|
slardel posted:I made a new remix! https://soundcloud.com/mathbonus/miley-cyrus-wrecking-ball Hope you're cool with this, if not then sorry and I'll delete it, but I was bored and decided that it needed a music video: https://vimeo.com/77275196 invision fucked around with this message at 09:16 on Oct 19, 2013 |
#
?
Oct 19, 2013 07:37
|
|
|
|
| # ? Jun 12, 2024 21:21 |
|
|
hey i made some poo poo https://soundcloud.com/goobermusic/little-orange-dots
|
|
#
?
Oct 19, 2013 15:10
|
|
|
invision posted:Hope you're cool with this, if not then sorry and I'll delete it, but I was bored and decided that it needed a music video: cool by me dude!
|
|
#
?
Oct 19, 2013 18:22
|
|
|
Holy poo poo, lately looking at a computer screen instantly saps me of my ideas and motivation. I'm gonna fuckin die here
|
|
#
?
Oct 19, 2013 18:51
|
|
bad posts ahead!!! posted:Holy poo poo, lately looking at a computer screen instantly saps me of my ideas and motivation. I'm gonna fuckin die here Come to the dark side. 
|
|
|
#
?
Oct 19, 2013 20:23
|
|
|
This thread seems a bit more visited than the jam sesh thread and a bit more focused on what I'm trying for - please feel free to delete if I'm breaking a thread rule or if something was linked a few hundred pages earlier. Anyone wanna teach a guy who sat in on some free Ableton Live 8 basics classes at Sam Ash how to get started making electronic music? I know there's video tutorials and courses out there but to be honest, I want to work with an actual human, not alt-tab to replicate something. I'm paying for lessons: http://forums.somethingawful.com/showthread.php?threadid=3575647 I've got an MPK Mini, Live 8 Lite (came free with an M-Audio controller I no longer have), and a willingness to learn with a good teacher. I'd love to turn out liquid/atmospheric DnB, trance, ambient, industrial.
|
|
#
?
Oct 19, 2013 20:39
|
|
|
A second monitor is the best and cheapest instructor. I'm not joking; it was a hell of a boon on my workflow, and it makes it much easier to follow along with lessons and tutorials.
|
|
#
?
Oct 19, 2013 23:24
|
|
|
Poizen Jam posted:A second monitor is the best and cheapest instructor. Problem is I've only got a desktop hooked up to my TV. I've got a 15" flat panel that's doable, so it's better than nothing, but aside from the technical part I could definitely do with a human to help me get inspired and create stuff. I took a shot at it by starting out reading the Dance Music Manual and watching some tutorial videos and just kinda got so confused by all the options that making a simple beat was confusing as hell. I'm sure most of that falls under the first-30-days-your-workflow-will-seem-confusing rule, I'd just like to be working through it with help.
|
|
#
?
Oct 20, 2013 03:40
|
|
|
There's no denying a friend can be a huge boon on your producing, as can an instructor, if only to bounce ideas off one another. My best piece of advice is to start small- get yourself a few quality samples and vsts and start learning the basics of sound design. I know when I was getting into EDM a few years back, I also made a point of eating up all knowledge on music theory I could, and learned the basics of playing some real instruments. It pays off in spades.
PoizenJam fucked around with this message at 06:39 on Oct 24, 2013 |
|
#
?
Oct 20, 2013 04:40
|
|
|
On my way already~
|
|
#
?
Oct 20, 2013 22:34
|
|
|
What are these weird jumping noises in my background pad? It's so annoying I can't figure it out. I compressed all the sounds on the track and tried to eq them so they wouldn't be occupying most of the same frequencies. https://soundcloud.com/swanconnley/weird-jumps/s-47iV5
|
|
#
?
Oct 21, 2013 11:06
|
|
|
Blowdryer posted:What are these weird jumping noises in my background pad? It's so annoying I can't figure it out. I compressed all the sounds on the track and tried to eq them so they wouldn't be occupying most of the same frequencies.  Maybe you're using the app?   Kidding aside, perhaps this is something in your setup? If you could qualify better what it is you're hearing?
|
|
#
?
Oct 21, 2013 11:54
|
|
|
loving hell, while I was doing some sound design, Massive's GUI seems to have broken. Hope the NI support can help  (((
|
|
#
?
Oct 21, 2013 12:56
|
|
|
Flipperwaldt posted:I've played this a few times now and I'm actually not hearing anything I'd qualify as a "jump". Plugged in my headphones for it and everything. I guess it could be my headphones (RPDH 1200s). When I play it with singularly in fl there is no jump but when I add in the other instruments it is there. I would describe it as a jump in volume of the pad for a split second, I was thinking it could be like a compression thing or frequency overload of that area. I commented where I hear it. Im gonna listen to it on a different computer / with speakers / with earbuds to see if it is still there. It sucks having to produce with headphones (got nothin else over here in Belgium)
|
|
#
?
Oct 21, 2013 15:44
|
|
|
I *think* I hear what you're talking about (I'm on my iphone right now, so speakers aren't the best) and I can think two things causing it. It sounds like the volume jumps between notes from the lead, which leads me to believe its side chained to the lead or competing with the lead for frequency and space which is producing artifacts and interference similar to a side chain (a dip in perceived volume when the lead sounds)
PoizenJam fucked around with this message at 16:04 on Oct 21, 2013 |
|
#
?
Oct 21, 2013 16:01
|
|
|
^^^^^ Maybe there's something and I'm ignoring it because I think it's part of the composition, then. I don't know.Blowdryer posted:I guess it could be my headphones (RPDH 1200s). And welcome to Belgium, by the way 
Flipperwaldt fucked around with this message at 16:28 on Oct 21, 2013 |
|
#
?
Oct 21, 2013 16:20
|
|
|
Poizen Jam posted:I *think* I hear what you're talking about (I'm on my iphone right now, so speakers aren't the best) and I can think two things causing it. It sounds like the volume jumps between notes from the lead, which leads me to believe its side chained to the lead or competing with the lead for frequency and space which is producing artifacts and interference similar to a side chain (a dip in perceived volume when the lead sounds) Its not sidechained to it but I tried aggresively eqing/compressing to get it to not happen and haven't had much luck, should I keep trying that? Any ideas?
|
|
#
?
Oct 21, 2013 16:52
|
|
|
For what it's worth, I was listening on Iphone 5 speakers. I really can't notice anything abnormal when I re listened on some actual monitors, so you might be obsessing over something minor or suffering from ear fatigue. Take a break from listening to it for a while so you can get a fresh set of ears on it. If you're strapped for time, an annoying but effective way of 'resetting' your ears is to listen to white noise or nature sounds! More to the point, if you're aggressively EQing and compressing at the stage of an 8 bar loop with 2 instruments, struggling to get them to mesh? Choose new instruments. This is absolutely not meant to be snarky but helpful. I think a lot of producers (especially new ones) tend to miss the fact that 'sound design and auditioning' is one of the distinct stages of producing, much like 'arrangement', 'mixing', and 'mastering'. An adage I heard on the subject went something like; 'an amazing master won't fix a bad mix, a great mix won't fix a bad arrangement, and a great arrangement won't fix a bad riff or sound design'. With modern DAWs it's really easy to put the cart before the horse or jump between these stages of production more freely, but it's good practice to think of them as distinct stages. I'm still guilty of this to an extent. I will go back to the arrangement even at the mastering stage, but doing your production in the stages described will help you develop a keen knowledge of WHERE something is going wrong in the production chain. That way you don't end up mangling a sample with EQ carving in the mixing stage in a fruitless attempt to mix a clashing sound, when you really should have changed the arrangement or instrument. Some of the older producers in my community are pretty big on rendering down to stems pretty much as soon as they reach the arrangement stage, and not going back- any arrangement edits are then made by directly chopping up and editing the rendered loop. I tend to ramble a lot, so sorry for that. Maybe not all of that applies to you, but it's partially just to contribute to general thread advice. And remember, when you get obsessed and bogged down with the little details, no one ever said 'This song sucks! If only the hi-hats were .5db higher with a tighter Q, it would have ruled!'
|
|
#
?
Oct 21, 2013 17:40
|
|
|
After listening to it with multiple headphones / speakers on a second computer I couldn't hear it once so I've decided to chalk it up to my Thinkpad being weird. Here's how far I've gotten with the production so far if anyone wants to offer critiques. Trying to layer it up and keep it changing, trying hard with this one. I'm excited to find vocals to throw on it once I do a bit more work. e; PJ thanks for the advice I'm working on learning sound design I got the dance music manual. https://soundcloud.com/swanconnley/deep8/s-2Q5EE newest version! fully vocaled Blowdryer fucked around with this message at 11:45 on Oct 23, 2013 |
|
#
?
Oct 21, 2013 18:55
|
|
|
So, I've been producing electronic music for the last three years at the hobbyist level (with Ableton, Massive, etc). It's a fun relaxing hobby for me that I know I'll never make a dime from. I just like creating. Anyway, I have maybe thirty tracks uploaded to my Soundcloud and it's almost like a little diary of my journey from total noob to semi-competent musician. I'm sure many of you have similar banks of old tracks like that too. Part of me wants to go back to all my old tracks and remix and remaster them using the skills I've learned. Another part of me says "gently caress it, just move on and make new things, don't get bogged down polishing your old turds." Has anyone else had this internal battle? What did you do, if anything? On the one hand, half the work has already been done so I can totally focus on polish. On the other hand, those are "completed projects" and it almost feels like backsliding to reopen them and keep loving with them. These are not big life questions or hardcore composition queries, I'm just curious if you all have toyed with this little debate.
|
|
#
?
Oct 24, 2013 01:47
|
|
|
Anal Surgery posted:So, I've been producing electronic music for the last three years at the hobbyist level (with Ableton, Massive, etc). It's a fun relaxing hobby for me that I know I'll never make a dime from. I just like creating. Anyway, I have maybe thirty tracks uploaded to my Soundcloud and it's almost like a little diary of my journey from total noob to semi-competent musician. I'm sure many of you have similar banks of old tracks like that too. Don't sweat it. If you want to go back and gently caress with them, go for it. But if you're opening old tracks and going "euyuckh!" just say gently caress it and file them all away in "old poo poo." No reason to turn your hobby into work. Work on polishing NEW stuff and you'll be more into it anyway. Imagine opening an essay you wrote in high school to 'polish it up.'
|
|
#
?
Oct 24, 2013 02:11
|
|
|
Your Dead Gay Son posted:Imagine opening an essay you wrote in high school to 'polish it up.' Great analogy. But yeah, maybe sample some cool little snippets from them for future use and move on.
|
|
#
?
Oct 24, 2013 05:05
|
|
|
Sampling is absolutely a great way to use old tracks. If they're halfway reasonable and you're able to get fairly clean stems from a quick and dirty mix down , just add the good ones to your collection for future mixing and chopping! God knows if you ever want to do glitch or complextro it pays to have a ridiculous bank of loops to play with; just do yourself a favour and tag them with the appropriate key. Working through my album of material, just finishing a piece I think is reminiscent of Drive or Hotline Miami. Through the Night I had this originally at 85 bpm but it worked its way up to 95 then 100. I feel I might have pushed it slightly too far though. Critiques welcome. PoizenJam fucked around with this message at 06:12 on Oct 24, 2013 |
|
#
?
Oct 24, 2013 05:46
|
|
|
Poizen Jam posted:Sampling is absolutely a great way to use old tracks. If they're halfway reasonable and you're able to get fairly clean stems from a quick and dirty mix down , just add the good ones to your collection for future mixing and chopping! God knows if you ever want to do glitch or complextro it pays to have a ridiculous bank of loops to play with; just do yourself a favour and tag them with the appropriate key. I definitely hear the Drive inspiration in this. (Tick of the Clock eh?) I do think it might be a little fast. But I don't really know. I'd have to hear the slower BPM versions. (Not that I know dick though.)
|
|
#
?
Oct 24, 2013 06:56
|
|
|
Anal Surgery posted:What did you do, if anything? I did re-mix the stems of some Impulse Tracker songs I did in the nineties. Just a quick polishing really, with eq, compressors and reverb. It was hard to like the new result, because I knew the tracks inside out in one way, and hearing them another way just stayed weird. What I imagine could be most effective is stripping an old song back to the bare midi data and just start over with the sound design. Much like Poizen Jam's suggestion to sample the crap out of it, you can use elements from this in a new track. Mentally it's going to work best to make a new song with some stuff pilfered from the old one, rather than carrying over the baggage of the old track to the new project and trying to "fix" things. But I'm not following your line of thinking when calling it getting bogged down polishing old turds. If it's a fun relaxing hobby, nothing is a waste of time as long as it's fun and relaxing and possibly something you can learn from. If it doesn't meet these criteria, obviously don't bother. Can't hurt to try to find out though.
|
|
#
?
Oct 24, 2013 11:39
|
|
|
Your Dead Gay Son posted:I definitely hear the Drive inspiration in this. (Tick of the Clock eh?) Thanks for the input! I actually had something a bit more akin to the work of M.O.O.N. In mind, but I can hear the resemblance to tick of the clock! It's funny you mentioned it though because after listening to it I'm pretty sure I know what's wrong with my track. The Closed hi hats on the 16ths were there to increase the drive and feel of the tempo when it was 85 bpm, but now at 100 it feels overly rushed, especially to play it through the entire song. Reducing it to an off beat open Hihat or other percussion would probably fix that outright. I also think those echoey chords, might be fighting with the arpegiatted leads a lot. too much poo poo fighting for attention. The arpeggiated thing should sit in the background to accentuate the rythm and provide ambiguity with the 5/4 timing. PoizenJam fucked around with this message at 20:39 on Oct 24, 2013 |
|
#
?
Oct 24, 2013 15:49
|
|
|
So, I have been working with synthesizers some more, and like most of the sounds I make. But now I have come to another roadblock. I dont like the drum samples I have. Most of the samples I have are generic sets (a bass kick, a couple snares, and a handfull of toms). I am looking for more electric-sounding percussion. I am wanting more clapping sounds, more snapping sounds, more clanging, thumping, and whatever kind of sounds. Does anyone here know where to get free soundfonts that can get me what I am looking for, or how to use filters to change generic sounds into the kinds that I want?
|
|
#
?
Oct 24, 2013 23:14
|
|
|
Poizen Jam posted:Sampling is absolutely a great way to use old tracks. If they're halfway reasonable and you're able to get fairly clean stems from a quick and dirty mix down , just add the good ones to your collection for future mixing and chopping! God knows if you ever want to do glitch or complextro it pays to have a ridiculous bank of loops to play with; just do yourself a favour and tag them with the appropriate key.. Great idea! So many good loops and riffs from previous experimentation. I can even imagine a technique/workflow directly based around this idea.
|
|
#
?
Oct 25, 2013 00:42
|
|
|
I am the M00N posted:So, I have been working with synthesizers some more, and like most of the sounds I make. But now I have come to another roadblock. I dont like the drum samples I have. Practice, practice, practice! Read about layering percussion samples and try to figure out how the sounds you like were made. Looking at a spectrum analyzer can help you figure out which frequencies to filter out/which to emphasize but to be honest the best thing you can do is play around with sounds and see what works for you. This is an absolutely INCREDIBLE resource with a ton of free stuff, but the donation is well worth it. It's good quality samples from pretty much every drum machine ever which is probably where whatever sounds you want started, especially if you're looking for "more electronic-sounding" stuff. Also look into drum synthesis, pretty much any mondern-ish monosynth can make a decent selection of drum hits and that way you get to control how they sound. There's a ton of guides online, I personally liked the Sound on Sound ones but once again experimentation is the best thing you can do.
|
|
#
?
Oct 25, 2013 01:15
|
|
|
So you guys may have a good sense of how to fix something that has been driving me up the loving wall. I've been trying to make psytrance basslines that are a (fair) bit deeper than normal basslines and I'm running into a huge problem with the sounds that inevitably result. I've tried in both Massive and on a Moog, and the problem seems to be the same all over- the mids sound distorted with the (headphone) volume turned up and the lows are blown out at <100Hz. I've tried filters and envelopes to reign in the lows but it just eliminates the transients and makes it sound lovely. Not to mention that the highs kind of pulse properly but the lows seem to be a constant drone that I'm really struggling to just envelope/filter/eq out. Here's the sidechained bassline (with downloads enabled) that I'm running into the problem with, does anyone have any suggestions for making this cleaner while not just leaving it as a pile of mids? I'd really love to make each individual pulse on the 16ths pound in the lows, but I have absolutely zero idea how to pull it off after much experimenting.
|
|
|
#
?
Oct 25, 2013 06:14
|
|
|
I took a few months to try and up my sound design/mixing game a bit. Here's a track I started a few days ago that still needs a lot of TLC, but maybe you guys will dig it? https://soundcloud.com/shreddie-mercury/diadem/s-9tKjf
|
|
#
?
Oct 25, 2013 21:13
|
|
|
WAFFLEHOUND posted:does anyone have any suggestions for making this cleaner while not just leaving it as a pile of mids? I'd really love to make each individual pulse on the 16ths pound in the lows, but I have absolutely zero idea how to pull it off after much experimenting. Alternatively, filter until it's just that pile of mids and just put another (sub)bassline with tighter envelope settings under it. As for the distortion, could it be that that's your heaphones clipping? I'm not hearing anything problematic at moderate levels.
|
|
#
?
Oct 25, 2013 23:01
|
|
Flipperwaldt posted:Did you try automating an equalizer to get that pulse and not have the mush otherwise? You'd need something with a fairly steep curve to get rid of everything below 130 Hz to lose the drone; I see Live's own EQ has a 48dB highpass option. That's definitely an option I'll have to try out, thank! Flipperwaldt posted:Alternatively, filter until it's just that pile of mids and just put another (sub)bassline with tighter envelope settings under it. Someone else I know suggested layering with a turned 808 with the highs cut out, which gave me the idea of trying to use my Tempest. I'll probably spend some time trying that out. Flipperwaldt posted:As for the distortion, could it be that that's your heaphones clipping? I'm not hearing anything problematic at moderate levels. I really do suspect it's the intense lows causing headphone distortion, since it sounds good when the volume is down.
|
|
|
#
?
Oct 26, 2013 04:30
|
|
|
Question - I have a pair of 8" KRK Rokit's that I currently swap between my computer and my mixer. When I am fiddling on computer (desktop built by yours truly) the feedback when there is supposed to be zero sound is pretty annoying. Lots of feint, jumbled up white noise. To connect them to my computer I use a 2 to 1 RCA to 1/8 inch male adapter I picked up from Radioshack. I plug directly into headphone jack in my computer. Could the feedback be my on-board sound? The adapter? I don't get the feedback when I plug into my ipod.... Anything I can do to prevent it? It tends to creep into my sound when sound is playing too, which is why I'm so tight about it.
|
|
#
?
Oct 29, 2013 13:28
|
|
|
DirtyTalk posted:I plug directly into headphone jack in my computer. Could the feedback be my on-board sound? There's pretty much nothing you can do apart from using a different audio interface. There's a thread about them. Expect to have to spend between $150 and $300. But it'll help you with the noise, it might help with latency and it will offer you better recording options if you care for those.
|
|
#
?
Oct 29, 2013 14:31
|
|
|
My journey to create listenable electronic music continues. I just bought alot of vsts and holy poo poo, how do you keep track of all them sounds? It takes like an hour just to find something that sounds cool. Are there any general rules to what kind of sounds to use for different things? I'm used to guitars so I'm used to Melody for guitar and Rhytm for bass (generally) kind of but now I'm just picking sounds with funky names, pressing keys on the keyboard and hoping it sounds ok. Pads are usually good for melodies I guess? Also, is Soundcloud full of bots or something? It takes like one minute before someone random likes my crap. https://soundcloud.com/fourtalkingwalls/the-robo-dancer-and-the-sweaty Imaginary Friend fucked around with this message at 19:42 on Oct 29, 2013 |
|
#
?
Oct 29, 2013 19:38
|
|
|
Imaginary Friend posted:holy poo poo, how do you keep track of all them sounds? It takes like an hour just to find something that sounds cool. Are there any general rules to what kind of sounds to use for different things? Would a pallet with a random selection of a thousand different colors baffle and overwhelm him? Imaginary Friend posted:Also, is Soundcloud full of bots or something? It takes like one minute before someone random likes my crap. I'm not sure if it was your intention, but your robo dancer made me chuckle at times. Not derisively, just amused or something. It doesn't sound half bad even though some weird things happen occasionally. EDIT vvvvv Yeah, I didn't mean to be this patronising actually, below is a good part of the answer I shouldn't have left out. Flipperwaldt fucked around with this message at 00:35 on Oct 30, 2013 |
|
#
?
Oct 29, 2013 20:39
|
|
|
Just remember to methodically bank your presets, loops, and created synths and over time that overwhelming pallet of synths will be pared down to ones you regularly use. It really speeds up workflow. I mean, if you want to make synth wave or nudisco like me, you don't need to be creating every synth from scratch every time: you'll get an ear for typical bass and lead sounds that you can reuse and edit. You'll quickly learn shortcuts and ways to speed up your workflow when you settle into a style or groove for your music.
|
|
#
?
Oct 30, 2013 00:14
|
|
|
Anyone have any good advice for layering claps? I really like working with samples I make myself, and while I have little problem with drums and hats claps elude the hell out of me.
|
|
|
#
?
Oct 30, 2013 00:27
|
|
|
|
| # ? Jun 12, 2024 21:21 |
|
|
Flipperwaldt posted:How does a painter keep track of all these colors? How does he know which one to use? It's like realizing actual size of the universe. Flipperwaldt posted:
Poizen Jam posted:Just remember to methodically bank your presets, loops, and created synths and over time that overwhelming pallet of synths will be pared down to ones you regularly use. It really speeds up workflow.
|
|
#
?
Oct 30, 2013 00:56
|
|