen-tyndall/amid-the-flowers I liked it. I think the mix could use some work, but the arrangement, sound design, and vocals are solid. I would just suggest to make the drums louder in the mix, and the high pitched drone is a little loud. Of course, that's all taste, and perhaps that's the sound you were going for. Typo92 posted:I'm working on an electronic track, and could use some help with general sound design and mixing/mastering. A good pumping sound is partially forethought and partially good mixing. You will want to arrange your bass parts so that they mesh well with the kick, but you can also sidechain to force that to happen. A lot of people like to sidechain to a 4/4 hat sample instead of the kick, and have that muted in the actual track, because it works better with the compressors and you have more control. Kicks like to sometimes be loud/quiet/loud which can make the release of the compressor uneven, making it sound dirty. Other than that, it's just ear training and careful sidechaining. Boognish28 fucked around with this message at 03:34 on Apr 11, 2012 |
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Apr 11, 2012 03:21
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iloveyouall posted:No. It is objectively not. The post above you tried to explain this and I thought pretty eloquently. Sylenth is a fine synth but so is Ace, Diva, Zebra, Massive, Thor, Maelstrom, Subtractor, Thor, ES-1 & ES-2, Reaktor, Absynth, Alchemy and I would assume so many others. I understand the above post highlighted additive, subtractive, modular, specular and several others but the point remains. A synth is a synth. Any subtractive synth is brilliant in the right hands. Marketing makes us believe there is one amazing synth that will make us superstars but it's simply not true. .....and you completely missed the point of the original question because you felt it necessary to explain the differences in synths(to impress us with your synth smarts) instead of "which is a good synth" A synth is not a synth, if that were the case everyone would just buy one and be done with it. Plenty of subtractive synths suck, big loving time. Predator and (abletons) analog are both thin(especially) the filters compared to say sylenth or a real synth like a Juno 60 or 106. Im sure much more can be said, but i have lots of personal experience with these and thats how they sound relative to each other. The subtractive synth on my work station(a korg trinity, i think the VA is a prophecy VA) is terrible and is not usable on big leads or basses, it just doesnt work on its own. I also have an ensoniq SD1. its a wavetable subtractive'ish synth. It sounds absolutely NOTHING like massive, even though it can do the EXACT same style of synthesis. The same waves even sound different. And theres no way it can make big basses, its just not even possible, although it makes great sparkly rhythmic sounds. So no, a synth is not just a synth, and personal opinion matters because they are indeed not the same and helps to have someone thats used different synths and has formed an opinion besides "all synths are the same if you think differently youve been brainwashed through marketing" I honestly have never looked at marketing for synths. Ill DL vsts first and see if i even like them before i buy them(and i do, i have thousands of $ of plugs but im not gonna try something i cant return or resell) or i find a good deal for the HW synth i want and try it out. So whatever marketing you are talking about, i really dont think its that big of a deal for most people on this thread and i dont think most people even know what synths their favorite producers use. When someone asks about synths, just relate the ones youve used and havnt, which you liked and which you didnt. Theres no need to announce to everyone how much youve studied synthesis but have no recommendations on which is good, thats a dumb useless thing to say and helps answer zero questions, and do you even think the dude that asked the question has the slightest clue what youre even talking about?
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Apr 11, 2012 18:50
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Tried to apply what I was told a few pages back while working on this. Comments? http://soundcloud.com/dsc-2/fresh-cut-spring-roses
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Apr 11, 2012 20:06
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Boognish28 posted:I just finished this up today, and would love for you guys to tear it a new one. Keep it up! a foolish pianist posted:http://soundcloud.com/stephen-tyndall/amid-the-flowers The drums are ok, but they lack major punch. Sgt. Slaughter posted:Tried to apply what I was told a few pages back while working on this. Comments? Otherwise it's pretty cool, not my genre but I like it! I'd work more on the wobbles (hey i make dubstep, that's something i can comment on!  ), try to pass them thru an amp/saturator/distortion plugin. If you got Camelcrusher (you should! It's free!) I'd use the british gain preset or something similar. It will boost the signal and give some nice harmonics, but it is still subtle enough to fit the track, i think. --- Worked on the chorus/verse of this today: http://soundcloud.com/rpblc/drumandbake-1-1-11/s-WZDSO I'm pretty happy, the intro/breakdown/everything but chorus and verse need major work still, but I think today i got pretty far in terms of arrangement. Dunno, there are some days when i just feel like making weird noises and eq'ing and saturing drum busses all day long, and days where I just want to fiddle with composition. Today was one of the latter. Like, i tried to make a suitable synth for the chorus (you can hear it at 2.20) and some raiser/buildups for the drop, but i just made something that's best left unheard. What I'm trying to say here is just to roll with the flow, don't force your inspiration too much!
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Apr 11, 2012 22:15
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oredun posted:So whatever marketing you are talking about, i really dont think its that big of a deal for most people on this thread and i dont think most people even know what synths their favorite producers use. The idea that you can buy your way out of years of work and study, is a tempting one, especially if you're just starting out and everything you make turns out like poo poo, partly because you don't really know what you're doing. If only I had those monitors! If I could just get that latency down! I need a new synth, with those new, currently popular sounds, because this isn't doing it for me! Another guitar, antoher amp! The music I'm making isn't great because of [technical excuse]! To a lot of people that's a lot easier to digest than accepting it's got nothing to do with the gear and that there are no shortcuts; they still have years of loving around before them. In some cases it's easier to accept than the idea they might never make something they or other people like as much as some of their idols seem to do so easily. You might think you're immune to it and I'm not even going to argue with that. I know I'm not and I know I'm not alone. I'm just "lucky" I don't have the budget to indulge that laziness and fear with regular boatloads of shiny new stuff. By the way, I also think "a synth is a synth" was never intended to mean that all synths are the same and are all capable of producing every sound. Just that every synth is a synth in its own right and every synth has the capabilities of producing interesting and usable sounds, provided you put some work in it. I thought that to be a fair point. If something doesn't suit you, your workflow or your goals, fair enough, but it doesn't necessarily mean the synth "sucks". Some of my favorite synths are severely limited, crappy and/or inccessible. Subjective assessments can be useful, indeed, but blanket statements are useless. I agree with some of the points you make, but you mainly seem to be raging against something that was never actually said.
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Apr 12, 2012 00:04
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Flipperwaldt posted:I've been looking for an excuse to post this link. This happens on another scale and more subtly for any product sold that has anything to do with music production. First of all, i have no idea what youre even talking about. Second of all it doesnt matter how much the stuff costs, he was asking for a good vst synth. I recommended sylenth and massive. Those are great synths. I dont see where the money and buying your way into cool songs or whatever youre blabbing about came from. And no, all synths are not good. Theres plenty of really lovely rear end disposable synths that were only created to rehash an old idea and hopefully sell. Trust me, ive had probably 2 dozen lovely rear end old synths because like i said i like to buy old synths for cheap and try them out and if i dont like them i sell them. Theres tons and tons of old synths that arent worth a drat and having sylenth and massive and operator/fm8 makes them utterly obsolete. They just dont sound good and its bad technology thats all there is too it, and in addition to that theyre very difficult to tie into a computer and just not worth the effort even if they sounded the same as a VST. There isnt some romantic guide to making synths that they all have their own little unique feature, plenty are pieces of junk. They are modern consumer electronics, very few synths are pieces of art. Just think about acoustic guitars, theres tons and tons and TONS of lovely worthless ones but theres some out there that are genuine pieces of art.
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Apr 12, 2012 07:29
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Thanks for the criticism on the trip hop track. Any advice on how to get the drums to really pop? I'm terrible at mixing and mastering.
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Apr 12, 2012 19:51
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a foolish pianist posted:Thanks for the criticism on the trip hop track. Any advice on how to get the drums to really pop? I'm terrible at mixing and mastering. Try to bring them up first. Then I'd try some eq/compression on single hits (like boosting the snare at 200hz, the kick at 100, ecc) and try to apply some single/multiband compression on the drum bus. Leave some attack and have pretty short release. You could try to layer them with punchier samples, too.
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Apr 12, 2012 22:37
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I'm trying to figure out whether to get Reaper or Ableton and am really not sure which would work better for what I want to do. My band recently dissolved and while I found new people to play with none of us have a practice space and I'm trying to save up as much money as I possibly can (I'm also a terrible guitarist) so I want to just fool around with electronic stuff/samples/synthesizers so that I can actually put my songs to tape since we were supposed to try to get an EP recorded last year. I'm thinking of getting Ableton since I have a PC and have heard good things about it, but my friend uses Reaper and that has the distinct benefit of being free. Besides that, I'm hearing mixed things about them and I honestly don't really know what I need to look for in a DAW, so I'd like some help here. All that I really know is that Reaper doesn't come with instruments, but there are a bunch of free synthesiser VSTs and I could probably save some money to buy Massive if I got reaper. Besides that I really don't know what I'm doing. Thanks, y'all. EDIT: Should I get Massive or Razor if I'm looking for one synth? I'm probably going to be going into weird dissonant/unmusical territory a lot. ALEX TRILLTON fucked around with this message at 00:07 on Apr 13, 2012 |
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Apr 12, 2012 23:39
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a foolish pianist posted:Thanks for the criticism on the trip hop track. Any advice on how to get the drums to really pop? I'm terrible at mixing and mastering. the trick is using a compressor with a slow attack. The idea is to allow the kick sample to snap as soon as it hits and then maintain that snap for the duration of the kick. instead of Kick itll be KICK with the comp prolonging the hit. The release will adjust how how it keeps it loud.
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Apr 12, 2012 23:56
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ALEX TRILLTON posted:I'm thinking of getting Ableton since I have a PC and have heard good things about it, but my friend uses Reaper and that has the distinct benefit of being free. Besides that, I'm hearing mixed things about them and I honestly don't really know what I need to look for in a DAW, so I'd like some help here. All that I really know is that Reaper doesn't come with instruments, but there are a bunch of free synthesiser VSTs and I could probably save some money to buy Massive if I got reaper. Besides that I really don't know what I'm doing. I also don't think you should decide on a DAW solely based on what instruments are included. You'll want to include third party stuff anyway, free or otherwise. The main difference between both, as far as I'm concerned (haven't used Live since version 4), is that Live has a convenient repository for licks and loops, that allows you to get everything in place before you actually start building your track. Whereas Reaper is more like working on the timeline directly. That's a matter of preference. Reaper does have endless right click menus and some interface quirks I don't like or even find downright confusing sometimes and the midi part still feels as a bit of an afterthought (even though everything is there). That doesn't mean it's unusable. That said, the biggest benefit will be having a friend that uses Reaper. That's invaluable in learning the basics. So, if I were you, I'd abuse the poo poo out of Reaper's trial and your friend's knowledge to get somewhere first. Should you start to feel confident with what you're doing, the switch to Ableton Live shouldn't be that hard. Alternatively, Reaper could have grown on you by then. The great thing is you don't have to commit right now, at a point you don't know what you're committing to. Same goes for Massive or Razor; it's a great synthesizer, but it isn't like you won't get by without specifically those. If money's an issue, use the time to learn and save. It'll get clearer automatically what your priorities for the money are. There are some great recommendations for free synthesizers in the VST thread.
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Apr 13, 2012 00:29
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oredun posted:the trick is using a compressor with a slow attack. The idea is to allow the kick sample to snap as soon as it hits and then maintain that snap for the duration of the kick. instead of Kick itll be KICK with the comp prolonging the hit. The release will adjust how how it keeps it loud. You're right that you can use compressors to add punch but you seem to have things mixed up a bit here. The release on a compressor adjusts how long it keeps it quiet, not loud, it's the attack that allows the loudness to come through. A slowish attack will add "snap", a low threshold will prolong the hit - provided in both cases you use some makeup gain to compensate because without makeup a compressor only ever reduces the signal volume.
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Apr 13, 2012 01:46
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ALEX TRILLTON posted:I'm trying to figure out whether to get Reaper or Ableton and am really not sure which would work better for what I want to do. My band recently dissolved and while I found new people to play with none of us have a practice space and I'm trying to save up as much money as I possibly can (I'm also a terrible guitarist) so I want to just fool around with electronic stuff/samples/synthesizers so that I can actually put my songs to tape since we were supposed to try to get an EP recorded last year. Get Massive. Also get studio one: http://studioone.presonus.com/what-is-studio-one/ I wouldn't get live. It hasnt been updated in three years and the audio recording in live is downright ancient. It doesn't even have comping yet (or a 64 bit version). If you absolutely need the clip launching functionality of live wait for Bitwig: http://bitwig.com/bitwig_studio.php The best deal is definitely Reaper. But I just couldn't get into that software. the UI is a eyesore and I hated the workflow. All of these softwares have demos for you to try. Download all of them and buy the one whose workflow you like the most.
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Apr 13, 2012 02:41
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keyframe posted:If you absolutely need the clip launching functionality of live wait for Bitwig:  It's so pretty! If this does about half of what it promises to do, I'm sold. I hope it'll be cheap.I'll add, for completeness' sake, that SEQ24 also has the clip thingy, but it's midi only and if you want to use it with vsts, you'll have to use a midi loopback driver. It's messy and sometimes wonky and certaily not the ideal starter's setup.
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Apr 13, 2012 03:42
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