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awdio posted:I might just record my own and mess with them. I guess what I'm really trying to look for is some method of taking a piece of a wave form and adding a delay under it and adding noise underneath, just for an example. Synthesizing an 808 or 909 clap is pretty simple. Retrigger an AD envelope with very short attack and fairly short decay several times in quick succession, it's 3 or 4 on the 808/909. Use that to gate some filtered white noise (some kind of simple highpass on the 808/909 iirc). Then run that into the worst pseudo-reverb you can find. You don't want something epic, just a small, noisy room to smooth and glue this fairly lovely noise sound together. Fiddle with parameters until you have something in the neighborhood of an 808 clap. Obviously you can go hog wild making variations on it once you have the basic idea working.
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Sep 15, 2009 23:40
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Aether Eos is more limited but good at it's particular thing VariVerb Pro is a good one that's not as well known
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Feb 4, 2010 02:39
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Pitch bend is clip-only in Live. I know that's ridiculous but that's Live for you. For Massive in particular, you could assign osc pitch to a macro knob and automate that.
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Feb 15, 2010 10:03
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BUTTERWORBS posted:I suck at Massive and can't get this to work. I don't really quite understand the macro system in this software, I'm dragging knobs to pitch and dragging the osc pitch to knobs but nothing really does anything for me. For some reason I can't even find a decent tutorial. In the upper right of each macro knob box is a + shaped handle, drag that to the top box under the pitch section of the oscillator(s) you want to modulate. Another little box will show up next to it that says 0.00. Click and drag on the numbers in there to change the amount of pitch modulation. If you change it to 12 it will go up 12 semitones obviously. The bottom box marked SC lets you modulate the depth of the modulation, but it does nothing by itself. To see how it works, drag an LFO handle into the top box and turn up the modulation amount to a couple octaves, then drag a macro knob handle unto the bottom box. Next, click on the dash between the two boxes until it turns into an upward facing triangle. Then, mess with the macro knob. breaks fucked around with this message at 06:10 on Feb 18, 2010 |
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Feb 18, 2010 06:06
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Minotaurus Rex posted:At the end the bass and the strings are fading in and out due to similar frequencies (?), how can I stop this? The effect you are referring to isn't an EQ problem. You're running the whole track through a compressor and it's pumping, due to the kick in particular since it's the loudest thing in the track at that point. The pumping is most noticeable on sustained sounds like the strings. The first time around with the strings they are considerably louder and the kick isn't jumping up above everything else, so it doesn't really happen then. The solution is to make less aggressive use of the compressor. As a general rule you don't want more than a couple db reduction from a compressor on the master track, if you put one there at all. breaks fucked around with this message at 08:10 on Mar 12, 2010 |
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Mar 12, 2010 07:59
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It is impossible to store a value over 0db in a WAV file. By definition, or at least universal convention, full scale signals in a WAV (or any non-floating point digital audio) are at 0db. One possibility is that something in Ableton is amplifying it. It is very likely that it's a result of warping the track. The other possibility is that you are running Ableton at a higher sample rate than the WAV and the upsampling has exposed some intersample peaks. 4db is higher than you're ever likely to see, but maybe not impossible. Intersample peaks are always bad, there is no guarantee as to the behavior you'll get from the DAC. breaks fucked around with this message at 08:51 on Nov 4, 2010 |
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Nov 4, 2010 08:48
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Vector 7 posted:What I was wondering was if there might be some kind of crazy way to export the file as some kind of floating 32 bit format, and dither it down in such a way that it exploits the higher resolution. If someone could type of a good post on why this is absurd, I'd appreciate it. Now that it's not 3am... There's nothing about the greater bit depth to exploit except for a greater dynamic range, and 24bit audio already provides more dynamic range than any existing converter can utilize. Don't think of bit depth in terms of resolution. As long as proper dithering is occurring the only difference is noise floor. Proper dithering is usually taken care of for you. People never seem to believe that the only difference is noise, so you can set up the following in Ableton: drumloop on track A, sends only, white noise into a highpass filter at ~10k on track B, also sends only. Adjust faders so that your drumloop and noise peak near 0db. Put a redux on the send, turn on the bitcrusher part and set it to 2 bits, make sure the downsampling part is off (set to "1" which it should be by default). Max the send on the drumloop, confirm that it is really hosed up, and then start raising the send on the noise. I say set it up on a send because then you can duplicate the tracks, set the dupes to master, and send the two pairs to different sides of the xfader for easy comparison if you want. Anyway, I think you will be impressed with how well your drum loop holds up when it's being quantized to one of 4 possible values. As far as the track you linked, the bass and kick are both plenty subby but the bass doesn't sound like more than one patch to me, just a big clean bass. That's mostly in the mixing rather than the sound itself. Try stuff like sine, tri, heavily lowpassed saw or square. I like a lowpassed square with a triangle an octave above, which gives you a filtered saw-ish sound with control over the odd harmonics via tri amp. You could do similar with two tri or two filtered pulse. A bit of saturation with any of the above... Just keep it simple and keep other stuff out of the way of it (and vice versa) in the mix. breaks fucked around with this message at 03:10 on Nov 5, 2010 |
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Nov 5, 2010 03:05
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It refers mostly to old string synthesizers that had 12 oscillators, one for each note in the highest octave it could play. For lower notes, there were circuits that would divide the frequency of those 12 main oscillators, producing the same note an octave (or 2 or 3 or...) lower. A divider circuit is simpler than a full blown oscillator, so using this technique, all notes could be played simultaneously with a relatively small amount of circuitry and therefore a relatively affordable price. Nowadays "divide down" synths usually emulate the other aspects of these machines too - lush chorus effects and simple, limited synthesis capabilities in line with the original purpose of emulating string sounds. But, those things don't have anything to do with "divide down synthesis" per se. The Solina String Ensemble is the machine I always think of, and the most famous of those types of instruments anyway. The Novachord is another one that's become fashionable lately with several sample sets released during the past year or two. It's notable because of its age - I think the first ones were made in the late 1930s, obviously making it just a little bit ahead of its time. 
breaks fucked around with this message at 04:37 on Nov 9, 2010 |
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Nov 9, 2010 04:32
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Cobweb Heart posted:What's wrong with it? I ask as a beginner to electronic music. It's just not genre appropriate for that track. The people who are down with that sample are off in a forest somewhere, eating whole sheets of acid and listening to Shpongle. On the other hand, the electro house audience is mostly the hipster equivalent of hos and bros getting shitfaced at the club.
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Nov 13, 2010 00:38
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It depends. Assuming you're working digitally, if the panned tracks are identical (eg. duplicated, unprocessed mono audio), then either nothing will happen or you will notice some increase or decrease in volume, depending on pan law, whether you're comparing two panned vs one center or vs two center, etc. In any case, there won't be any change other than the amplitude, as either way you're sending identical copies of the audio to both channels. If the tracks are not identical then you will get some kind of stereo effect depending on what the differences are exactly. The less correlation between the two channels, the wider it will sound. You can exert control over the width and location by moving the pans around. Hard left and hard right just amount to "as wide as possible" given whatever differences exist.
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Dec 8, 2010 09:24
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Always be skeptical of the quality of stylish products made by a company that doesn't normally manufacture that kind of product. For not much more than they are asking for those you can get BeyerDynamic DT770s, Ultrasone Pro-650s, AKG K271s or some other ridiculously high quality piece of equipment.
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Feb 5, 2011 01:43
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Those are great recommendations but I wanted to mention ValhallaRoom since it's also great and only 50 bucks.
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Apr 7, 2011 03:42
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Maschine is expensive but really cool because of the hardware half of it. It's not quite a full DAW by itself but you can definitely do a full track on it without ever touching the computer. I mostly use it just for doing drumtracks, with the rest in the DAW, and it works well like that too. I guess Arturia has a plugin/hardware drum machine out soon too. Not too familiar with it but Geist is supposed to be pretty decent for a plugin only thing. It's cheaper than the other two since there is no hardware part.
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Apr 18, 2011 06:32
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Your stereotypical house/tech kick these days has the biggest peak in the 40-60hz range, and the rest of the subs are cleared out, and then the bass may live around 80-120hz. You can go the other way with the bass in the subs and the kick not taking much energy down there. Especially for breakbeats, it keeps busy kick patterns from muddying things up, and when the bass and kick hit at the same time it still sounds huge if you've done everything properly. The thing to take away is not that sidechain compression is the magic solution to everything, it's just that you don't want two sounds with lots of energy in the same part of the spectrum and especially not the subs/bass hitting at the same time. There are a number of ways to accomplish that goal. Use sidechain compression/volume automation when you want the pumpy sound and don't when you don't. You can get a clear result with proper selection of sounds and EQ.
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Apr 25, 2011 04:19
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Vector 7 posted:Is it just arpeggiating some chord really fast? Yes, it's just a rather fast series of notes. In that track it's more merely guitar shredding speed (and really kind of a guitar like patch with a simple waveform through some distortion and some quick glides and blah blah blah), I usually think of the chiptune arps as being faster than that... More like this, just the first thing a search picked up: http://www.youtube.com/watch?v=WHK1krhrqA0&t=30s Those originated with old Amiga tracker music that was limited to 4 channels. One of the tricks people would use to get the most out of their 4 tracks was arpeggiating chords at ridiculous speeds, so you can get a chord-like sound with only one track. breaks fucked around with this message at 06:53 on May 20, 2011 |
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May 20, 2011 06:49
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The kick sounds weak, not enough high end/attack on it for my taste, and not loud enough. The snare sounds good but also too quiet. Just turn that poo poo up, man.
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Jun 23, 2011 07:25
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Put your raw material together by layering (or not) some combination of synth drums and samples and EQing them. Run it through a saturator and/or limiter to turn it into as much of a solid block of sound as you wish. EQ out any objectionable stuff the saturation/limiting brought out, some ringing frequency you don't want is pretty common. I usually put the EQ before the saturation/limiting but sometimes it's better after, or both. Use some combination of compressor, transient designer, and/or gate to adjust the amp envelope of the sound if need be. Tweak everything up and down the chain until it sounds like you want. Mix it loud and make sure your kick and bass aren't conflicting with each other or you will ruin all the work you just did.
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Dec 8, 2011 06:55
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Unless you've invested a fair bit of money in acoustic treatment, your room is going to gently caress everything up and there's going to be holes and spikes in your bass regardless of what monitors you have. Best thing to do that does not involve a club system or high quality studio is to check on headphones. M50s or anything else that does a decent job with the subs will work. Bass will sound much more even that way, but subs in particular are obviously deceptively quiet on headphones, so keep that in mind and use tracks that you know sound good on a club system as a reference. Aside from that you can eyeball the meters to make sure the levels aren't all over the place.
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Jan 10, 2012 04:30
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Xpander, I liked that face the feeling track, but thought it could use some more variation, and in some spots the stereo image got wonky... It's not quite as bad on speakers but for example around 2:20 everything seems to tilt right. I noticed it 4 or 5 times when I was listening on headphones, either to the right or just getting weird sounding. The panning effect just doesn't work out quite right, I think. That track reminds me a bit of the gloomy garage scene, except with straight drums. If you're okay with garage drum work and you're not already following that stuff, you might try looking up some dudes like Gasface, Ghostek, fedbymachines, Bonecold, and VVV on Soundcloud. Just pulling a few at random, not necessarily the ones most like your track, maybe check some of the guys that those dudes follow too. For such a tiny scene that style has a disproportionate amount of talent, I think.
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Feb 4, 2012 04:44
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Best cheap reverb is valhallaroom. Actually you could remove the cheap from that sentence and it would still be true, so if you don't need the other guitar rig stuff just drop the fifty bucks on that instead. The 2c verbs are good too but more expensive.
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Feb 11, 2012 04:55
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Depending on your definition of inexpensive, manmademastering is 60 euros per track. Glowcast is 30 pounds. Both of those places do mastering for a lot of techno.
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May 16, 2012 05:11
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A maschine mikro is like 350 isn't it? If that's not entry level you really don't want to know what this poo poo cost 10-15 years ago.
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Jun 3, 2012 05:02
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If you've not got any prior experience then I think Live and Studio One are the two to take a look at. S1 is kind of an alternate universe Cubase. It doesn't have quite the feature set that Cubase does, but it's easier to get to grips with and just nicer to use in general. Of course Live is Live, nothing else really works the same way. Which one of those two is better is really just personal preference. Both have generous demos.
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Aug 9, 2012 04:53
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My first piece of advice is to uninstall Audacity. Install either Ableton Live or Studio One. Neither is free, but both do have demo versions that will take care of you for about a month. These are the two easiest to use full-featured DAWs. Hopefully during the demo time you can figure out how much you really want to invest in this. Youtube either "studio one basics" or "ableton live basics" depending on which one you end up using. If you notice a lot of latency between playing a note or turning a knob and hearing the sound or it affecting the sound, research how to install and configure ASIO4ALL. Don't buy any gear until you feel like you have some idea of what you're doing. Finally, go to http://www.musictheory.net/lessons and learn that stuff. It won't happen overnight but spend a little time on it each day. If you continue doing this for a long time, once you're done with the lessons spend a little time each day on the ear training exercises. breaks fucked around with this message at 03:06 on Oct 30, 2012 |
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Oct 30, 2012 03:03
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I don't think audacity supports instruments, just effects. Like I say, abandon ship, get ableton or s1 installed. Audacity is not what you want now and if you ever need a program like that there are better options (wavelab, audition, tape and razor blades, failing all else a gun and a bullet).
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Oct 30, 2012 17:50
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Don't sweat the earbud situation when you're starting out. Obviously if you want to write tracks with really low bass and your earbuds don't put out any really low bass, there's an issue there. But for the most part, if you're writing and listening on the same gear, it doesn't really matter what you use. When you get to a point where you're sharing your tunes and you listen to what it sounds like on other systems, you'll start having translation problems and you'll need to look for ways to solve them. But it's not an issue yet, so worry about that then. Concentrate on learning to use your tools and the basics of theory and track structure. Try to get to a point where you can start putting some simple tunes together and practice practice practice. Don't branch out with too many different plugins or whatever at first. Try a few things, pick whatever seems easiest and most fun to you, really learn how to use that stuff, and start making lots of tracks. It's a bell curve kind of thing where you have to start climbing the mountain and getting some inertia, then you'll make lots of progress for a while, then it will slow down and at that stage you should have a good idea of what questions you need answers to. Good luck, Danger Pumpkin. I appreciate that your name is in the holiday spirit. 
breaks fucked around with this message at 05:48 on Oct 31, 2012 |
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Oct 31, 2012 05:38
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RNC is the first thing that comes to mind at that price.
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Nov 24, 2012 02:57
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I like the track and I like the Culture reference! If I was gonna criticize it I'd complain about the number of breaks, but I have a definite preference for minimizing the number and length of them these days. breaks fucked around with this message at 01:56 on Mar 10, 2013 |
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Mar 10, 2013 01:51
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He already knows and does that stuff, have a listen to his tracks. Sorry I guess that sounds a little snappy, not trying to be a dick! Just saying he is definitely already doing a decent job in that regard. I listen to and looked at a couple of the tracks and they seem fine to me, but I don't listen to this genre so I don't know what to compare with. The peak vs RMS spread looks like it's in the 8-9db range which is pretty typical these days as far as I know. Do you have an example of one that's striking you as noticeably louder, Beef, and maybe a screenshot of what you are talking about in Traktor? Are you already hitting everything with subtle saturators/console emu plugins? Don't know if it would really be a good idea since you've got pretty bright tracks, but might be worth a try if don't already do it. breaks fucked around with this message at 05:47 on Mar 21, 2013 |
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Mar 21, 2013 05:38
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Depending on the source, using a transient plugin to lower the volume the sustain part or an expander can do an ok job. Ducking the reverb by hand might be better. Obviously these are all imperfect as they can't separate the reverb from the source. There is also Zynaptiq Unveil which makes a solid attempt at actually removing reverb and leaving the source alone, but it isn't cheap.
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May 22, 2013 01:00
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If you like a bit more underground/somewhat experimental sounds, check out driven machine drums (strikes back) / that guy's other packs.
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May 29, 2013 04:32
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A little bit of a longshot maybe, but anyone know if the samples from the Stacey Pullen/Black Odyssey - Sweat remix contest that happened early this year are still floating around somewhere?
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Sep 29, 2013 08:44
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I haven't had a chance to listen to any of it but there is nothing "musically incorrect" about changing keys or using notes from outside of the key in the middle of a song. All manner of borrowing from and modulating to other keys happens in music as a whole. Outright modulation isn't common in dance tracks, but in any case, you aren't strictly limited to the notes from X key for a whole track.
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Nov 23, 2013 21:40
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If you are doing things like EQ on the master you should ask yourself why you aren't EQing tracks or busses instead. I don't mean never EQ the master, but you have all the source material available to you, in general you are better off EQing the actual tracks or busses that need the EQ. A good limiter on mild settings is a must to get volume, in some cases you may do a compressor followed by a limiter, though some mastering-oriented plugins do something like that for you already. Of course analyzer type stuff that has no effect on the sound is fine too. Be skeptical and cautious when putting anything else on there.
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Dec 20, 2013 03:42
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For whatever it's worth, once a year or so (including right now through the end of the month) they do half price ($150) upgrades from Melodyne essential, which itself is $99 (some places sell it for a bit less, or it's free if you buy the full Studio One package).
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Jan 28, 2014 03:27
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The Synth Squad synths can do that.
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Feb 21, 2014 05:35
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It is not standalone hardware, it is a controller for the Maschine software.
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Aug 13, 2014 18:23
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fackmadgen posted:Would love feedback on any of these tracks I liked Blade especially, wonky house music does it for me lately and the distorted part kind of puts it in that category. The other stuff doesn't have enough of an underground sound for me I guess, but it seemed pretty well produced. Don't have too many comments as I didn't really have any particular complaints that I felt weren't just matters of taste. Good job I'd say!
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Sep 2, 2014 06:54
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Jakabite posted:I guess what I'm really asking is if it's 'better' to go the dj route a bit more first as someone new to music production and creation of any kind? If you're interested in production then focus on that, there isn't really much overlap in terms of skill set with DJing. The main way DJing helps with production that you are hopefully doing a lot of active listening to music, but you don't have to DJ to do that.
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Dec 8, 2014 09:00
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The Drop is the best filter VST currently, but it is not free.
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Dec 23, 2014 19:18
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