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Kai was taken posted:Added Electro to the OP. If Eurodance gets a genre, Electro should. I think this pretty much covers most of the "main" genres, or at least enough to trace back derivative roots. Small correction, what you've actually got listed there is electro house (which is related to electroclash), but despite the similar name is a very different sound from electro. Electro is a pretty early style that came about when those producers started combining Kraftwerk sounds with hip-hop and funk. Electro has a lot in common with Detroit techno, but sort of predates it. Lots of 808 beats, spacious echos, and mad amounts of pop-locking and robot-ing. Afrika Bambaataa's "Planet Rock" is one of the most famous electro tracks. h_double fucked around with this message at 03:24 on Apr 13, 2008 |
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Apr 13, 2008 03:13
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First Time Caller posted:Could someone throw me a bone on how to program those really awesome rumbling, overcompressed basses stereotypical of Electro House? Artists like D.I.M, and deadmau5 use them all the time. I really like that sound and it'd be awesome to have a decent preset to go off of when creating sounds similar to this. http://www.abletonguru.com/electro-house-bass-in-yo-face/ is a nice little tutorial that should get you in the right direction. He uses vinyl distortion and chorus plugins, but doesn't put a compressor in the patch since it's basically just a squarewave with a simple on/off volume envelope. h_double fucked around with this message at 03:22 on Apr 13, 2008 |
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Apr 13, 2008 03:18
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WanderingKid posted:The description of Trance and House is a bit hosed up too. But yeah. Yeah, I just noticed that too. It might be helpful for the genre descriptions in the OP to include some more brief information about characteristics of different genres, like typical BPMs and instruments, and especially a little bit about the history and roots and influences of different genres. These are more useful and objective than identifiers like "groovier" or "euphoric". For example: Drum & Bass: first evolved as Jungle, out of the early 90s UK hardcore scene, which mixed sped up breakbeats with dancehall and hip-hop. Branched off into different sub-genres like jazz/ambient-influenced "intelligent" D&B (LTJ Bukem) and the more purely electronic/industrial darkstep/techstep (DJ Trace, Dieselboy). D&B styles all have in common a tempo usually between 160-180bpm, heavy basslines, and intricate syncopated rhythms. House: grew out of the gay club scenes of the late 1970s, blending disco with other pop and electronic sounds. Heavy 4-beat but often with elaborate rhythms, and usually more emphasis on actual (sampled) instruments and traditional song structures compared to most electronic music. Usually around 110-130 bpm, has spawned a million sub-genres ranging from soulful deep house (e.g. Frankie Knuckles, Derrick Morales) to the sometimes more ambiguous and overlapping electronic-sounding progressive house, tech house, etc. Or if the trance description maybe had something to say about Harthouse or Sven Vath or more modern offshoots like Goa/psytrance, and how trance is usually around 130-160 bpm with a heavy 4-beat. I realize that this thread shouldn't get sidetracked into a comprehensive history of electronic music, but I think it could be useful to provide some simple and succinct pointers for new DJs/producers to answer questions like "what is this I'm listening to and where can I learn up on it more?" h_double fucked around with this message at 06:58 on Apr 13, 2008 |
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Apr 13, 2008 06:53
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Kai was taken posted:But, this is supposed to be what everyone wants, so if everybody would rather have a pasted Wiki paragraph for every genre, I'll change it. Perhaps a consensus would be to simply have a note in the OP to look up the specific genres on Wikipedia, which usually does have good background info about house, techno, trance, etc. I do still think that if nothing else, a brief note about common BPM ranges for different genres could be useful information that's not likely to be disputed. Also I certainly don't want to "cram history down people's throats", but I would strongly offer as advice to new producers and DJs, LEARN WHERE THE MUSIC COMES FROM. Listening to what's hot on the charts now without also knowing about Giorgio Moroder and Kraftwerk and 80s new wave and 80s breakdance music (just to name a few major influences), will only take you so far -- it's like trying to be a rock guitarist and not listening to anything recorded before 1995. It's important as part of appreciating and respecting the culture, but it's also important because it will put new sounds in your ears; it will get you thinking in different directions and give you some nice surprises to pass onto your listeners. h_double fucked around with this message at 15:02 on Apr 14, 2008 |
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Apr 14, 2008 14:09
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RivensBitch posted:There's a lot of discussions about tools and the correct aesthetics to ascribe to specific genres, but I'd be much more interested in a thread about electronic/club/dj music that covered the actual composition process that people use. How do you go about choosing samples or tones? Do you start with a drum beat or a synth line? How do you get from the start of your song into a full blown piece? A lot of times I'll hear something (a synth patch or a bit of a song) and think "oh hell yeah I want to work that into a track". But when it comes to actually putting the track together, the kick and bassline just about always come first. It's like the foundation of the building (and are such an important part of dance music in particular) that it's really really hard to have s strong track unless the kick & bass fit together right from the beginning. As far as actually fleshing it out into a full track, there's some advice that has been posted on this forum a bunch of times, and that's to take a song (by somebody else) that you really like, and sit down with a piece of graph paper while listening to it. The rows of the graph paper are the different parts of the song (kick, snares/hats, bass, vocals, wee-ooo synth, whatever) and each column of the graph paper represents 4 or 8 bars of the timeline. Just go through and map when different parts come in and go out, and that'll give you at least a rough guide to think about how to structure the buildups and breakdowns in your own tracks.
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Apr 14, 2008 14:53
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Yoozer posted:Not if you want notation; then it's Cubase or Logic for you. Or Sonar (if you're running Windows), which is roughly feature comparable to Cubase and doesn't have Steinberg's lovely USB dongle anti-copy protection (and current versions of Logic are OSX only). IanTheM posted:Does anyone know a really light weight app that I can use for making samples before I put them into Logic? It gets annoying having to fire up Logic and do it in a convoluted way when I'm trying to build drum samples out of many songs. OS X by the way, if you didn't catch on after I mention Logic. Audacity?
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May 4, 2008 03:54
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Yoozer posted:Good software vocoding is apparently hard and expensive. Can't argue with that, although Waves and NI have both had pretty good vocoder plugins for years. As far as Live goes, I think for Live 8 they need to first and foremost get fix the long-standing limitations of not being able to record automation into clip view, and only being able to automate 128 VST parameters.
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Dec 11, 2008 07:49
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KaosPV posted:Also, I hosed up in my previous message my other question: I wanted to ask how to draw bars in the ARRANGEMENT (not session) view. How do i do it? (I'm dumb, I know) You're doing it right. Either copy/paste from clip view, or record a snippet from clip view, and then extend the clip out to the proper length. Since you can have multiple clips on the same track, there would be no way for the draw tool to magically know which one to insert. mezzir posted:-curved breakpoints (unless i'm missing something, i haven't figured out how to do it and ffs flstudio does it easily) Yes, this too, every other major sequencer has had this for 15+ years. h_double fucked around with this message at 14:23 on Dec 12, 2008 |
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Dec 12, 2008 14:21
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toadee posted:(I don't think there are even any attempts at 606, 707, 101, or 202 emulation either!). ADM (Audiorealism Drum Machine) has a 606 emulation, as well as some pretty solid 808 and 909 generators. There's a freeware 101 emulator softsynth that's a few years old, but I haven't really played with it much (it didn't at all impress me). I don't know of any attempts at 202 emulation offhand. I'm not sure why anybody would want to emulate a 707, since the best part of it was the hardware interface (built-in MIDI, the beat grid, individual volume controls and individual channel outs); half of the sounds were pretty generic and the other half (hats, cymbals, claps) are the exact same samples as the 909. h_double fucked around with this message at 07:11 on Dec 14, 2008 |
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Dec 14, 2008 06:59
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I don't see how obsessing over 303/808/909 sounds is any difference whatsoever from guitarists obsessing over boutique fuzz pedals, or a genre like surf rock where it's all about getting a vintage tone and a particular retro flavor. It's partly about history and a particular aesthetic, and with the 808 especially it's also because it's so versatile and fits into a mix so nicely in anything from hip-hop to techno/house/electro/trance to pop. h_double fucked around with this message at 19:26 on Dec 16, 2008 |
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Dec 16, 2008 19:24
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Mannie Fresh posted:So this is my first attempt at making something with samples that isn't Premo inspired boom bap and my first post in this thread... 1. Mix up your drum pattern with more variations and fills. Right now it's pretty much the same 2-4 bar beat looping over and over and it gets really repetitive. 2. Tune your drum hits so they are in the same key as the rest of the song.
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Dec 21, 2008 22:02
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MrLonghair posted:Is using computer software as a sampler a good way to get an idea of how to operate a regular rackmounted sampler? I'm a month away from a Yahama A4000 if the guy finds all the papers on time and I can't put my work on hold, the samples would be triggered by midi out from my Yamaha RM1x. It's reasonably similar. Hardware samplers and sampler plugins both have the idea of assigning samples to zones (which can be anything from a piano multisample to a drum kit map), and each zone has its own set of parameters (levels, pan position, envelopes, filters) as well as their being some global parameters for the whole patch. Obviously the interface is a little different with a hardware sampler, but it's fairly straightforward if you've ever spent any time tweaking a synth. EDIT: and I mostly agree with BunnyX about hardware samplers being sort of redundant for a lot of people. They are not as easy to use, and switching patches around is slow, and it's a pain having to maintain separate a separate storage medium for your samples. On the other hand, they sound good, are usually ultra-stable, and can offload a lot of work from the CPU (and sometimes just having a different kind of interface can suggest different creative possibilities). h_double fucked around with this message at 21:58 on Dec 23, 2008 |
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Dec 23, 2008 21:47
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A MIRACLE posted:I'm using logic. Say I want a flanger on my hi hat auxiliary, but I only want it for a few bars. How do I do this without creating a new channel exclusively for flang-ed hi hats? ..Or is that how I do it? Thanks Easiest way is to probably set up your flanger effect on the high hat track, with the wet/dry knob turned all the way to "dry", then automate in however much wetness you need throughout the track.
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Dec 25, 2008 04:18
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After having basically used nothing other than Ableton Live for the past couple of years, I reinstalled Sonar on my new desktop, and as much as I do like Live (especially how you can do basically everything in realtime), wow it is SO nice using a sequencer with a full-featured MIDI editor, and little things like track folders and curved automation envelopes.
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Dec 25, 2008 05:13
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Three Red Lights posted: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. Hmm I think I like the first one better. This is a nice little groove you've got going on, but a couple of suggestions: 1. Go easier on the effects. One of the keys to a good DnB track is the rhythm should be really tight and well-defined. The spaces between the notes are as important as the notes themselves. Use delay and reverb very sparingly and tactically. Remember that whenever you add an effect, you almost always do so at the expense of some other detail of your mix -- you either give up a little bit of definition or punch or dynamic range, or crowd out some other instrument a bit. 2. Similarly, your kick needs way more presence. Especially with a sound like DnB, the kick is the foundation of the track, it's the steel beams and cinderblocks that hold everything else together. With no kick there's no groove, and with no groove there's no track. There's a few things you can do to give your kick more presence, like sidechain compression and EQ (and by EQ, think more in terms of cutting frequencies on other tracks, rather than cranking them up on the kick channel). Also one of the most important things you can do to insure a good mix is to have a good monitoring setup, and audition your track on a variety of systems, especially small/cheap ones (the first time I listened to your track was on laptop speakers and I literally couldn't hear the kick at all).
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Jan 8, 2009 21:33
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da keebsta knicca posted:I bought a Vestax VCI-100, and a Numark DJIO pretty cheap barely used off some guy on craigslist. Anyways I wanted to practice previewing tracks in Traktor on my macbook or my home computer in my bedroom. Traktor is designed to only use a single audio device, so you cannot use the onboard laptop sound and the DJIO simultaneously. Your best bet (for portability) might be to get some cheap (preferably powered) computer/ipod-type speakers, plug those into one channel of the DJIO, and monitor through the headphones on the other DJIO channel. h_double fucked around with this message at 09:45 on Jan 9, 2009 |
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Jan 9, 2009 09:40
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Nice track Blinn; it's not quite my thing exactly, but it sounds pretty polished. I especially like the piano break. Really the only thing that doesn't sound quite right is the lead synth sounds a little thin/flat to my ears, maybe if it had a *touch* more dynamics or effects? Also it sounds a bit slow to me, like it really wants to be a few bpm faster, but that might be mostly subjective. oredun posted:honestly its probably the best track ive heard from this thread. most is just garbage/people demo'ing their first song That kind of attitude helps nobody; this is explicitly a "help me improve" thread, and people work hard on their music; no need to be lovely or dismissive about their efforts. (P.S. SHIFT KEY)
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Jan 12, 2009 20:35
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A MIRACLE posted:Is it ok to put a limiter on the master fader? It's an invitation to lots of bad habits. Leave the master fader alone and mix everything to about -6dB on the master channel.
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Jan 19, 2009 02:46
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I Dig Gardening posted:Yeah.. if you're getting it professionally mastered you should do that. If you're like the rest of us who are forced to/like to master our own stuff then a limiter on your master channel is extremely common and useful! How is it "useful"? If you are overdriving your master channel, you are losing punch, depth, detail, space and dynamic range in your track, all in ways you have no direct control over. If your track isn't loud or exciting enough, why not turn up your monitors instead of overdriving your master channel? If the final mix doesn't sound loud enough, that's what mastering is for, even if your "mastering" is just normalizing your final .wav file in Audacity. One of the most important and useful lessons I've learned about mixing and producing music is that less is more. Don't think in terms of what to boost to make a mix better, think in terms of what levels and frequencies you can cut. Learn to use EQ and compression on a case by case basis, don't expect some master limiter plugin to take up the slack. This article expands on this idea with a lot more detail.
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Jan 19, 2009 06:35
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fret logic posted:I'd like to buckle down on a softsynth to do all my learning, but I'm not sure which. I want something that'll put everything in front of me, is legible, doesn't hide ridiculous filters behind pages and tabs, and when I finally get enough skill, will be able to produce a decent sound from. Money is no object. Rob Papen's Albino 3 is my go-to synth for many of these same reasons. The interface is nicely designed and easy to navigate, while it's still a really capable and pro-sounding synth. It also comes with a large library of high quality presets. h_double fucked around with this message at 04:42 on Jan 20, 2009 |
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Jan 20, 2009 04:38
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nugget of poo posted:I have a question about Albino. One of my favourite dnb bands, Noisia, has done a preset bank for Albino, but I don't know what it sounds like. I downloaded the demo but there are no presets explicitly made by Noisia. Would any of you kind Albino-owning souls mind posting mp3s of the sounds in the Noisia soundbank? There are about 20-30 patches in the Noisia bank and most of them are really good, ranging from pads to basses to tech/industrial type effects. Most of them have interesting modulation wheel effects, and it wouldn't be too helpful to just post a bunch of one-note clips, so here is a little demo track that I just threw together, which is nothing but Noisia presets and a couple of stock drum loops (with no effects or anything added).
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Jan 20, 2009 09:59
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nihilocrat posted:I made an app awhile back that does something very similar to the software in this video, the "cheater keyboard": You could also just transpose your synth or MIDI controller so that the key of the song is transposed to C on the keyboard (e.g. transpose +7 semitones for the key of G) and stick to playing the white keys. If you're using Ableton Live, you can use the "Scale" MIDI effect to do the same (and a bunch of other interesting tricks). And there's always Autotune.
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Jan 22, 2009 00:49
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Harminoff, is your Windows 7 install 32 or 64 bit? Ableton Live isn't officially supported under Vista 64, and while a lot of people have had no problems running it in a 64 bit OS, it's been dodgy for other folks.
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Jan 23, 2009 10:09
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I'm not sure how Operator or Massive are remotely "a nice robust analog softsynth", even if they are nice synths in their own right. As far as a more traditional analog/subtractive type synth, I've already mentioned I'm a big fan of Albino III, and I hear a lot of people saying good things about Sylenth too.
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Jan 26, 2009 00:06
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Yoozer posted:Cubase is nothing like it. Eh, for what it's worth, I've been using Live and Sonar comfortably for years, and Reason's sequencer just never clicked for me. But yes, I agree that a full featured DAW package is probably the most complex thing you will do on your computer, short of full-fledged programming or maybe 3D rendering. And it's not HARD, most of it is pretty straightforward really, it's just that there's a lot there, and be prepared to spend a week or two just learning your way around before you're intuitively making music. I see there are some Cubase 4 tutorial DVDs on ebay selling for $20, that might also be a good investment in addition to a good book.
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Jan 30, 2009 20:39
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In that case Cubase is going to be far, far worse 
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Three Red Lights posted: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. You can do this really easily in Ableton by just loading up an EQ8 in the effects bin of a channel and dragging one of the EQ band dots around with the mouse.
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Feb 2, 2009 16:54
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Loopmasters has a large selection and sells downloadable packs. The only hitch I can see is they don't list their prices in US $ so I'm not sure how they deal with the exchange rate. I would also suggest crate digging for some older .wav/AKAI format sample CDs; you can get some deals on good libraries as long as you aren't just looking for genre-of-the-week loops. Also you might be able to access the underlying wav files in the Puremagnetik packs (you could always write and ask them about it). The big advantage to distributing things in Live/Kontakt/etc. format is that sometimes a single patch might contain dozens (or hundreds) of individual samples, premapped to different keys/velocities/etc. and it is a huge timesaver not having to set all that up by hand.
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Feb 8, 2009 18:19
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I just picked up an old book called "Synthesizer Technique" that I've had for ages. It was published in 1987, and I found it at a used book sale a few years after that, when I was first getting started with all this stuff. The only synths I had at my disposal were a CZ-1000 and an Alpha Juno-1, and this book teased me all to hell with its discussions of "well to get this sound you just hook up your modular synth like such...", so I hope you fuckers who are new to this know how good you have it. Anyway the book is about half "how to create a bass tone/string tone/whatever" which is still a satisfyingly technical discussion even though there's nothing really ground breaking there. The other half of the book is all about using a synth as a performance instrument, an idea which seems pretty foreign in this era of sequencers and live PAs (there are even a bunch of photos of guys unironically rocking out with keytars.) I guess it got me thinking that even if you are all about cutting edge dance beats, there is a lot of really, really good synth music from the 70s and 80s -- Jan Hammer, Vangelis, Herbie Hancock, Giorgio Moroder, Keith Emerson, Mike Oldfield, Wendy Carlos, Tangerine Dream, Yes, etc. I don't dig on all of it all of the time, but there's some great sounds and inspirations there (especially given the recent electro-house/post-Italo/etc. retro boom).
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Feb 11, 2009 04:24
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evilocity posted:Why do you guys produce electronic music, and what styles attract you most? I listen mostly to deep/soulful/funky house, because it makes me happier and more energized than pretty much anything. And techno, I love the way it's invigorating and hypnotic at the same time. And UK garage, ragga jungle, old-assed electro, lots of great music. I got interested in making music with computers when I was about 13 and had an Atari 800, which had some fairly primitive notes-on-a-staff type software (Music Construction Set) and also some tracker-type programs. I tinkered a little bit with the internals of the POKEY sound chip towards something that approached synthesis, though I only had a basic idea of stuff like attack, decay, and timbre. A few years later I got an Atari ST, and while I never dug that much into the details of its sound hardware, it DID have built in MIDI ports (what a great feature) and so I eventually got hold of a CZ-1000 (which sounded great but was a questionable choice for a first synth, as its phase distortion synthesis is still one of the more daunting and complex methods of synthesis I've seen). After high school my habit started getting serious and I started accumulating more gear and a proper sequencer (Mastertracks Pro) -- the ST also ran Cubase and Creator/Notator (which later became Logic), and I still to this day have not seen a music computer that's as rock solid stable as that little 8mhz Atari. I've always loved the DIY-friendliness of electronic music, how you can put together a whole project without having to coordinate with bandmates or worry about finding space to make noise in. I play guitar too, and got intrigued by how the recording and production process could be an instrument in and of itself (I think getting turned on to Eno and Wendy Carlos did a lot to get me thinking in this direction). h_double fucked around with this message at 21:42 on Mar 2, 2009 |
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Mar 2, 2009 20:50
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The Fog posted:From a production POV, EDM is much more exciting than any acoustic genre. You have all the synths, VSTs, samples and effects in the WORLD at your disposal, so you're not limited to the same old tired: guitar, bass, drums, keyboard, vocals. That's a little bit like saying "painting portraits is boring, you're limited to just faces" -- but yet within that one simple subject you can have everything from Rembrandt to Picasso to Warhol. Look at something like 1970s dub reggae -- King Tubby, Scientist, Lee 'Scratch' Perry -- which is a HUGE HUGE influence upon modern music, everything from DJ culture to punk. They were producing simple pop songs, the same old guitar/bass/drum/keys/vocals, and by way of creative use of the mixing board (plus a couple of spring reverbs, tape delays, etc.) they invented a whole new style of music. The producer had suddenly also become a composer and performer. It's sort of tough to directly compare a rock producer to an EDM producer, because the latter blurs the lines even further between composition, engineering, and musicianship. A rock producer sometimes takes a relatively transparent role, but can have a huge influence upon a band's sound. Go listen to albums like Sgt. Pepper and Dark Side of the Moon, and how much is going on with the production (and in the case of Sgt. Pepper, keep in mind George Martin did it all with four tracks of tape). Listen to Phil Spector's production on the Ronnettes' "Be My Baby", then go listen to some albums produced by Rick Rubin and Butch Vig and Eno, and think about how much diversity there is just recording the same old instruments. This is all relevant to electronic musicians because if that much diversity is possible with guitars and drums, think about how much MORE you ought to be able to do when you can conjure sounds wholly from thin air (in a similar vein, lately I have been digging into the Classic Tracks archives from Sound on Sound which is full of interesting lore).
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Mar 3, 2009 18:00
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I've been playing around with the GrooveMonkee drum tracks, which are MIDI drum tracks played by live drummers. I'm using them with Battery, but they also come with presets for EZDrummer, BFD, etc. There's a pretty generous free sample pack on their website.
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Mar 4, 2009 15:51
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Three Red Lights posted: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? That's tough to say as an absolute (since "subtractive synthesis" can include everything from analog oscillators to sample playback), but FM synths tend to be particularly good at metallic/bright/"pure"/bell-like/ring modulator-y tones in a way that's not easy to replicate by carving out tones with filters and envelopes. Go youtube some DX7 demos and you'll probably get a sense of what I mean.
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Mar 4, 2009 16:48
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Yoozer posted:Anyway, here's all the banks dumped as System Exclusive (SysEx) files. SC-SC-SCORE! Wow, thanks!
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Mar 4, 2009 17:10
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Halo posted:Go back and listen to the original arcade version of Double Dragon. It's basically entirely FM synthesis for all for the sounds and music. That's a (Yamaha) YM2151 chip providing the music, an 8-voice 4-operator single chip FM synth that was also used for the music of most of the classic mid-1980s Atari arcade games (Marble Madness, Gauntlet, Stun Runner, 720, etc.). The "insert quarter" bell chime those games used is a perfect nutshell example of why FM sounds so cool. (also seconding whoever's request earlier for some pointers to good FM tutorials or book recommendations. Native Instruments has a couple of short but decent FM7 tutorials on their site (you need a registered NI account to view them), but it just barely scratches the surface of how operator modulation works -- I'd love to see a more detailed discussion of building specific timbres, envelopes, etc.) h_double fucked around with this message at 17:59 on Mar 10, 2009 |
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Mar 10, 2009 17:52
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SynthesizerKaiser posted:e: I'm looking for some quality samples of whales singing. I guess any whale will do, but I'm looking for a humpback's eerie call in particular. Anyone know where to look? Googling "whale song sample" and all its cousins hasn't lead me anywhere good. Maybe there's a "world music" sound sample library out there somewhere? I found a nice whale song CD years ago that I think only cost $4. It was part of a budget environmental sounds series (I also got "Sounds of the Okefenokee Swamp", which is awesome). I'm sure there are a bunch of similar nature sounds albums, just make sure to look for one that doesn't have any lovely new age music on top of it. Kai was taken posted:Save your Reason project in case you want to come back and edit later, but other than that, flatten that bitch. You can also export your Reason drum patterns as MIDI files which can be imported into Live clips. Though I don't know how well that would work if you're doing a bunch of crazy automation, and all in all it's probably more reliable and less labor intensive to bounce to audio (unless, say, you wanted to do something tricky with Live's MIDI effects). h_double fucked around with this message at 16:48 on Mar 20, 2009 |
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Mar 20, 2009 16:34
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Mannex posted:Pretty chump question here, but what is the easiest way to take two samples, layer them together, and end up with one sample in Ableton? If you have Sampler, just load them into the same patch with zones so that they trigger simultaneously. (or you could maybe do the same thing with a freeware sampler like sfz) Otherwise, you could put two Simpler tracks side by side with the same MIDI data, which would let you pan/crossfade/effect/whatever the samples seperately if you wanted to. If you don't care about any of that, I'd probably layer the samples in something like Audacity and bounce them to a new .wav.
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Mar 24, 2009 04:26
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The Fog posted:They DO have a tone, but you don't have to worry about it. The kick drum is considered a percussive instrument rather than a melodic instrument. Especially if you're using a typical 808/909/electronic sounding kick, it should be in tune with the key of the song. If your kick is anything other pure white noise, it will interact harmonically with other parts of the song. It's not something that's likely to sound horribly dissonant, but having your kick in tune with everything else is a simple little thing you can do which will help the track sound tighter and more pro in a subtle yet noticable way.
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Mar 24, 2009 19:37
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The Fog posted:I'm not sure I agree with tuning the kick. Sure, that's a valid point about not pitch shifting a sample around too much. You could always try using something like Ableton Live's audio warping to preserve the transients but then you risk introducing other sorts of artifacts. It didn't really cross my mind because I do use synthesized kicks most of the time -- I really like Audiorealism Drum Machine for bread & butter 808/909 style kicks, or something like Albino if I want something a little more exotic. Microtonic is another cool drum synth plugin, and Drumatic 3 is really nice for a free plugin (although, being SynthEdit based, I seem to remember it being a bit of a resource hog). I remember reading an interview with (I think) Derrick May a few years ago in which he was talking about how he liked to build his drum sounds from the ground up in a lot of tracks -- how part of the allure of electronic music was in discovering new sounds, and blurring the line between melody and percussion was one way to do that (I hear a lot of that in a bunch of older Detroit tracks, Juan Atkins in particular comes to mind). But even with a standard issue 808 kick, there's a ton of tonal content and you can hear that used to good (tuned) effect in everything from old electro/techno (Richie Hawtin is another good example) all the way to jungle and psytrance. There's a reason all those classic drum machines let you tune the hits. (And, as Wendy Carlos said, any parameter you can control, you MUST control). h_double fucked around with this message at 02:50 on Mar 25, 2009 |
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Mar 25, 2009 02:47
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I want to put together a (sampled) drum kit where for several of the drum hits I have multiple pitched samples. I would like to still have (for example) all snare hits triggered by MIDI note D1, but I would like to be able to use a MIDI CC or something to select different pitched samples of that same hit. The best idea I've been able to come up with is to map the different pitch samples to different velocity zones, so that more velocity = higher pitch. I could then route the drum hits to individual tracks, and use the track volume to change the volume of the drum sounds. This is not hugely complicated but is still sort of clunky. Any ideas for how I could do this more elegantly? I'd like to do it Kontakt or Battery (to be portable across apps), but I also have Ableton Live 7 + Ableton Sampler on hand. h_double fucked around with this message at 23:09 on Apr 2, 2009 |
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Apr 2, 2009 23:07
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The Fog posted:Why do you want to do this anyway? Can you not use pure audio instead? Or maybe assign the different keys instead? A lot of classic drum machines (like an 808 or 909) have tuneable drum sounds, where there's more going on than a simple pitch shift of a sample. And if I've got a beat with a standard MIDI drum map, I don't want to have to do a bunch of crazy note reprogramming just to get it to map to one specific kit. I'm sure I can build something in Reaktor or Synthedit, I just wanted to figure out if there was an easier way before I put together something from scratch. h_double fucked around with this message at 05:32 on Apr 3, 2009 |
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Apr 3, 2009 05:28
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