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MIDI isnt all that hard to understand. MIDI is note information, not music, its the electronic "sheet music" that tells whatever device you're plugging into what notes to play. lovely cellphone ringtones sound like that because the cell phones device sounds like poo poo, nothing to do with the actual notes themselves. If you were to take the same MIDI file and plug it into something decent it could sound incredibly different A midi controller is a device that outputs MIDI, but does not itself make sound. An integrated keyboard/synthesiser like the microkorg contains both a controller plus a synthesiser, so it can output sound, or just midi data if you wanted it to. So, potentially by wiring up devices you can do all kinds of stuff. You could use just the controller aspect of the microkorg and play another instrument remotely, using the mk. You could use just the synthesiser of the microkorg and let it BE played remotely from the midi notes your computer or another controller gives it. You dont really need an amp unless you're playing with a band or some other situation where lots of volume is totally neccisarry, in which case you can buy dedicated keyboard amps. A dilemma for you though is whether an external keyboard/hardware setup is really what you want. It has its benefits of course, but I was in the same situation of not really knowing what to get a little while back and leaning towards something like a microkorg until I found that most of the sounds I want are much easier to get, or can ONLY be got, with a computer based setup. To expand further, a couple months ago I was looking at getting a hardware synth like a microkorg to start off with. However (and this may be contentious, I dunno) I found that part of what makes electronic music sound the way it does is the very fact that it is "programmed" rather than "played". I find when I play a bassline or lead line on a synthesizer it tends to sound like absolute poo poo, until I go into the program and start doing some quantisation and stuff, then I can loop it and it takes on the familiar, machine perfect grove I asscoiate with the records I listen to. A hardware keyboard would give me the ability to play leads and basslines and pads live with a real band, but I dont want to, because none of the stuff I ever tap out with my own meat hands ever sounds as good and polished as the stuff that comes out after tweaking around with a sequencer for a bit. And you dont have the ability to chop up and play samples with a straight synthiser, you need an external sampling device for that and thats a whole nother headache. In short, I think a microkorg would be fine if you plan to play with a band and just want some synthy sounds with as little messing around as possible and dont ever intend to take a laptop to a gig. For the actual buisness of making music though its unneccissary, a straight midi controller keyboard, some soft synths and a DAW are all you need. E: Also for a the vocorder, although I'm sure there are software synths for that as well but again, its just simpler. Man vs Child posted:Oh, well, I guess that is a lot simpler of an explanation than what i've been googling. Looking at all these zany devices that look like pianos to me but with all these crazy buttons is a bit intimidating. Yeah, the buttons and knobs and stuff are just more ways out outputting information. MIDI can handle controller data as well as note data, so you can set knob Y on the keyboard so it turns up your filter/resonance/pitch/whatever. massive spider fucked around with this message at 16:05 on Mar 7, 2008 |
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Mar 7, 2008 15:56
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Question{s} I've always kind of liked the idea of having my own laptop for dedicated music stuff rather than the desktop I'm using now: How much can I expect a reasonable laptop setup to cost me (minus software) How do you protect one while gigging Am I being a brand conditioned moron for automatically leaning towards a macbook without knowing why
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Mar 12, 2008 14:15
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I'm having trouble with drum programming. I'm ok with slow grooves, but I have no diea where you even begin to start making those crazy fast drum and bass/jungle style loops. I'm using Reason and Ableton.
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Mar 16, 2008 17:09
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Is there any way to get an effect like lovely, warbled tape on a digital recording? Like this: http://uk.youtube.com/watch?v=d54TiN3t5_I
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Dec 19, 2008 03:18
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I tried making some DnB for the first time last night. Any comments or ideas on what I'm doing right and wrong would be appreciated. http://dl.getdropbox.com/u/55998/bumbandbass11.mp3 Especially this: what effects can I do to make a synth more interesting? My library of knowledge stops at, "put distortion on it, filter it, chorus/delays/reverbs". At the moment it sounds very dry to me and I'm not sure if thats a problem that can be fixed with extra processing or if its better to just go back and create a new synth sound. e: an attempt at fixing it http://dl.getdropbox.com/u/55998/bumbandbassmix2.mp3 massive spider fucked around with this message at 15:38 on Jan 8, 2009 |
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Jan 8, 2009 13:02
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Yoozer posted:Depends. Which one are you using? Reason and Thor mainly I tried changing the mix a bit but I tend to work by making samples using reasons synths, sending them to Ableton and chopping out the bits I like. Which tends to make it difficult to go back if I want to change a part becasue I've forgotten what I was doing in Reason originally to get it. http://dl.getdropbox.com/u/55998/bumbandbassmixiii.mp3 massive spider fucked around with this message at 00:23 on Jan 9, 2009 |
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Jan 9, 2009 00:20
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Is there any way in ableton to sync a parameter to volume? So you can for example have a delay which only comes in when a signal is significantly loud. e: i feel like ive done nothing this week except post inane questions anout ableton in ml. Something interesting posted soon I promise! e: in fact two seconds of thought and its obvious, use the gate, send whatevers loud enough to come through the gate to a new track. massive spider fucked around with this message at 19:03 on Jan 22, 2009 |
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Jan 22, 2009 18:35
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fret logic posted:Do you have many tunes posted on here? I actually bookmarked "abomination cleaner" from that other thread, it was good poo poo. No I'm in the process of moving and overhauling my PC setup at the moment, so I've just been hanging around here a lot trying to pick up some tips. Once I've got everything set up nicely I'll post somemore stuff.
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Jan 24, 2009 13:02
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Sort of a stupid question but I remember seeing a video of some guy working on a DAW a little while back, he was doing some eq'ing and he did it by moving the mouse and "carving" the eq, like if you wanted a mid boost you would just sweep the mouse in an arc and the lows and highs would be cut off where the mouse moved. What program was it? I have no intention of changing from ableton any time soon but I remember seeing that and thinking "oh man that is so loving sweet".
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Feb 2, 2009 15:56
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duck monster posted:Its a bit hard to visualise what your refering to here, do you mean drawing the envelopes, because , uh, Abletons pretty drat good at that. You can also gently caress around with recording automations live (You might even set up your x-y controller if you REALLY want to get into stunt eq.) Like the guy above says Abletons EQ window is a bunch of little dots and you move the dots around and then adjust the parameter that says how much q they have. The thing I saw you just draw lines straight in the the EQ window as if it was Paint. Not functionally any different, but cool as hell.
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Feb 2, 2009 17:26
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Is there any practical difference soundwise between an FM synth and a Subtractive synth. The way you go about working on it is different sure, but is there anything an FM synth would be different or "better" at soundwise?
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Mar 4, 2009 16:36
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Yoozer posted:Here's a little demo I've made for the Hypra-Rom cartridge. Y'know, I've always thought every demo I've heard of Ableon+Operator had a weirdly "clean" sound to it. I guess that explains it if thats just what FM synthesis sounds like.
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Mar 5, 2009 02:23
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All continious audio tracks of a single type e.g vocals become one colour group, say shades of yellow or something. Looped clips and midi clips get multicoloured randomly as they're going to get moved around a lot and its helpful to be able to look at one part and differentiate it from its neighbor. e: In other words colour by song section, not instrument. So if you've got a bunch of clips you want to come in together and play for 8 bars as your "chorus" you make all instruments in that section blue or something. Then when if when arranging you decide you want the synth part form het chorus to also be played elsewhere in the song it will still be blue and you'll know at a glance what it used to be and why you moved it.  massive spider fucked around with this message at 22:01 on Mar 7, 2009 |
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Mar 7, 2009 21:46
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Can anyone name another free VST as awesome and polished as dBlue glitch? Just curious what people think.
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May 21, 2009 18:45
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trill rear end posted:aight chall it is a little on mine, my speakers are dogshit though.
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May 24, 2009 00:39
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My music poo poo started working again so I made a little track to celebrate. 
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Sep 10, 2009 02:41
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A lot of making a satisfying bass is just working out when your ears are tricking you. If you write using headphones for instance nothing sounds really bassy, then you put it on a stereo and suddenly its a boomy mess. Basically any synth can get a good bass sound it's just in isolation you probably wont recognise it as one. Just settle for something that sounds ok with a nice midrange punch, mix everything else then see how it feels.
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Sep 27, 2009 23:43
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How do you make that percussion sound which seems to end up in every action film sound track where it just sounds like rhythmic distortion? I started thinking about it because I was listening to the percussion in Bjorks bachellorette: http://www.youtube.com/watch?v=1a1bfbk_yQU But a better example would be this NI [lug which as far as I can tell is all samples and doesn't tell me how the sounds were actually made to begin with. Is it just filtered noise+oscilators or something? http://www.native-instruments.com/#/en/products/producer/powered-by-kontakt/evolve-mutations/?page=922&content=859 massive spider fucked around with this message at 02:57 on Dec 14, 2009 |
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Dec 14, 2009 02:41
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Quincy Smallvoice posted:this needs to be posted here as well. if for nothing else, a nice lesson in sample manipulation. Has anyone seen any videos like this for other songs?
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Jan 3, 2010 22:07
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rustyw posted:Okay, this has been bothering me forever: I know french house music has a bigger history than Daft Punk so I didnt assume the OP specificly meant them. I personally have no idea who "invented" sidechaining though or even the line between inventing a technique and popularising it.
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Jan 14, 2010 19:17
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Is there an easy way to double tracks in ableton live? I'm talking like a stereo spread with a slight detune. I know you could do that manually but that feels like a pain in the rear end for something that could be an effect. The chorus doesent seem to be stereo.
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Jun 12, 2010 17:05
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How can I get a voice synthesiser for ableton (pc) I know theres one for fruity loops. Is there a good free vst out there?
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Dec 9, 2010 14:03
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Can anyone recommend a highly portable laptop stand?
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Apr 25, 2011 00:37
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I made some really bro-ey electro https://soundcloud.com/batteries/meatfeast-3 massive spider fucked around with this message at 18:15 on Apr 7, 2014 |
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Apr 7, 2014 18:10
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I'm stuck, I have no idea whether to stick with Logic or give the gently caress up and go for Ableton/Reason/Maschine. Logics workflow is just really awkward to me and I'm not sure the best for writing in. Whats everyone here producing with?
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Apr 17, 2014 11:33
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