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Gibberish posted:After seeing this: http://soundcloud.com/freakybass/major-lazer-vs-daft-punk I can't help but wonder if the Major Lazer construction kit (which is an actual iPhone app) was involved in making that.
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Dec 10, 2011 01:13
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h_double posted:I can't help but wonder if the Major Lazer construction kit (which is an actual iPhone app) was involved in making that. The stems were and still are available for Pon De Floor somewhere.
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Dec 10, 2011 06:00
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a milk crime posted:The stems were and still are available for Pon De Floor somewhere. Is there someplace that people go to find stems in general? I'd like to try my hand at some remixes.
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Dec 10, 2011 07:49
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Beef Log Boy posted:I was curious about that on my dashboard. I knew there was some agenda behind it. I think I've said this to you before, but I really, really like your stuff dude. Thanks, man!  I'm working with some guys from Oslo right now on some new stuff, and luckily I just got a new job that's only 20 hours a week, so I can finally start producing seriously again. The whole "moving around the world and working 50 hours a week" thing kinda throws a wrench in the whole scheme. Nothing feels better than sitting down and getting sucked into a project for 6 hours and really getting a lot done. I've missed it.
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Dec 10, 2011 08:23
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I have a dubstep question that isn't answered by 'LFO Osillating Low Pass Filter'. In a lot of tracks (particulary by Excison, Datsik etc) I've heard risng & falling robotic noises - almost like they've got samples of factory machines to make really cool mechanical-y sounds. Would these likely be synthesized or would they be sampled from real world? I can't seem to work out how you would get those sounds.
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Dec 10, 2011 08:26
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It's never done. >_< The tracks are never done!
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Dec 10, 2011 08:43
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dolphins are gay posted:I have a dubstep question that isn't answered by 'LFO Osillating Low Pass Filter'. Most likely granular synthesis I would guess.
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Dec 10, 2011 17:57
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MixMasterMalaria posted:Is there someplace that people go to find stems in general? I'd like to try my hand at some remixes. It depends on the track. Some tracks have stems available for remix competitions, etc. It really just depends.
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Dec 10, 2011 18:01
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dolphins are gay posted:I have a dubstep question that isn't answered by 'LFO Osillating Low Pass Filter'. Can you post a link to a song or two showing what you mean? Cause you might either be talking about m-talking or something else entirely
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Dec 10, 2011 19:01
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Dubspot ableton workshop is about to start for anyone interested. http://blog.dubspot.com/ableton-live-vjs-live-streaming-workshops-party-1210-nalepa-benton-c-bainbridge-v-owen-bush-and-david-lublin/
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Dec 10, 2011 19:59
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Thoogsby posted:Dubspot ableton workshop is about to start for anyone interested. Thanks for the reminder, I'm excited to see what they're going to show re: VJing.
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Dec 10, 2011 20:03
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Ah, thanks for linking that, this is actually very helpful. I was skeptical at first, but this is very solid advice.
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Dec 10, 2011 20:16
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the Gaffe posted:Ah, thanks for linking that, this is actually very helpful. I was skeptical at first, but this is very solid advice. The sound is so bad for me on this stream. 
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Dec 10, 2011 20:27
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Does anyone know if there'll be a rip for those that can't watch live?
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Dec 10, 2011 20:38
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The Dark Wind posted:Can you post a link to a song or two showing what you mean? Cause you might either be talking about m-talking or something else entirely The intro to this song is the most obvious example : http://www.youtube.com/watch?v=NBkLRNqEZ8E - I think they could simply be samples but they're very clear. I'm mostly referring to the 'walking robot' noise.
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Dec 11, 2011 00:21
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dolphins are gay posted:I have a dubstep question that isn't answered by 'LFO Osillating Low Pass Filter'. Granular synthesis, resampling, multiple lfo's, among other things. Basically a lot of different processing tricks. One of the tricks that I have used to get some of those transformer sounds is using two sets of LFO's. For example, record and bounce out one of your sounds where the LFO is modulating at say.... 1/4 note. Once you bounce it, you have the wobble at a rate of 1/4. Throw that into a sampler, and now modulate the voluume with an LFO at a different rate like at 1/8. Now you get this really awesome transformer ish effect. A lot of the robot noises are done by take some sounds (synths or sampled) and then stretching them out. Take bits and pieces and throw them into a sampler. Play around with some crazy effects like distortion, notch filters, phasers, etc. Bounce out and resample again. Most of the really crazy DnB and Dubstep sounds that you want are done through variations of this type of resampling, relayering, and eq'ing. It's a really time consuming process edit: I also forgot frequency splitting. Routing a synth so that the sound goes out to three separate audio channels: low, mid, high. Make sure you EQ'ing the different channels so that there is no frequency overlap otherwise it will cause some weird lovely sounding phase issues. Throw different effects, distortion, etc on each different channel, and have the 3 channels route the audio back out to one audio channel. Compress accordingly until it sounds like one cohesive sound. Bounce out to an audio file and resample the poo poo out if, restarting the splitting process if you so desire. Hopefully that made sense. GbrushTwood fucked around with this message at 00:29 on Dec 11, 2011 |
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Dec 11, 2011 00:26
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The bass that comes in at the 2:30ish drop in this song sounds like a samurai sword cutting through 100lbs of awesome: http://www.youtube.com/watch?v=wKVu-PjcTeQ I'm assuming it can be recreated in Massive but I don't know how to get going on it.
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Dec 11, 2011 00:50
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http://soundcloud.com/colugo/i-love-my-generation-machine I'm so sorry. The Who deserve better than this 
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Dec 11, 2011 23:13
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h_double posted:u-HE's ACE has become one of my main go-to synths lately. It's a virtual analog semimodular design -- it doesn't have the insta-zazzle oscillators and filters found on other synths and it can sound a little plain out of the box, but once I spent a little time reading the manual and digging into the modulation options, it can get pretty bananas. It sounds really warm and smooth and I love the UI (which, like a vintage analog, all parameters are visible onscreen at all time -- this makes for a good "learner" synth that's still extremely capable). On tat subject, I stumbled across another synth that I've never heard of before: FAW's Circle. It's a modular synth that emphasises user friendliness, and my first impressions after dabbling with it today is that it's really intuitive. They have lowered the price on it as well (a sensible €49 instead of the €149 it had on launch), but while it does produce some interesting sounds, it seems... straightforward and simple. I might get it in the future, but it's not a first priority. What's your thoughts on it?
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Dec 12, 2011 00:59
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Longhouse posted:Thanks for the tip! I've seen ACE before, but not really looked into it, and it certainly looks capable. I did, however, find another synth when I read a discussion on KVR: DCAM Synth Squad. It's on sale right now, and the price is just enough. Even though I was a bit underwhelmed at first, it's growing on me I've only recently (two weeks ago) gotten it, not played around with it too much yet. First impression from the factory presets wasn't stellar, but maybe it's a case of the Synth1s
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Dec 12, 2011 01:04
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Had Hogscraper master this track and was kind of hoping someone had something to say about the structure & sound design of this track: http://soundcloud.com/m-dubbs/come-get-me-if-you-can
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Dec 12, 2011 10:44
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I have a question about how a couple of tracks were edited. DJ Craze released a couple edits of some brostep songs and at first it seems like they're just sped up, but it also sounds like he edited the drums. I was just wondering if someone could explain how he edited the song in Ableton to get those kinds of drums. Here's one of those edits: http://soundcloud.com/crazearoni1/benny-benassi-cinema-skrillex 7 hour late edit: I just saw a video on how he came up with these edits and he said he just skipped 1/8th or 1/16th of a note to change it up. How would I go about doing that in Ableton? keevo fucked around with this message at 06:50 on Dec 13, 2011 |
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Dec 12, 2011 23:02
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My singer and I made a chiptune remix of one my band's LP tracks. Made in FamiTracker, bounced out from FooBar to 24-bit wav, then taken into Logic where it was synced with the vocal track. I tried my best to make the vocal sound like it came from the DPCM chip in the NES. This is my first attempt at making any kind of chiptune. Hope you guys dig it. https://www.youtube.com/watch?v=EX7FHbxEDsU Edit: I tried to make the video look like it came from a Sega CD but when you view it in windowed 360p it just looks really awful. Maybe I really did technically nail the look! Hogscraper fucked around with this message at 09:56 on Dec 13, 2011 |
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Dec 13, 2011 09:36
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A little song I'm working on. I feel like the build-up before the drop is a little too hurried and needs a lot of work, but I'm not quite sure what exactly to start changing with it. http://soundcloud.com/shreddie-mercury/sweaty-vedder-preview
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Dec 13, 2011 19:22
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Hogscraper posted:My singer and I made a chiptune remix of one my band's LP tracks. Made in FamiTracker, bounced out from FooBar to 24-bit wav, then taken into Logic where it was synced with the vocal track. I tried my best to make the vocal sound like it came from the DPCM chip in the NES. This is my first attempt at making any kind of chiptune. Hope you guys dig it. What did you do to the vocals? I like the video a lot. EDIT: Beef Log Boy posted:A little song I'm working on. I feel like the build-up before the drop is a little too hurried and needs a lot of work, but I'm not quite sure what exactly to start changing with it. This is really awesome. I've got a couple of goon-made tracks in the sets I've been playing at house parties in Ann Arbor recently, it'd be awesome to get a full version of this track to add to them. Also, could you post a little about your workflow? I'm a terrible and haphazard songwriter, and it'd nice to hear how you more pro-sounding guys get going on a track. a foolish pianist fucked around with this message at 00:00 on Dec 14, 2011 |
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Dec 13, 2011 23:56
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It seems like the "phrase" before the drop is 12 bars which is really weird in dance music. Use 16 or 32 and sometimes you can sneak in one or two extra suspense bars as well, but using something that sounds like 16 with 4 chopped off is always gonna sound rushed.
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Dec 13, 2011 23:58
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a foolish pianist posted:This is really awesome. I've got a couple of goon-made tracks in the sets I've been playing at house parties in Ann Arbor recently, it'd be awesome to get a full version of this track to add to them. Whoa. It's weird (and flattering) to be referred to as pro-sounding.  Thanks man, I'd be honored if you threw one of my songs in. I'll post it in here as soon as I'm finished with it. Do you mean workflow in terms of songwriting or more sound design? Songwriting-wise I almost always start with the "drop". I usually have kind of ideas of how I want it to fidget and cut, and usually just lay down a midi clip of just a plain synth playing the whole thing by itself, then I try to make a synth that I think will sound best for each little cut. From there I think of other little riffs to be my intro, build-up, etc. and repeat the process. I hope that makes at least some sense. To be honest I'm pretty unorganized myself. All my filenames and track names are horribly immature and non-descriptive ("wubwub" and "fartsynth" are the first two that come to mind). Edit: Replaced the track file in the Soundcloud link. Tweaked the build-up and the drop a bit. Beef Log Boy fucked around with this message at 01:17 on Dec 14, 2011 |
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Dec 14, 2011 00:58
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a foolish pianist posted:What did you do to the vocals? Umm... without pulling up the Logic file to see EXACTLY what settings were used I can tell you that I automated the vocal level to be a bit more even and then ran it through an 1176 style compressor. That put the vocal sound close to where it was on the original LP minus any ambient stuff like delay/verb. Then I ran it through Logic's bit crusher effect. Without looking I think I limited it to either 4 or 6-bit. I'm not sure if I limited the high frequency content in the bit crusher or if I used a separate eq plug set to low pass at either 11,025 Hz or 5,512.5 Hz. I'm nerdy and probably looked up the specs of the NES DPCM chip and set the bit crusher plug to that. I can't find the white paper on it in my bookmarks. Google will help if you want to get real authentic.
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Dec 14, 2011 01:17
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I know this is probably a total newbie question, but how do I get a "slowly rising volume" effect like when the lead synth in College - A Real Hero comes in? I'm using Reason 5, for what it's worth. e: Or, more accurately, a fade-in. 
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Dec 14, 2011 02:57
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seiken posted:It seems like the "phrase" before the drop is 12 bars which is really weird in dance music. Use 16 or 32 and sometimes you can sneak in one or two extra suspense bars as well, but using something that sounds like 16 with 4 chopped off is always gonna sound rushed. Woops, didn't see this. Do you mean in the very beginning or immediately before the drop. It's actually 16...at least I think it is. I think I made it sound a little less rushed in my opinion. Does it still sound like 12? I may not understand what you mean.
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Dec 14, 2011 03:14
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I'm working on some "exploration" music for a spaceship game I'm working on, anyone have any advice? After this I have to tackle title screen and combat music, and I'll need to make sure transitioning between combat and exploration music over and over doesn't suck.
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Dec 14, 2011 07:52
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My advice is, rely on sus chords for exploration, they invoke a sense of curiousity. Long spacy pads playing a sus4 chord work really well for that, maybe add the octave to fatten it up. Mix it up and alternate with major7/major9 chords for optimistic moods or with single notes (no chord) for a stark mood For switching to combat, double time, add more percussion and more high freqs (like a clicky glitch line), vary the bass faster and drop out of your key for a chord or two - this creates a sense of unease and urgency.. to go back, preferrably you know a bit before it happens (like when the enemy hit points are way down), so you'd start building to a crescendo then, finish it with a bang and a hit upon success, let the reverb fade out and then gently reintroduce the exploration music. Hope that helps! edit: your track might be a bit too musically full/not backdroppy enough.. check out this one I recently made for a very similar thing (it loops, that's why it has the sudden start/end): http://kingrook.com/wayfinder-lbh-preview.mp3 wayfinder fucked around with this message at 11:35 on Dec 14, 2011 |
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Dec 14, 2011 11:17
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colonp fucked around with this message at 17:50 on Mar 8, 2014 |
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Dec 14, 2011 14:22
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Beef Log Boy posted:Woops, didn't see this. Do you mean in the very beginning or immediately before the drop. It's actually 16...at least I think it is. I think I made it sound a little less rushed in my opinion. Does it still sound like 12? I may not understand what you mean. I mean the section from :14 to :29 in the current link. Anyway I don't know whether you changed the length of it or whether I'm an idiot who can't count but it's definitely 8 bars now, not 12. If you still think it sounds rushed I'd try doubling that section up to 16 bars; 8 bars is quite a short time for an entirely different-sounding section to happen for in this kind of music.
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Dec 14, 2011 16:36
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seiken posted:I mean the section from :14 to :29 in the current link. Anyway I don't know whether you changed the length of it or whether I'm an idiot who can't count but it's definitely 8 bars now, not 12. If you still think it sounds rushed I'd try doubling that section up to 16 bars; 8 bars is quite a short time for an entirely different-sounding section to happen for in this kind of music. It was always the same length, but I structured it a little differently that sounded a bit weird. The main reason it's 8 is because I can't figure out a way for the beginning to be less than a minute, and I hate being that guy that waits to put the drop way too far into the song. Though I suppose another 15 seconds isn't going to hurt anything. Thanks a lot for the input!
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Dec 14, 2011 17:02
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wayfinder posted:My advice is, rely on sus chords for exploration, they invoke a sense of curiousity. Long spacy pads playing a sus4 chord work really well for that, maybe add the octave to fatten it up. Mix it up and alternate with major7/major9 chords for optimistic moods or with single notes (no chord) for a stark mood How do you make that hollow reverberating noise that comes in every 6 seconds or so? I hear it a lot in ambient music and it's very mysterious to me! I like your track, it gives a nice sci-fi feel that's evocative of Metroid and Mass Effect without feeling derivative. Do you have any suggestions for bridging between pieces of music in a game that can only play one music file at a time? My friend asked me to write some stuff for his indie game next year and it'll require a switch between the normal 'dream climb' tune and a 'nightmare' version of the song which can be switched between on the fly in some capacity without sounding terrible. MixMasterMalaria fucked around with this message at 17:25 on Dec 14, 2011 |
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Dec 14, 2011 17:17
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Beef Log Boy posted:It was always the same length, but I structured it a little differently that sounded a bit weird. The main reason it's 8 is because I can't figure out a way for the beginning to be less than a minute, and I hate being that guy that waits to put the drop way too far into the song. Though I suppose another 15 seconds isn't going to hurt anything. Thanks a lot for the input! Remember, the main reason you do long intros is for the sake of the DJ. They can make or break the popularity of your song, so making a track as DJ friendly as possible is never a bad thing! Alternatively you could make a radio edit and a DJ edit/extended mix.
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Dec 14, 2011 17:18
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Hey guys - sorry if this has come up somewhere in the preceding 150 pages but welp I am a guitarist and want to be able to make some ambient noise for post-rock and stoner tracks, but I'd like to have to option to doing some psych-ambient stuff as a standalone project as well Long story short, I know my way around the mixing but I'm completely in the dark when it comes to the requisite DAWs, plugins and soft-synths. Being able to use it live isn't a necessity, as for guitar purposes I can play samples back with a sampler/looper pedal I have and I'm not concerned with playing electronica live. At the moment, I have GarageBand, but I'm not averse to laying out a bit more for additional software - OSX or Windows is fine - and I'm down for whatever recommendations people throw at me. Thanks, goons
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Dec 14, 2011 17:25
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The Dark Wind posted:Remember, the main reason you do long intros is for the sake of the DJ. They can make or break the popularity of your song, so making a track as DJ friendly as possible is never a bad thing! Alternatively you could make a radio edit and a DJ edit/extended mix. That's always something I tend to forget. 16 bars is sounding better and better.
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Dec 14, 2011 17:56
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wayfinder posted:My advice is, rely on sus chords for exploration, they invoke a sense of curiousity. Long spacy pads playing a sus4 chord work really well for that, maybe add the octave to fatten it up. Mix it up and alternate with major7/major9 chords for optimistic moods or with single notes (no chord) for a stark mood This is wonderful advice, thanks!
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Dec 14, 2011 18:21
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