|
Yeahhh surround is something that might work in some situations (making a lovely 'mono' mix in a pinch, separating some badly mixed instruments) but it really colours the sound, and it's definitely not something I'd have on generally. Have a play with it though, just so you get an idea of what it can do. It's also unusual because instead of just adding more or less of the effect, the slider really changes the effect, so some slider positions might sound better than others for the material you're listening to If Flat works as a starting point for you, you can tweak it and see if you care. Like I said I just take a little off the highest band (on the right) just to tame the more uncomfortable high-frequency sounds, but my headphones are pretty trebly. So really I'm just adjusting for my gear and not for the music, if that makes sense, and I only need to make subtle tweaks. Play around, and if you have some idea of how you think it should sound, you might be able to improve things
|
#
?
Dec 8, 2015 05:36
|
|
|
|
| # ? May 10, 2024 07:10 |
|
|
I have a friend who makes music. He is a hip hop artist and I think he is really talented and could go places. We have several ideas for promotion, but I'm just curious about what avenues you guys recommend? I don't want to post his stuff here because I don't want to shamelessly promote, but if that's allowed I would love to! What we are doing now for promotion is putting his music on USB sticks and giving them away at the local college campus. We were going to use TuneCore to put his music on Spotify and hopefully the interest generated by distributing USB sticks will get some people there. He has also put on a couple of shows for ~100 people, and more are already planned. Any tips would be appreciated! Cole fucked around with this message at 03:06 on Dec 11, 2015 |
|
#
?
Dec 11, 2015 03:03
|
|
|
The best way to get exposure early on is playing live with other people that have a bigger following than you do. There may or not be a scene of local rappers that play the same places on the same nights, or just random at venues around town. Go to every show you can and make friends, chat up other performers and see if you can exchange info (usually facebook). Granted I'm speaking from a rock/metal backround, but this seems to be the best way to meet local people, and hone your performance, and attitude. Giving away music isn't really gonna get you anywhere, how often do you take a flyer from someone on the street and actually research the event? Also sell those USB's, don't give them away, he's gonna need that money for recording/random band expenses. Also people are more likely to listen to something if they see a performance, and pay for the resulting media.
|
|
#
?
Dec 11, 2015 03:16
|
|
|
Thanks for the advice! I want to clarify this part first because I didn't explain it completely:Pokey Araya posted:Also sell those USB's, don't give them away, he's gonna need that money for recording/random band expenses. Also people are more likely to listen to something if they see a performance, and pay for the resulting media. Right now what we have a stack of ~150 256MB USBs. Got them on Amazon for I think it was like $0.47 a piece. We are giving them away to generate a small buzz. When the Spring semester starts, we plan on selling 2GB USBs, purchased for $1.97 (or less, I am working with someone who might be able to get us a better price for bulk) for $5/piece. We will especially be selling these at shows. We figure every college kid needs a USB stick, and $5 is a pretty good deal. I'm hoping out of every 100 we sell, 20 of them will listen to the music we put on them. Cole fucked around with this message at 03:21 on Dec 11, 2015 |
|
#
?
Dec 11, 2015 03:19
|
|
|
$5 is a good price point, sell the small ones for $3. Then you can get some stickers, eventually shirts, stuff like that. It all adds up, and eventually he's gonna want to record at a nice studio, and every little bit in your coffers helps that cost from coming out of your pocket.
|
|
#
?
Dec 11, 2015 04:32
|
|
|
Thanks for all of the good advice guys. I really appreciate it and I'll let you know how it goes!
|
|
#
?
Dec 11, 2015 14:12
|
|
|
I would like to make beeps and lights for my own entertainment. Is there a grid-based controller that's a little more all-in-one as far as samples/software goes than the fancy stuff from Novation and Ableton? Would I be better off with something purely software based like the Stagelight app posted a page or two ago? Something physical to tap on would be pretty cool as a Christmas gift to myself.
|
|
#
?
Dec 13, 2015 15:48
|
|
|
https://www.youtube.com/watch?v=_fvDbylE9oM What are the chords or, even more preferably, the key in this here? Thanks.
|
|
#
?
Dec 14, 2015 19:59
|
|
|
I have a really noob question about drum machines, specifically step sequencers. In general, can you set a drum machine to be different time signatures? For example, a drum machine that is 16 steps, can you set it to have only 15? My assumption would be yes, but every drum machine I look at doesn't state that it does, and I write stuff typically in unusual time signatures. More specifically, I've been looking at the Akai Rhythm Wolf and the Korg Volca. Also, if anyone has recommendations on versatile drum machines/samplers on a budget, I'd love to hear.
|
|
#
?
Dec 15, 2015 04:33
|
|
|
Red Garland posted:https://www.youtube.com/watch?v=_fvDbylE9oM C# I think
|
|
#
?
Dec 15, 2015 13:34
|
|
|
ricecult posted:In general, can you set a drum machine to be different time signatures? 3/4 or 4/4 are common but the more exotic ones - usually sequencers first and foremost, not necessarily drum machines - can do wilder stuff. A Squarp Pyramid combined with a drum module can do crazy things. Cirklon too, but it's got a waiting list.
|
|
#
?
Dec 17, 2015 22:34
|
|
|
ricecult posted:I have a really noob question about drum machines, specifically step sequencers. The Volca Beats has an active step parameter, letting you 'skip' any of the 16 steps. This will indeed let you 15/16 or what-have-you. However, that works a global setting, so it's not something you can save per-track.
|
|
#
?
Dec 21, 2015 04:50
|
|
|
Can anyone recommend a good book for basic music theory? I mostly play bass with some guitar and drums thrown in occasionally and I want to get to where I could potentially write my own (hopefully) decent stuff.
|
|
#
?
Dec 26, 2015 21:22
|
|
|
musictheory.net honestly does a great job, and then maybe something genre specific? I enjoyed Mark Levine's Jazz Theory book but it's super dense.
|
|
#
?
Dec 28, 2015 18:31
|
|
|
I'll give that a go, thanks.
|
|
#
?
Dec 28, 2015 21:25
|
|
|
Southern Heel posted:musictheory.net honestly does a great job, and then maybe something genre specific? I enjoyed Mark Levine's Jazz Theory book but it's super dense. Yeah I treat that book like a marathon. About once each year I'll start at the beginning and work as far as I can before I lose focus and give up. Each time I get a little farther, and learn a little more. It's a frickin' fantastic book, but I don't know if I'll ever finish it in my lifetime. On that note, I recently picked up the first book of Lyle Murphy's System of Horizontal Composition Based On Equal Intervals and I've been doing the same thing with it. This equal interval stuff is seriously like the musical version of Scientology. You're not supposed to even be able to buy the books; they're only supposed to be available as part of a course from a licensed Equal Interval instructor. The first book makes the Levine book look positively transparent, though; it reads like the musical version of Timecube. Just dorking around with it a bit does cause me to write really odd music that I wouldn't have written otherwise, though, which is basically why I bought it.
|
|
#
?
Dec 28, 2015 21:43
|
|
|
I'm very much a neophyte with theory compared to some people here, but one of the ideas from the equal interval system that's really simple but fun to mess around with is this idea that identical sequences of intervals tend to sound more "in scale" than they actually are, so long as you prepare the ear with a sequence that's in scale. It's almost an auditory illusion. For example, if you're playing over a C major and you play C-D-E, that's two whole steps in scale. If you then follow that with F#-G#-A#, that is most definitely not in scale, but the ear is way more willing to accept that sequence of intervals because it's just heard it in scale. That allows you to "get outside" in a relatively subtle fashion and get away with some very weird stuff. Here's me dicking around with that idea, making creepy circus music. https://soundcloud.com/danwarren/i-think-im-gonna-be-sick
|
|
#
?
Dec 28, 2015 22:03
|
|
|
Trig Discipline posted:Yeah I treat that book like a marathon. About once each year I'll start at the beginning and work as far as I can before I lose focus and give up. Each time I get a little farther, and learn a little more. It's a frickin' fantastic book, but I don't know if I'll ever finish it in my lifetime. Here are seven licks demonstrating the fifth mode of the harmonic minor as played by Jimmy Bo'Daniels, these show real resolution when playing over a #11b13 chord. I enjoyed creepy circus music  As for whole tone scales, it is 'A thing' when playing over a 7 chord, because you have the root, major third and minor seventh - the remainder are all altered tonalities and so work without issue over an Alt chord and give 'flavor' to the 7 chord. On the other hand, making that sound musical is really hard for me.
|
|
#
?
Dec 29, 2015 09:03
|
|
|
I made an album and I want to hear goon opinions. Where can I post it? The ML FAQ only mentions work in progress threads.
|
|
#
?
Dec 30, 2015 08:14
|
|
|
High medieval plain chants have been described to me as modal, I.s. Ave Mares Stella in Dorian mode, contrasting with tonal music that came later. It was my understanding one required a diatonic scale to create the modes at first! Am I wrong, or is modal just the best description we have for the way tones were arranged before 1400 or so?
|
|
#
?
Jan 5, 2016 20:41
|
|
|
You can derive modes from the diatonic scale, but you don't necessarily need to start with it. Medieval modes ARE tonal, I think the word you meant to say was maybe diatonic or scalar? Not sure. But medieval musicians were definitely thinking in modes. I don't think they were necessarily thinking of modes as scales (in fact, I seriously doubt it), but more as a method of tonality. The key center of a modal chant determined what mode the chant was in. My medieval music history class was a long time ago. I wish I remembered more. Here is a relevant wiki article that might shed some light for you: https://en.wikipedia.org/wiki/Psalm_tone edit: The medieval modes are different from the modern modes we use. Well, some of them are the same, but some are different. And they were definitely "built" differently than the scales we use today, like for example the key center of a medieval chant is almost never the first note of the mode it used. They definitely thought about music theory WAY differently than we do. Hawkperson fucked around with this message at 05:27 on Jan 6, 2016 |
|
#
?
Jan 6, 2016 05:22
|
|
|
I'm looking for a program that will let me input a chord progression - like maybe a 12-bar blues or rhythm changes - and easily transpose it to other keys. It would also help if it outputs to a pdf or image file or something, although I can live with taking screenshots if necessary. Is there anything like that? It doesn't have to be free, but I'd prefer that it doesn't cost a zillion bucks either.
|
|
#
?
Jan 22, 2016 23:41
|
|
|
Seventh Arrow posted:I'm looking for a program that will let me input a chord progression - like maybe a 12-bar blues or rhythm changes - and easily transpose it to other keys. It would also help if it outputs to a pdf or image file or something, although I can live with taking screenshots if necessary. Is there anything like that? It doesn't have to be free, but I'd prefer that it doesn't cost a zillion bucks either. Pretty sure guitar pro can do all this, it's only $60 for the full thing but there's a trial so you can see if it does what you want before outlaying cash money.
|
|
#
?
Jan 23, 2016 02:39
|
|
|
http://autotransposer.com/ ?
|
|
#
?
Jan 23, 2016 02:45
|
|
|
I'll give both of those a try, thanks!
|
|
#
?
Jan 23, 2016 05:39
|
|
|
What are some student-, intermediate-, and professional-level accordion brands/models?
|
|
#
?
Jan 26, 2016 00:21
|
|
|
I've been thinking a lot lately about picking up the trumpet again. I played through middle and high school, but haven't really touched one in close to 20 years. I have no clue what the good makes/models are any more for beginners, or what to look for on the used market. Looking to spend about $500 for a horn and mouthpiece.
|
|
#
?
Jan 28, 2016 16:42
|
|
|
The Yamaha YTR 2330 tends to be a good student model that new is like 800 CAD I think? See if you can find one used at a music store that does student band rentals because $500 for one of those is a decent deal.
|
|
#
?
Jan 29, 2016 01:27
|
|
|
I recently picked up an Alvarez RC26HCE acoustic guitar pretty cheap. It sounds great with the nylon strings on it, but I'm interested in what it would sound like with steel strings. I know that classical guitars can't handle steel strings, but this thing was described as a hybrid, with a "steel-string type neck." I can't find any clarification as to whether that means it can use both string types or if hybrid just refers to it being acoustic/electric and the "steel-string type neck" is thrown in there as a meaningless marketing thing. Anybody know anything about this sucker?
|
|
#
?
Feb 1, 2016 01:37
|
|
|
CaptainViolence posted:I recently picked up an Alvarez RC26HCE acoustic guitar pretty cheap. It sounds great with the nylon strings on it, but I'm interested in what it would sound like with steel strings. I know that classical guitars can't handle steel strings, but this thing was described as a hybrid, with a "steel-string type neck." It would not be safe to try steel strings. It may have a truss rod in the neck, which would give it some strength there, but the bridge looks classical and I would be worried about ripping it off with steel.
|
|
#
?
Feb 1, 2016 03:39
|
|
|
If it has classical style wooden tuning pegs then definitely nylon only. If it's got machine heads, it still might be too weak. Short of calling the factory or someone who knows the model and asking, I wouldn't risk it. You might look into metal-wrapped nylon if you don't have that already, they're supposed to give a brighter tone than pure nylon.
|
|
#
?
Feb 1, 2016 04:22
|
|
|
Thanks! I figured that was the case. Mostly I want the tone to be a little thicker on the low end like on a steel string acoustic, but I don't want it enough to risk the guitar.
|
|
#
?
Feb 1, 2016 04:52
|
|
|
CaptainViolence posted:Thanks! I figured that was the case. Mostly I want the tone to be a little thicker on the low end like on a steel string acoustic, but I don't want it enough to risk the guitar. There is a huge variety in tone with nylon strings - you might get what you want from Hannabach, for instance, or Hense. And of course nylon strings come in different tensions. Low tension might give you the sound you're looking for. High tension tends to be brighter and louder, low a little darker (all tension levels of nylon strings should be safe for any modern classical guitar). I always recommend Stringsbymail if you want to try lots of weird nylon strings.
|
|
#
?
Feb 1, 2016 06:31
|
|
|
Gilgameshback posted:There is a huge variety in tone with nylon strings - you might get what you want from Hannabach, for instance, or Hense. And of course nylon strings come in different tensions. Low tension might give you the sound you're looking for. High tension tends to be brighter and louder, low a little darker (all tension levels of nylon strings should be safe for any modern classical guitar). Oh, awesome! I've never actually owned a classical guitar before, so I don't really know much about nylons. I'll check that stuff out, thanks!
|
|
#
?
Feb 1, 2016 06:57
|
|
|
I'm going to ask a stupid question - how do you "get better" at music? I don't mean technically, like being more proficient at piano, I mean in terms of composing and making it. It's not something with a clear right answer like math or science have, and it's very subjective and varied. How do you know that you're improving and going in the right direction?
|
|
#
?
Feb 1, 2016 15:28
|
|
|
The only answer is persistence. Make a song per day for a month and you can almost guarantee that song 31 will be a marked improvement on song 1. You know if you're on the right track if you like the music you are making, and like it enough to show other people. There is no right direction, only your own bearing which often has little to do with the paths mapped by prior musicians, which are usually congested with a million other me-too artists. A good exercise is to disassemble other tracks that you like, create a basic "recipe" set of instructions of that song with as much detail as you can muster, and then make your own track with that recipe. Rinse, repeat.
|
|
#
?
Feb 1, 2016 15:46
|
|
|
^^^ That's basically it. The more time you spend writing your own and analyzing other people's songs the more adept you become at hearing what exactly is going on structure-wise and knowing what those basic recipes and little details they use to create whatever feeling the song elicits from you. Picking apart your own music the way you pick apart songs you already like is a vital part of it, I think. I once went through a period where I wasn't happy with anything I wrote, and it's because I kept writing around this one structure I had come up with. Once I started rearranging those songs and mixing up the structure, I was much happier with them. If you can think about and know what you like about any given song, then you will be much closer to figuring out why you do or don't like about your own music as you write it.
|
|
#
?
Feb 1, 2016 23:55
|
|
|
CaptainViolence posted:Thanks! I figured that was the case. Mostly I want the tone to be a little thicker on the low end like on a steel string acoustic, but I don't want it enough to risk the guitar. Even if the guitar were designed to use steel strings, you still would probably want to take it to a guitar shop, or teach yourself how to set up a guitar. Significant changes in string tension require adjustment of the truss rod and bridge, otherwise you can have problems with fret buzzing or notes that don't sound clearly (if the neck relief isn't set properly), and problems with intonation (playing higher on the neck will be out of tune). Fatter strings also might need some filing of the nut grooves. None of this is SUPER technical, but anytime the truss rod might become involved, please be cautious, because it can potentially warp your neck and cause permanent damage.
|
|
#
?
Feb 2, 2016 00:04
|
|
|
Speaking of guitars not set up properly, I've got a problem with my acoustic guitar where the second fret on the high e is causing some issues, and I'm not entirely sure how to fix it. It's the only place on the guitar where there's a problem and none of the other strings are affected. If it were my electric guitar I've just futz with bridge height or the truss rod, but here I'm at a loss. I got a recording of it in case anyone knows what the issue is. https://soundcloud.com/cat-doter/dumb-acoustic-guitar
|
|
#
?
Feb 15, 2016 02:55
|
|
|
|
| # ? May 10, 2024 07:10 |
|
|
The third fret is probably a little high, you could sand it down with some steel wool, tape it off with painters tape, and go slow. Or the second fret could be low, I don't really know how to fix that minus a refret.
|
|
#
?
Feb 15, 2016 03:06
|
|