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Martytoof posted:Crystal Method's HighRoller. If I were going to emulate the lead synth, what would I be looking at? Sounds like a saw that's run through some distortion or clipping? My ableton laptop is .. unhealthy .. right now, so this is more of a thought exercise. I feel like I read somewhere once that they used a Nord Lead a lot on that record, so I'd start with trying to emulate that. And I'm sure they ran a lot of distortion and compression on a lot of sounds there too.
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Mar 8, 2016 19:05
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well why not posted:Here's some electro stuff I've been making. Still trying to blend heavy synthetic stuff (acid house is an inspiration) and film-soundtrack-style strings and sampled elements. It's not where I want it to be, but it's moving in the right direction:
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Mar 8, 2016 19:12
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cowboy
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FFT posted:so hey here's a thing i made a little while back dear LORD where have YOU been?? haha
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Mar 8, 2016 20:52
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Quincy Smallvoice posted:dear LORD where have YOU been?? haha you better get ready for the 11th because we're doing the 11th ADD for i don't know reasons i'm thinking to call it "i'm eleven it" stringless fucked around with this message at 21:02 on Mar 8, 2016 |
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Mar 8, 2016 20:58
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FFT posted:I dig what you're going for. You need more variation on the string elements, though. Once everything gets moving, every string note hits at the same velocity and tone which distracts from the rest of the sound. Thanks! Definitely right about the variation. I'm basically making a huge amount of tracks in this style, trying to figure out what works and what doesn't. This is about the fourth iteration of the acidhouse/strings vibe. Next iteration is a lot more varied and has some more texture to the backing.
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Mar 9, 2016 10:12
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Well I dunno wtf this is but it's a thing I made this morning. Genres confuse me https://soundcloud.com/mudfarmer/accidentalfibermuffin
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Mar 10, 2016 16:57
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From the last page or something but w/ewell why not posted:I'd honestly check out reddit.com/r/edmproduction and search 'free sample packs' there's always dudes giving poo poo away on there. Quality ranges, but it's worth a look. This is cool killhamster posted:I've been trying to work out an album's worth of material and finished this up last night, didn't feel like waiting until everything else is finished to post it: This is cool Stux posted:awesome as usual This is also cool. You are all very very cool and good Ted Ed Fred posted:Anyone want to give me some feedback on a coupl of tracks? I've been using Ableton for about a month and now have the basics down, but I'm looking for ways to make my tracks more interesting... Wouldn't say I've progressed past this more basic stage yet or that the stuff I've been making is any good, but something that made what seems to be an immediate large jump in my progress was buying a used APC40 on the super cheap and then getting loads more samples. The ability to just throw samples at Live and see what works together is super nice (for me as a beginner) and much easier with actual hardware to push buttons on....
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Mar 10, 2016 19:50
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Ted Ed Fred posted:At the moment they're just looped loops. How did you guys progress from this more basic stage? Rules, made to be broken, sure, but it's good to get into the mindset, to pierce the illusion looping gives you. No, you don't practically have a song; you've got like eight seconds of material there. Where is it coming from; where is it going? Where does it start, first of all. If it sounds cool looped, fine, copy paste it a few times, but don't actually loop, because that's putting your head in the sand about what's missing for it to be a song. Used to be that I really didn't want to put in the work, almost scared all the extra stuff wouldn't live up to the coolness of the loop I chanced upon. If that's where you're at, you need to let it go. It's better to finish one super flawed song than to have a hundred awesome eight bar loops. Finishing songs feels great. Anyway, my two cents. I'm sure people can and do make it work differently, but I needed to stop looping.
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Mar 10, 2016 23:16
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Ted Ed Fred posted:
I've made made 94 Ableton projects in less than a year. These are only all the ones I've saved. Many sketches get wiped before they're 16 bars. My previous laptop had probably 250+ or more projects. My soundcloud has 15 tracks, 5 are public. That puts the release rate at about 70:1. What I'm saying is, keep going. Even if you're making the same stuff with minor variants. All the time you spend is an investment in practising. As far as expanding tracks to be more interesting, the most powerful thing you can do in Live is cmd+D. Duplicate a selected region, the shuffle stuff around, change melodies etc. Percussion variation accounts for a lot more than you'd realise. Even little blips of white noise, or a shaker through a reverb are ways to make things interesting. Think of it like driving down a long highway. It may be 'repetitive' but when you're in a repetitive state, minor tweaks make big differences. A good tip I got from a minimal techno dude a while ago was to add little rises + falls with a delay send/receive. It makes movement, but it's not in your face. Some homework: Look into this book: https://www.ableton.com/en/blog/making-music-book-of-creative-strategies/ It covers the non-technical side of creating music in Live. Some parts apply to other DAWs, but it's 'about' Live. Digital copies are available. I'd recommend listening to tracks off of Deadmau5 4 x 4 = 12 album. There's really long tracts of time where there's a loop running, but it stops being boring due to tiny variances. Copy a track you like into Live and cut the major chunks out. Then, loop one, say, the 'chorus'. I can almost guarantee that midway through that chunk, there's a tiny switch in either musicality (rhythm, melody) or in sound design. Some tunes just add a quiet shaker. Just do something to mix it up.
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Mar 11, 2016 09:51
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Thanks for all the feedback and ideas guys, some really useful stuff to think about!
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Mar 11, 2016 10:17
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Ted Ed Fred posted:Thanks for all the feedback and ideas guys, some really useful stuff to think about! Agreed, that is incredibly helpful. Thanks!! Last night I tried to rework whatever that thing was that I posted yesterday (specifically ripping out the unexpected and out of place horns/adding some more vocals). It sounded even more terrible so here is a copy with the unexpected horns just chopped out https://soundcloud.com/mudfarmer/accidentalfibermuffin That was a fun diversion but probably time to move on to other things for a little while. Something is just not working right when rearranging and I can't get whatever magical arrangement that was initially discovered while "playing" with it live the first time that of course was not recorded
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Mar 11, 2016 15:27
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does anyone here make neuro stuff? Stuff like kursa, billain, culprate, mefjus, chee, etc. perhaps koan sound as well. are there any tips for reeses? I'm trying to get a solid movement in a Reese, but I'm finding that too much automation makes it chaotic but too little and it just sounds uninteresting. trying to find that happy medium is so difficult because trying to add multiple samples within let's say one 8 bar loop throws off the feel off the track. the sub bass is interesting as well, I typically take a splitter and a line mixer and eq one Reese resample out so that it splits into a low, med and high track. that seems to allow for more flexibility when automating, but it can get muddy really quickly. is it better to just create another sub-bass track and attach it to the movement of a midrange Reese?
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Mar 11, 2016 19:11
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my friend makes a weekly hiphop/reggae mix he would probably appreciate hearing what you think of it https://soundcloud.com/dj-homie-da-klown/dj-homie-da-klown-vol-6-now?utm_source=soundcloud&utm_campaign=share&utm_medium=facebook
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Mar 11, 2016 21:29
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dk2m posted:does anyone here make neuro stuff? Stuff like kursa, billain, culprate, mefjus, chee, etc. perhaps koan sound as well. Are you using Reason? Its been a while since I used it, but my general tips for Reeses would be use different distortion types on each band, much more subtle on the low end, maybe the Tape setting on Scream 4 at most, if any at all. Go most savage on the mids. Roll off your highest frequencies at (roughly) 12k or lower to leave room for your high end percussion etc. If you want it to 'breathe' sidechain the whole lot with your kick. You don't say what precisely you are automating, a good start is get a straightforward, unmodulated Reese tone (or synthesise one, its not too hard), split it into your 3 bands, keeping your low end filter at around 80hz or lower. Apply wide bandwidth notch filters to the mids and highs, LFO'd at different slowish rates. Perhaps some gentle delay on the high band. If you are doing the sampler route try layering a pure sub sample under the Reese layer and highpassing the subs out of the Reese. Or you can record your riff with a sine/triangle LFO running a lowpass filter at 4ths, 8ths, 12ths, 16ths for one bar/repeat of the riff each, then chop and change between the parts as audio like you would with a breakbeat. So for example have a bar of 8ths then for the final beat paste in the equivalent last beat of the '12ths loop' you did. Typically you want higher notes to cycle/wub faster than lower ones for that old-school resampled vibe. Hopefully this lot makes some sense, tried to keep it general and you saying "splitter" was why I'm assuming you are using reason. Check the Dogs On Acid forums for more Reese tips than you could ever use too
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Mar 11, 2016 21:59
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There's millions of ways to reese, but I actually liked this video from Dodge & Fuski: https://www.youtube.com/watch?v=YbUvKhUYaWA&t=132s I think they actually know the dudes from Koan Sound, they mention them in the videos every now and then.
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Mar 12, 2016 00:12
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well why not posted:I've made made 94 Ableton projects in less than a year. These are only all the ones I've saved. Many sketches get wiped before they're 16 bars. My previous laptop had probably 250+ or more projects. My soundcloud has 15 tracks, 5 are public. That puts the release rate at about 70:1. What I'm saying is, keep going. Even if you're making the same stuff with minor variants. All the time you spend is an investment in practising. Reminded me of this advice from uncle Giorgio 
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Mar 12, 2016 19:04
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It mightn't be for everyone, but it works for me well enough. As soon as I started actually saving projects and coming back to them, re-listening and being choosy, that's when the music started to improve. It's worth spending time, just cutting 16 bar demos and letting them sit for a few days. Projects are small, hard drives are big, why not? Just be organized and smart about it.
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Mar 14, 2016 09:36
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[quote=] Well I dunno wtf this is [/quote] ... A poorly executed accidental ripoff of Lil Louis - French Kiss, that's what it fuckin is https://www.youtube.com/watch?v=3Y8w2W1uy2A How can we escape (accidentally or subconsciously) making super derivative music? I mixed modified instrument samples from different genres and some cut up clips of a chick orgasming and the end result was if nothing else similar in concept to a track made in 1989 by a way cooler dude Should we even care? Isn't all modern music derivative? Apparently humpback whale groups have "revolutionary" songs within the group that change the structure of how all the rest of the whales make songs, and then these spread through other groups over large geographic areas. apatite fucked around with this message at 13:15 on Mar 14, 2016 |
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Mar 14, 2016 13:13
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We should be happy enough if we can just make a good song - the burden of coming up with something "revolutionary" - especially when starting out - sets the bar so high it's ridiculous.
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Mar 14, 2016 22:47
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I feel like this is my best disco edit so far: https://soundcloud.com/swanconnley/dont-know-why Blowdryer fucked around with this message at 20:02 on Mar 15, 2016 |
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Mar 15, 2016 01:23
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Wizchine posted:We should be happy enough if we can just make a good song - the burden of coming up with something "revolutionary" - especially when starting out - sets the bar so high it's ridiculous. Yeah, I feel that aiming for novelty before really understanding what makes the tried-and-true actually work so well is a big misstep for a lot of people just starting out. If anything your productions at that point should be derivative because that's the best way to understand the underlying structures and conventions of a certain genre, and then you can start start experimenting and twisting things around once you have that foundation.
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Mar 15, 2016 07:37
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Cyne posted:If anything your productions at that point should be derivative because that's the best way to understand the underlying structures and conventions of a certain genre, and then you can start start experimenting and twisting things around once you have that foundation. Great points, thanks. If it's good enough for the whales it is good enough for me http://www.sciencemag.org/news/2011/04/whale-pop-songs-spread-across-ocean Not trying or expecting to make anything ground breaking, this is just a way to relax
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Mar 15, 2016 13:27
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Cyne posted:Yeah, I feel that aiming for novelty before really understanding what makes the tried-and-true actually work so well is a big misstep for a lot of people just starting out. If anything your productions at that point should be derivative because that's the best way to understand the underlying structures and conventions of a certain genre, and then you can start start experimenting and twisting things around once you have that foundation. This is great advice and is actually the same thing that Pierce Fulton (up and coming Progressive House DJ/producer) told me when I asked him what his advice for a new producer would be. He said the way he started out was by trying to re-create the sounds of the artists he was really into which not only helped him learn the software but taught him how to deconstruct a song into its different elements and be able to reproduce the sounds via your daw. Another piece of advice that he gave me was to buy a cheap recording device and just start playing around with sampling different sounds/ambient noise. Its pretty amazing what you can do with something as simple as car noise or rain that can give a track some needed atmosphere or variation.
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Mar 15, 2016 17:55
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Well I made a track with some of the advice that you all gave in mind. It's got a Beach House, AFX and Boards of Canada vibe to it , I think... https://soundcloud.com/user-121256285/oxygenation While it may not be the best track ever, I think it was a great exercise. I took more time over the little things. Creating all the main elements myself - apart from one Serum preset which I loved too much not to use (the bass after 2:30). I used a few drum loops, but chopped them up and the main kick and snare I built, layering a few drums to get the sound I wanted. The drums especially are still pretty basic, it's fun and intimidating because of just how much there is to do! I think Tom Cosm - https://www.youtube.com/user/cosmcosm and SadowickProduction https://www.youtube.com/channel/UCj0-W75RL3AS_psDlWBqu1w along with SynthHacker https://www.youtube.com/channel/UCuPgdLBPVvhNt2o7m_HFQDw are three pretty great youtube channels for ableton users. I've learnt a lot from those guys. Ted Ed Fred fucked around with this message at 18:33 on Mar 15, 2016 |
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Mar 15, 2016 18:29
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Ted Ed Fred posted:Well I made a track with some of the advice that you all gave in mind. It's got a Beach House, AFX and Boards of Canada vibe to it , I think... For me the breakdown and everything after is much better than the start. It may be the headphones but something also doesn't sound right up to 1:55 (staticy/distorted?) Will try to give it a listen on monitors tonight after work mostly for my own learning experience  If anyone has some time, any feedback on this weird ambientish thing from last night would be cool. Specifically if there are elements that don't "fit" to your ear, bits to rip out to reduce the length, anything really just trying to learn some stuff and this was a fun way to blow off steam https://soundcloud.com/mudfarmer/electric-birds-1 feel free to be harsh if I need it???? apatite fucked around with this message at 18:39 on Mar 15, 2016 |
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Mar 15, 2016 18:36
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Dropped a new full length album of ambient electronic downtempo type music today. Pretty proud of my work and thought I might share it with the thread Here's a sampler I put up on my soundcloud https://soundcloud.com/sinerider/sets/seconds-minutes-lp-sampler
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Mar 16, 2016 03:32
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Grats on your first physical release
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Mar 16, 2016 07:51
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Some advice needed, not sure which thread to put this but I thought some of you might be able to help me out. I recently change my setup to incorporate some hardware synths as I realized I find that more fun to work with than straight software equipment. I have been using Live for a long time but haven't got around to updating from Live 8 since I didn't really get in to Live 9. Now I realize that Live 8 really sucks when it comes to midi syncing. I would like to sync the midi from my daw to run step sequencers but it's jumping around a lot. I've noticed a difference when changing between my ancient M-Audio midisport interface and the interface on my Motu audio interface. Any ideas what should be my next step here? I'm thinking about testing some other daw, maybe bitwig. Is there anyone who has experience with the stability of the midi-clock of any other daw compared to Live? Or should I just upgrade yo Live 9 and get used to it, I read somewhere that the midi clock is more accurate in 9. I've been thinking about getting a hardware midi clock but that seems like bit of a overkill for someone just making stupid dance music that no one else hears. Suggestions? Also, great work everyone.
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Mar 16, 2016 20:04
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I've only used Bitwig a little, but I'd be surprised if it had a better clock than Live. Bitwig overall is kind of janky. It's worth testing out, but I wouldn't get your hopes up. Midi gear can go pretty cheap on amazon and local classifieds, and I think some soundcards have hardware clocks built in. Here's this week's quick electro tune: https://soundcloud.com/glxe/red-moon Using a lot of percussion from NI/Heavyocity DAMAGE packs is interesting. They're surprisingly versatile, it's not just cars being hit with baseball bats, there's actual kits and loops in there. Some sound surprisingly not-heavy which was neat. Synth work is almost all Serum, with operator doing some little parts. Between those two, you can make almost anything synthetic IMO. Overall I think I'm still struggling with repetitiveness becoming slightly annoying, but I'm pleased enough with the sound design / mixing of this one. Finding that my new process is working well enough. I leave all faders at or below -6db and add a gentle compressor, multiband compressor, M/S EQ, limiter and then another EQ to the master chain. The -6db gap means I have plenty of leeway to louden things up during the mix. Ableton's FX are actually really nice for this, as they're extremely CPU friendly.
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Mar 19, 2016 03:23
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build something that is no longer than thirty seconds and submit it here. it helped me out an incredible amount back when we did the first ten volumes. doesn't matter what it is as long as it's under thirty seconds, so what's keeping you?
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Mar 21, 2016 09:46
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FFT posted:what's keeping you? posting broken links, apparently
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Mar 21, 2016 13:10
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SineRider posted:Dropped a new full length album of ambient electronic downtempo type music today. Pretty proud of my work and thought I might share it with the thread I absolutely love this! Incredible work. Birdcall is a fantastic track. NonzeroCircle posted:Are you using Reason? Thanks for these tips. I am indeed using Reason. The sample breaks got me some pretty cool sounds! I love playing around with reeses because the subtlest change can have a pretty huge overall effect, which makes it both overwhelming and endlessly interesting.
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Mar 22, 2016 21:10
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I made some more stuff! https://soundcloud.com/wayfu/wayfinder-i-cant-even Quite cheesy, even for me
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Mar 31, 2016 19:48
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https://www.mixcloud.com/freakresponse/freak-response-stolen-dreams-spring-promo-mix-2016/ a friend's project, Freak Response - Stolen Dreams - Spring Promo Mix 2016
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Apr 1, 2016 17:45
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Here's a 34 minute mix of my own minimal dub techno stuff I made a few years back. If you like Pole and Rhythm & Sound's stuff you might like this. https://soundcloud.com/tace/ih-tb2-3
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Apr 2, 2016 07:09
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Tace Vim posted:Here's a 34 minute mix of my own minimal dub techno stuff I made a few years back. If you like Pole and Rhythm & Sound's stuff you might like this. This made my morning, thanks. Will go through the rest of your stuff as this is exactly my poo poo.
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Apr 6, 2016 07:20
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uno.mannschaft posted:This made my morning, thanks. Will go through the rest of your stuff as this is exactly my poo poo. Cheers!
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Apr 8, 2016 06:18
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I have been making a lot more music lately now that I bought a recording mic for both my guitar and one for vocals. Before, I was writing most of my ideas out on the guitar first, and then translating them to synths in ableton. Its starting to give my tracks a little more character now that I have some guitar audio accompanying the digital synths. One problem I am running into though is my very limited sample library. Other than the native Ableton samples, the only sample packs I have are from Tom Cosm and Deadmau5's Xfer pack. While there are some great samples, I have found the kicks to be particularly aggressive/heavy. Now I have experimented a bit with manipulating the existing samples to get what I want but I feel like in most cases, I am starting from a place that is far from where I need to be. My production skills are mediocre AT BEST, so it is quite possible that I don't know how to manipulate the sample in the right way. However, I was wondering if there were any free sample packs or ones that are absolutely worth dropping some money on. My style is probably closest to Progressive House.
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Apr 12, 2016 00:24
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If you don't mind spending a bit then maybe look into Driven Machine Drums 3, it might be too experimental or varied for you. That guy always does a great job with his drum samples though. There's also a little free demo pack that you can download there too.
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Apr 12, 2016 02:27
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MrSargent posted:I have been making a lot more music lately now that I bought a recording mic for both my guitar and one for vocals. Before, I was writing most of my ideas out on the guitar first, and then translating them to synths in ableton. Its starting to give my tracks a little more character now that I have some guitar audio accompanying the digital synths. If you need some realistic/acoustic samples, the free Big Mono kit is pretty good. I like to layer the low velocity hits with synth drum stuff and some foley. http://www.analoguedrums.com/details-bm.php
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Apr 12, 2016 07:04
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