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I read the OP but didn't see anything mentioned about getting 'vocal only' tracks. I was kind of surprised that there wasn't any mention, seeing as remixes are a big part of club/dj/electronic music. I was also kind of disappointed as I have pretty much 0 idea how to separate vocals from instruments. I'm using ableton and can kind of EQ it out, but it feels like I'm missing something.
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Feb 28, 2011 09:27
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seconding youtube. There's a few ways to sample from there (using something like pwnyoutube.com). The fastest way, I find, is to just use a stereo cable into the speakers and into the mic port. Hit 'record' and play the video, bam, sound sampled.
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Mar 5, 2011 07:35
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So sampling youtube videos is 'wrong'? Welp, time to pack up this 'art' business, turns out there's only one way to do something correctly. Don't the ''HD" options on Youtube crank up the fidelity, anyways? well why not fucked around with this message at 04:52 on Mar 6, 2011 |
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Mar 6, 2011 04:43
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people aren't necessarily sampling songs, though. There's a lot of content on there, be it TV samples, people talking, car crashes, police footage, whatever. There are better ways to get songs, yeah, but we're not just talking about songs.
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Mar 6, 2011 06:31
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Oh, right, my mistake. I wasn't following correctly it seems. This talk has made me wonder if there's someone out there feeding a track or element through youtube a few times to get the right 'feel'.
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Mar 6, 2011 10:36
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there's a pretty good ableton thread in here, somewhere. Normally it's on the frontpage, might be worth poking through. Regarding the basics, ableton is pretty much a DAW + an instrument. You kind of have to jam with it some times. Pretty much everything is drag & drop, which is cool. You can just layer fx and clips as much as you want.
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Mar 21, 2011 08:35
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I don't want to start a huge Live circlejerk, but learning Live reminded me of starting out with Photoshop. There's so many ways to do any one thing it's absolutely nuts. It's alarmingly deep.
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Apr 10, 2011 07:12
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Uncle Jam posted:Yeah, I went to a Guitar Center, it was alright. It wouldn't be exactly the same, but a pretty good (and more portable if you don't wanna move the keys) setup. What non-key controls would you be after? There's stuff like this: http://www.amazon.com/Akai-Pro-LPD8-Laptop-Controller/dp/B002M8EEW8 which is dirt cheap and would sit on top of the Yamaha pretty well.
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May 9, 2011 08:46
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I finally put some time into music and finished up this: http://soundcloud.com/m-dubbs/trendhopper (fairly chill dub inspired track) and this: http://soundcloud.com/m-dubbs/pick-up-the-phone (less chill track - does the intro grate/go on too long? I'm finding it hard to tell.)
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Aug 11, 2011 12:38
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Amperor posted:Kinda, yeah. Less "goes on too long" and more that your melody maybe wanders a little too much. Also the resonance on the filters on that intro melody synth might be kicked up just a touch on the high side (especially on the higher notes). Overall I dig it though, especially around the 1:30 mark. haha, finally someone responded in one of these threads. Thanks a lot, I'll dig back into it.
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Aug 13, 2011 02:52
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Chitin posted:This is kind of a picky point to make, because you can certainly use it as such, but Massive isn't really subtractive synthesis so much as a wavetable synth that has a lot of the features one might find on a subtractive synth. The meme that MASSIVE = Dubstep has to come to a close. The thing is freaky versatile. I'd wager it's one of the most versatile synths this side of a fairlight.
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Aug 16, 2011 08:52
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melee beats posted:Me either. I can generally tell the quality of a synthesizer within seven seconds of loading it up in my DAW. If they can't get the GUI design right, how could they ever get the sound right. This is some truth, but a 'too clean' interface implies weakness or lack of features. Ableton's builtin stuff looks pretty puny, but can do ever so much. Operator being a perfect example.
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Aug 18, 2011 11:22
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My understanding is that the Axiom has a lot more bits (tech term) in it that allow for such a complex feature. That being said, make sure that your Ableton is up to date. My Axiom didn't work till I hit 8.2.2.
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Aug 23, 2011 08:31
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I'd be hesitant to put out anything that was, to me, instantly recognizable. The infamous 'umbrella' loop is too close to the original that I'd be uncomfortable. They could've at least changed out some of the hits.
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Sep 3, 2011 01:01
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^ that's definitely the most reliable way to work. http://soundcloud.com/m-dubbs/14-sep-2011 This is my attempt at something vaguely french-house styled.
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Sep 14, 2011 10:01
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Plavski posted:I don't particularly feel the melodies are complimentary and it just sounds sort of messy to be honest. The harmonies don't seem particularly well thought out and there doesn't seem to be a lot of breathing room for the motifs to really be heard. Interesting post, I'll keep it in mind. Every time I listen to Daft Punk I'm surprised at exactly how minimal it is. There's generally only two or three things happening at a time, it's just so thick and rich it sounds very full. I'm still pretty happy with my track, for a few hours work, I think it sounds fairly good.
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Sep 15, 2011 00:37
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If you like Operator, MASSIVE will likely change your life.
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Sep 22, 2011 10:54
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magiccarpet posted:I'm sure it will launch with Maschine 2.0 as a dedicated controller. MASCHIVE
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Sep 23, 2011 09:22
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soooo I just worked out how to rig NI RAZOR as a vocoder. You probably want to take a look at the youtube video to see how cool this is: http://youtu.be/lhBfAr6UPfY
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Oct 13, 2011 11:41
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What's the consensus for adding plugins/effects etc to the master track? I feel like the master should be clean but it's awfully convenient to just EQ right on it.
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Dec 4, 2011 10:21
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OK, so a second question about 'finishing up' - if my peak levels are all below '0' is this 'good enough' or should I really try to get them to -4db? People talk about headroom and stuff all the time, but if I were to send a track out for mastering that peaked on 0db, would I get a mailbomb returned, or would it just be 'not as good'?
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Dec 5, 2011 08:42
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Chitin posted:Right. Audio inside your DAW, which probably has plenty of extra headroom built in, is not the same as audio bounced out to a file, which doesn't. Ah, that makes a lot more sense. I'd never really considered that a bounced file wouldn't be the same as playback. It's so obvious when you put it like that. It's like how stuff looks different printed vs on screen. Derp.
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Dec 6, 2011 11:56
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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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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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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 like Razor because the visualizer makes it really easy to work out what's going on. I also think the wiggling LFO/Env dials are genius. The combination of a really clean interface, useful visualizations of what's happening and the big sound make it really easy to get something cool out of it. It doesn't feel sterile like other VSTs. The CPU thing sucks (burning my hands on an aluminium laptop) but you learn to freeze tracks in Ableton.
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Jan 17, 2012 12:56
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welcome to complextro. make sure to organise your tracks or you'll want to hang yourself.
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Jan 29, 2012 02:53
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some techniques (pretty amateurish) that I use to speed up composition of complextro. These relate to Ableton, mostly: - Colour Code AND group your tracks. - Make a bassline (simple as you want). Select all of the notes in the bassline, right click & hit 'disable notes'. Drag this clip to another track and you can see where the bassline will fall, allowing you to fill in the gaps easier. - Zoom in very, very close. - Session view isn't really very useful in this case, but can be used as a 'pallette' for your clips. 'Important' clips can be dragged onto it for quick access. - Create a track with a compressor on it, sidechained to the kick. Send tracks to it, rather than having individual tracks with sidechained compressors on them. A group may also work. This will allow you to freeze the tracks, lowering CPU dramatically (NI RAZOR is a beast) - Create an instrument rack with macros that control EQ8 sweeps.
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Jan 29, 2012 02:59
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I love ableton, so I might be biased ... Bitwig is promising a lot. I'll be interested to see how it actually runs. At the moment it's hyped like crazy and I can't help but feel that people are setting themselves up for a disappointment.
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Apr 13, 2012 08:53
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Yeah I impulse bought it a while back. It's fun trying to work out new ways to use it. It's pretty close to an instant 'interesting sound' button.
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Apr 21, 2012 03:38
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is that 'free and poo poo' as in 'free and good' or 'free and terrible'? Here's something that took way, way too long. Kind of a downtempo dubstep thing, not really swaggery or punchy like a lot of tracks: http://soundcloud.com/m-dubbs/md27052012 I'm really keen to get it sounding more 'polished', so I thought I'd see if anyone on here had any pointers on the mix etc? I'm learning a lot about EQ, compression etc but it feels like I need some advice.
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May 30, 2012 10:54
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they're actually still making Fairlights: http://www.facebook.com/pages/Fairlight-Instruments/130355727021330 http://fairlightinstruments.com.au/ There's an iPad app and everything. You could probably shoot them an email or FB message, they're good people. From my experience using one of the prototypes, the new models don't seem super-fast, but I'd never used the old timey ones.
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Jun 4, 2012 08:53
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http://soundcloud.com/m-dubbs/no-chorus made some more noisy dusbtep to get away from the nu disco experiments I've been making. Did all the synths with my BFF, Ableton's Operator. No plugins, just suite stuff. I've kept it down to 3:33, but the 'finished' version will likely be pushing 5 minutes. Part of me likes having this sort of noisy glitchy dubstep over in under 4 minutes.
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Dec 3, 2012 11:55
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Can we talk about the synths NERO use on Welcome Reality? I'm a huge fan of their 80's/Futuristic electronic rock sound. I know they're fans of analog gear, but I really want to know how to make their distorted power chord style main synths, like in the start of Fugue State. I'm having trouble working out if it's a synth or a guitar. Their wobblier basses seem like something you could do in MASSIVE etc. quite easily, but I'm not really sure where to start with the guitar-ish sounds, or their chordal parts. Can anyone point me in the right direction?
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Jan 2, 2013 10:49
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Exactly how important is keeping your tracks 'gridded', as in elements occurring at 4, 8, 16 bars? I often find that it's hard to work within this sort of plan, but I'm worried that my tracks won't 'make sense'. I'm trying to produce tracks in the style of Zedd or Feed Me (I'm not close to either) and their tunes don't seem to obey the structural guidelines too closely ... I'm confused. Example, in Zedd's Clarity, there's two 'booms' at 4:00 - can anyone explain how this is arranged? I can't seem to visualise it in a DAW.
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Feb 21, 2013 09:40
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I always thought a good name is secondary to skill. I mean, Feed Me would still be Feed Me if the Spor records weren't around.
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Feb 24, 2013 07:08
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Steve Duda also, apparently, puts in his drums last. I think he'd qualify as an expert, too.
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Feb 26, 2013 10:44
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I'm concerned I'm not really progressing, so I thought I'd ask - I want to 'start from the beginning' and follow some basic tutorials to really get the basics of composing house/electro down. Can anyone recommend a tutorial that covers off the real idiot stuff, like composing a bassline & corresponding chords? I know heaps about sound design etc. but want to really drill in the compositional side of EDM production. I'm using Live and have a stack of VSTs. The music I'd like to be able to make is in the style of Feed Me / Porter Robinson / Zedd. I know it's a lofty goal and I think I'm getting there in some ways, but some days it feels like I don't know how to pair notes for basslines etc. well why not fucked around with this message at 13:19 on Mar 1, 2013 |
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Mar 1, 2013 13:13
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I get the structures that I'm meant to be using, I just can't quite seem to recognize how to put together a bassline effectively. My problem is that I can watch all these tutorials and they explain HOW to do something, but not WHY something works. For example, if I want to make an electro bassline, I string together groups of notes in clusters and modulate a filter cutoff - but I don't fundamentally understand which notes I'm selecting. What makes a good bassline? What bassline goes under a chord progression? There's a huge disconnect in the resources available and what's really needed to make effective music IMO. It's like, you can learn to make EDM sounds all day online, but no one actually mentions how to compose a tune properly. I've been at it over 2 years now and have progessed heaps, it's just frustrating when I feel like I've plateaued.
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Mar 2, 2013 03:58
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| # ¿ May 2, 2024 08:36 |
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thanks for the advice guys. I've been reading up on chord progressions (these cheats sheets are actually a little helpful) and have made some progress. I'm still overall happy with my progress, it's just true that you can learn to make music online without learning how to be a musician.
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Mar 3, 2013 10:10
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