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Gibberish posted:I remember hearing on the VEE loops at the end of a Nakata Yasutaka-produced song, [...] Let's crank that up a notch  http://www.gearslutz.com/board/electronic-music-instruments-electronic-music-production/521105-how-get-steve-angello-knas-sound.html
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Oct 14, 2010 11:34
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moment.
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There is nothing scary about systems within systems. The only thing that may be bothersome is the choice. Logic needs AU plugins, the rest of the planet uses VST except ProTools which has RTAS. The commercial offerings are cross-platform. There's just a shitload of plugins that are really neat; on the other hand the good ones all have decent demo versions. Even the virtually all the big DAWs come with a whole set of plugins - though you usually need the premium package for that (Live Suite, Logic Pro, etc. ). With Reason - which is arguably neat - you'll run into limits when you want to use audio. Which - for every DAW that isn't Record - will lead you back to square one, because Rewiring is also system-in-system. Go check some trial versions, see how far you get. Laserjet 4P fucked around with this message at 21:26 on Oct 14, 2010 |
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Oct 14, 2010 21:24
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1 oscillator, shape sawtooth 1 LFO, downwards sawtooth shape Modulation slot 1: keytracking routed to rate (higher note = higher rate) Modulation slot 2: LFO output routed towards oscillator 1 pitch, adjust amount for intensity Voicing: portamento on, monophonic mode on It depends of course on what you want to use to emulate it with.
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Oct 17, 2010 11:40
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Vector 7 posted:What sample packs are you guys using? http://www.wavealchemy.co.uk/drum-tools/se2 (really good) http://www.drivenmachinedrums.com/ http://www.nodoughmusic.com/hello/i...mart&Itemid=124 http://www.traxsource.com/index.php?act=show&fc=tpage&cr=titles&cv=44264 http://www.traxsource.com/index.php?act=show&fc=tpage&cr=titles&cv=44265 http://www.traxsource.com/index.php?act=show&fc=tpage&cr=titles&cv=44266 http://www.vengeance-sound.com/eng/DetailsVEC1.html http://www.loopmasters.com/product/details/282/Smokers_Delight_
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Nov 18, 2010 00:12
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You might have to visit some shady Chinese FTP which only has 32-bits Windows XP drivers that pumps an .exe file over to you at the glorious speed of 3.5 kb/sec. Get an E-mu Xmidi 1x1 or something. Yes, it costs more, but has more of a chance to be up to date.
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Aug 4, 2011 03:11
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^^^ hey, thanks for the shout-out!cat doter posted:But my first question is basically HOWWWWWWW. I don't have any real synths, I do have a midi controller that I can't really play, and most of my skill is guitar based. Real synths wouldn't do you much good anyway so do not feel bad about this. Get a DAW. What I would recommend in this case is not Reaper but Renoise. Almost as cheap as Reaper. Most importantly, it works in a different way: you can program the sequences and patterns in a way that's very close to the authoring tools chiptune folks used, including some of the limitations. Are you familiar with the music on the Amiga, or some early PC games in the time before GM/MIDI files came around? (but not the FM/AdLib stuff used as a weak substitute for MIDI) That was made with trackers - sequencers with integrated samplers that had monophonic tracks. This automatically leads to certain programming tricks that are hard/unintuitive in regular DAWs. There are a ridiculous number of free plugins that can help you out; lots of 'm really good. quote:I've got a bunch of free stuff, synth1, crystal, things like that. I'd like to acquire more stuff. U-he Tyrell - http://www.u-he.com/cms/tyrelln6 Variety of Sound - http://varietyofsound.wordpress.com/ Vember Audio ShortCircuit - http://www.vemberaudio.se/shortcircuit.php - sample single-cycle waveforms and you can do some amazing stuff that would take ages to do with a conventional synth. But - focus on composition and getting to know your DAW first.
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Jan 3, 2013 23:53
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Lavender Philtrum posted:How do you guys think MIDI would be different if it was made today? It'd probably carry audio as well and work with an existing proprietary standard - the few note signals are truly nothing compared to the bulk of audio that needs to be pumped over such a line. quote:Like, if nobody ever made a musical instrument that connects to a computer until yesterday. That sort of assumes that we never used computers to generate sound or control voltages either - so digital synthesizers would probably be big, self-contained, completely incompatible systems (think the ConBrio ADS2000 or the PPG Realizer - only worse) where you'd simply record the outgoing audio. Thing is, as soon as you start thinking about the role of communication in music, you'd come up with a standard. quote:Midi is cool but it feels limiting in some ways. Would we just use USB considering how much more hand-in-hand MIDI devices are with computers nowadays? Would we even use a unique connector? Yes, we would. If there's anything Roland loves it's developing some kind of non-compatible retarded proprietary standard or hardware that gets abandoned after 5 years. USB is sort of irrelevant; you need a standard that transmits the note messages, not just the audio, and for that we should switch to OSC. Make a cheap OSC > MIDI converter, hook up everything to your bog-standard router, and have time-stamped MIDI; right now timing accuracy requires some bullshit proprietary interface, and by putting that load on a separate device with enough MIDI outs we'd be finally rid of this bullshit. In case of CV/Gate, that was simply the most uncomplicated solution imaginable, and you still have bullshit like S-Trig, V/Hz, 1.2V/oct or 1V/oct. Laserjet 4P fucked around with this message at 13:59 on Jan 11, 2013 |
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Jan 11, 2013 13:54
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Thoogsby posted:Does anyone know a good free Xylophone VST or instrument? Most effective strategy for this kind of stuff is not to look for VSTs or instruments but for sample libraries. Get yourself Kontakt and a world of sampled real instruments opens up for you. http://samples.wavesfactory.com/w-xylophone/ edit: yes, it's not free, but after the initial purchase hump for Kontakt there's lots of stuff that's really cheap edit: edit: otherwise the term you want to Google for is soundfonts. Lots of free soundfont players availabe: http://freemusicsoftware.org/category/free-vst/soundfont Laserjet 4P fucked around with this message at 10:56 on Jan 15, 2013 |
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Jan 15, 2013 10:53
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h_double posted:We used to have a "how do I make this sound?" thread but I think it's expired into the archives. Thing is - I'm glad it still has momentum but I'm sort of getting burned out on it. I also get several PMs on other forums of people asking me how to make stuff. The stupid thing is that there are lots of people who consider themselves synthesis geniuses but can't be bothered to answer even the simple entry-level stuff. I should really write down my reverse-engineering strategies but most of 'm are kind of like learning multiplication in school; you just memorize everything from 1x1 to 10x10 and the rest follows from that. Most importantly, mimicking other people's sounds is interesting as a learning exercise but ultimately sort of a dead end; moreso with complex dubstep basslines and crap because it's not about that specific particular sound but the concept of modulating things so-and-so. quote:Also, yeah, there are probably production teams where one person is focused on the compositional aspects and one person is focused on sound design. There's a third piece of the pie, that's engineering -- knowing how to fit the individual sounds together in a tight, cohesive way (with rock/live/instrumental music, that's usually the job of somebody at the recording studio, but with electronic music it's an integral part of the songwriting process). Yeah, dividing stuff up between teams allows you to specialize further in what you're good at and most importantly, having a buddy lets you get poo poo done because you can motivate eachother. Do they charge? I don't. I've always seen "studio secrets" as ridiculous; often it's something embarrassingly simple like buying the correct device and being the first to use it in an unconventional way (Auto-tune), or it's by combining two or three devices and feeding them into eachother in ways usually not explored or recommended by conventional studio practices ("Crystal echo delay"). If the only thing that gives you an edge is money, you didn't have an edge to begin with. Laserjet 4P fucked around with this message at 10:12 on Jan 28, 2013 |
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Jan 28, 2013 10:09
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Dump the completely useless bit at the start with the kicks or replace it with a really short drum fill/roll.
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Mar 10, 2013 03:29
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Dicky B posted:My favorite thing about Synth1 is the sync button. I don't know what it does internally Oscillator sync uses the frequency of the master oscillator to reset the phase of the slave oscillator. Imagine a dot drawing a sinewave, happily wobbling up and down until BAM it starts in the center again. That BAM point is determined by the frequency of the master oscillator. By altering the frequency of the master oscillator with an envelope routed to the pitch, you get the typical oscillator sync sounds as used for Jean Michel Jarre's Laserharp, Van Halen's "Why Can't This Be Love", etc. Leaving it in the same place allows you to get some more unusual waveforms out of vanilla analog synthesizers. Synth1 is cool in that sense that (I think - not certain of it) it uses a pseudo-random generator for the noise waveform. Real noise can not be reset, but pseudo-random noise can, because you just regenerate from a seed value. Try this. Most other synths solve this problem by putting noise as a level control in the mixer section (Diva, DCAM, Massive) instead of having it as an oscillator waveform, or they allow it as a shape for the oscillator, but do not allow oscillator sync at all (Sylenth). The Nord Micromodular has the so-called formant oscillator, which is basically a short looped burst of noise (the actual noise fragment in the Micromodular is bigger and you get two controls to choose from a variety of those bursts). If you record a short burst of noise and reduce the loop size to something tiny, you can easily recreate this yourself; you get a tinny bright waveform that would otherwise take ages to create with say, FM synths but it's done in a matter of seconds in say, ShortCircuit (which can deal with those short loops in a hi-fi way). quote:The sound that comes in at around 00:35 on this track uses this technique: This is really cool poo poo I couldn't ever make. I also love your "Use Trinkets" track. Please tell me you have convinced some iOS game devs to use your work. edit: are you familiar with this track? https://www.youtube.com/watch?v=IcVfuisHOBE (Neo Geo's "Viewpoint", level 1 OST) Laserjet 4P fucked around with this message at 21:21 on Mar 17, 2013 |
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Mar 17, 2013 21:19
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Are you running some kind of volume maximizer over things as a final step? What do you do w.r.t. EQ? If there's lots of crap in the low that you're not aggressively filtering away said maximizer's going to be confused because it already inflated the maximum peaks to the maximum, but it doesn't know that it's around 30 Hz and you don't want to have that maximized anyway. If you look at some of those commercial tracks, sometimes they're outright clipping. Here, go try this if you must: http://www.sonnoxplugins.com/pub/plugins/products/inflator.htm
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Mar 20, 2013 21:28
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All Else Failed posted:So, I've usually done the bulk of my synths tweaking presets and makin a couple simple synths in Blue, which I do love, but it can be hard to get more... real? sounds from it. If you're looking for emulations of "real" (acoustic) instruments - piano, brass, wind, strings etc - then Blue is not the first port of call, samplers are. quote:I use Massive occasionally but I have much less control with it and it doesn't always play nice with FL for me. http://www.gearslutz.com/board/electronic-music-instruments-electronic-music-production/458620-pop-sound-sources.html should be some help WAFFLEHOUND posted:Does anyone have any idea how to make a psytrance squelch? All the rundowns on how to do it use obscure VSTs that cost like 90 bucks. Instead of a 303 a Virus will also do the job
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Mar 26, 2013 09:57
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Pretty much, but it is also used as a name for the entire computer the software runs on. A plugin needs - as its name suggests - something to plug in to. This piece of software is usually called a host. A host does nothing more than simple mixing of audio signals and processing of incoming MIDI signals. Since there's less overhead, hosts are preferable when you want to take your computer to the stage and play in realtime; since they're less complex, they're also cheaper (see http://www.cantabilesoftware.com/ ). A DAW is a host combined with audio tracks (record/playback) and instrument tracks (record/playback). Reaper is a DAW, and an awfully cheap one at that.  for DAWs are as sensible as for your operating system; if you look at the actual cost per day it's ridiculously cheap and you'll get a ton of use out of it. Most importantly, you don't need the version with all the bells and whistles either.Reason used to be not a DAW; it could not record audio and it did not have support for 3rd party plugins. Now it can record audio, but it won't do anything with regular VST/RTAS/AU plugins such as Massive; but with the Rack Extensions, 3rd party developers can now develop plugins specific for Reason. That means yet another format (and one that's unusable in other DAWs) but at least it's opened up a bit. (Logic is also AU-exclusive, ProTools is also RTAS/AAX-exclusive).
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Mar 27, 2013 11:54
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Pick random words that sort of sound neat together. Don't go for overly dramatic stuff. Names of obscure UK villages, stab blindly at a thesaurus, rearrange haikus, crack open biology/psychopharmacology textbooks, or take your pick from a virus signature list (see https://www.youtube.com/watch?v=KmG5-g0eYuw )
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Mar 30, 2013 21:50
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video clips like gently caress, or is that how the actual ost sounds? My approach would be to take a solo distorted guitar, play a sustained note, then record that and loop a portion seamlessly in a sampler. Set the sampler to monophonic and enable portamento, and that should get you close. Here's a small tutorial on SA itself: http://forums.somethingawful.com/showthread.php?threadid=2974992 alternatively, https://www.youtube.com/watch?v=MzN89Rc_06M very deep and general, forget getting anything about fat dubstep basslines and crap: http://www.soundonsound.com/sos/allsynthsecrets.htm
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Mar 30, 2013 23:05
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Gibberish posted:Here's the full thing, for free. You have just received some bootstraps.
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May 26, 2013 22:23
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I am the M00N posted:My problem is that I don't even know how to make a drum beat from scratch. Usually I add it in later. Then don't make it from scratch but use a loop. Don't get too hung up on this; when all you do is drag a few loops in a project, nothing you're doing is really yours (and anyone else with minimal skill can do the same) but a bit of scaffolding to get you over the hump is no big deal. Here's an idea; take an existing loop, and use EQ to isolate the instruments. Play it back at a lower pitch if that helps - kind of like a magnifying glass for audio. Cut away all the highs. Listen and analyze what you hear. Cut away all the lows and highs and leave the mids. Listen and analyze what you hear. And so on. quote:Does anyone have any advice on how to simply get started on a new project? The fallacy is thinking that once you've got some time to do something everything will come naturally; you just need that little peace and quiet for a few hours, and open up a new file in whatever DAW you have and then everything'll happen. It won't. You have to work for it. Also, don't aim too high at the start. Try making something with a simple 909 kit. Get Rebirth and use that - see if with those limited instruments and options you can make something clever. So what, it doesn't slam and bring the club down. Don't care; see if you can make something clever, and run it through a variety of effects and modulate these in realtime.
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Jun 14, 2013 22:51
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Shake Lockerman posted:Can I use reaper to make my music? I noticed it wasn't in the OP's list, so I don't know if it's a good choice or not. Yes. When you start out with DAWs, they're all equally horrible to learn. quote:What would be recommended for entry level synths, either free or paid? Synth1 (see also http://forums.somethingawful.com/showthread.php?threadid=2974992) Native Instruments has some free stuff floating around Really, learn the ropes of your DAW first - then go on a plugin binge if you must. Loading up a VST is the same every time. quote:Lastly, I find working with a MIDI controller to be more intuitive than a keyboard. Controller keyboards differ from regular ones in these ways: - no built-in sounds - direct USB connectivity (instead of having to shell out another $30 for an USB/MIDI cable) - lots of sliders - lots of knobs - sometimes some drumpads It helps if you consider something like this:  as a sum of parts, namely: - a keyboard (as in a bunch of keys) - a sound source (boatloads of choice here) - a sequencer (an electronic conductor: tells others what to play but won't make sound himself) A sound module is a synthesizer with just a sound source and not a keyboard. A controller is a synthesizer without a sound source, but with a keyboard. But the term's ambiguous. If by "keyboard" you mean a Casio with built-in rhythms and all that jazz, yeah, you're not going to need those. But lots of people use synthesizers as MIDI controllers, because of (depending on type and cost) superior build quality. quote:Would a 25 key controller be enough to get me started? Not if you want to learn to play piano (61 would be a minimum), but if you just want to enter some leads/basslines/arpeggios, sure. You'll notice yourself when you run out of room. Laserjet 4P fucked around with this message at 23:39 on Jul 5, 2013 |
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Jul 5, 2013 23:21
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Flipperwaldt posted:Perhaps he means a computer keyboard? god i am dumb
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Jul 5, 2013 23:40
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I am the M00N posted:How do I figure out how to make sounds more effectively, so that I am not aimlessly loving around with dials for hours on end and getting nothing out of it? When you gently caress around with dials for hours and you're not getting anything out of it, you're doing it wrong. First you have to learn what the dials do. There are no decorative controls, but there are interdependent controls. Cutoff won't do anything if it's set to max and you try to push it beyond that with an envelope, so you have to understand these dependencies when it seems like something's not doing anything. quote:I am wanting to make sounds that are gritty and electronic sounding, are there filters that are really good for that? No, because the terms are incredibly subjective. Do you have any Youtube videos/Soundcloud tracks as examples? Then it's possible to determine what kind of sounds you're looking for and how difficult they are to recreate. Re: dubsteppy stuff; never be too proud to look up how to make a sound. Factory presets, ditto; that's someone else's experience that you can learn lots of things from. I recently reinstalled Komplete 8 on my new DAW and found the Massive Thread library - anything not dubsteppy is still incredibly interesting w.r.t. modulation, especially the loops where the sequencers are used as drumcomputers/pseudo-arpeggiators.
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Aug 13, 2013 13:06
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I have another weird old Massive trick. Not near my DAW for a patch or screenshots so here goes: One-shot sequencers! So, what if you want your stepper/performer to play only once, instead of looping? One way would be to use an envelope to control the rate - just set it back to zero and things should stop stepping, right? However, they don't; things'll just step really really slowly. Also, the envelopes don't have a "hold" parameter where you can specify a fixed amount of time regardless of whether the key is held or not. Here's the solution. Envelopes have no hold, but they do have a delay. So, set attack and release to zero and sustain and decay all the way up. Now, set the delay. What you now have is basically a gate signal that goes up. Now, tie this to the AMP of a Stepper/Performer, and use an inverted modulation amount. Turn AMP all the way up and then route the env to the AMP, and drag the modulation amount down so that the little blue ring around the knob goes counterclockwise. As a result, the modulation is now only applied during the delay stage; once you hit the attack, it's back to zero again thanks to our inverted mod routing. Now that you have a one-shot modulation system, you can create all kinds of neat video game music effects. Use the stepper to close down the filter or change the pitch of the modulation oscillator. Set the stepper to snap to semitones, and then use the delay so only the first three steps will sound (you'll have to guesstimate the delay amount because Massive won't do anything w/ beats or milliseconds). Set those steps to +12 +7 0 or 0 +12 0 +12 for typical bleeps. Use the LFO for pulsewidth modulation and you suddenly have Rob Hubbard in your house. I'm sure you guys can think of other neat things.
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Feb 12, 2014 00:43
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philkop posted:Am I better off with studio style monitors, or just biting the bullet and getting a small PA system.
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Jun 23, 2015 21:04
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Martytoof posted:I've always wondered how people with multiple hardware synths handle integration into a modern DAW. I think it's cool when I have to tell people that their JX3P will not be automatically recognized by Ableton Live. It's fun to see the dread on their face - "what, you mean it won't know how it works?". Well yeah, MIDI is a 1983 serial protocol, blame those who have been clinging to it (or don't, see how many of those USB things work in 20 years). quote:I've only ever had exposure to VSTs so just throwing an instrument into Ableton and messing with effects is second nature, but the whole concept of actually having something generate audio, then having to interface that into a DAW feels really foreign to me. I gather that there's a multi-port audio interface involved, but how do you guys handle MIDI controls of every device? Anything that has CC numbers, great, otherwise get ready for pain. Older boxes choke on dense MIDI streams, forget automating much when you're dealing with a TX81Z or something.The question is not dumb but it's sort of an unsolved thing that depends on your preferences. You can use a big-rear end mixer and keep everything MIDI and use the computer as a combination of MIDI sequencer and harddisk recorder (aka the 90s bedroom producer approach but back then they had Atari STs and DAT recorders) You can record each track to audio, one by one, and build the whole thing in the computer (the classic studio approach). You can record an entire afternoon of tweaking and pick out the best parts (very useful with a modular) It depends on what you want, expect, are most comfortable with.
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Nov 10, 2015 00:06
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Apr 30, 2016 07:34
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JVNO posted:Now, I know sites like SynthMania exist, but the 'reverse lookup' problem still occurs. Is there any teaching tool out there that are good when you don't know you don't know something? This problem will always be there and it will only get worse because the variety of tools is only increasing. Back in the late 70s some (jazz fusion) albums would have instruments listed per track, and then even frustrating poo poo like "Moog synthesizer played by blah blah" (which Moog you fookin' weapon) would appear, giving you no clue what something sounded like. The only thing that helps is experience. Listen to sounds - any combinations of waveforms with several tuning options and that's just for subtractive. Apply effects - what happens to a saw wave when you put distortion on it? What happens if you do that with two detuned saw waves? What if you put reverb before the distortion, or after the distortion? It's not boring because you can discover an immense range of sounds that way, but it is very time-consuming. I listen to the sound. First I mentally try to strip away the effects. Then I try to determine if it can be done with subtractive synthesis because I am lazy and subtractive is easy. If the sound does not exhibit typical FM, sampled or wavetable properties I don't use those methods because as said, I am lazy and if you cannot hear the difference, why bother. Unless producers go out of their way to achieve something incredibly peculiar - i.e. Autechre but why emulate them anyway, not gonna work - it can usually be approximated. Also, what most people tend to forget: layering is a thing and you are not obliged to get all aspects of a sound out of a single device. Laserjet 4P fucked around with this message at 20:50 on Jul 29, 2017 |
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Jul 29, 2017 20:44
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Hook up all that via USB but for the 505 you will need an USB MIDI cable or interface. There are mixers that are audio interfaces at the same time but cheap ones have no/poo poo ASIO drivers and only stereo out. Otherwise you end up with a Presonus StudioLive or something. There is a smaller cheaper version out called the AR12, perhaps that's something? Zoom makes an interface plus mixer plush flash-based harddisk recorder but I don't know how well it performs. A rack audio interface can be combined with a control surface if you insist on having sliders.
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Nov 9, 2017 00:48
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Southern Heel posted:Right, but if I buy a used TR-03 for £200 I can sell it for £180 in a year's time. If I buy $600 then it's just gone. Protip: people sell secondhand Ableton Live licenses. Very few people have a completely DAWless setup, and you almost never need the highest priced version with all the bells and whistles because most of the stuff that is added is something you can buy later or by third parties. Except for Max for Live, something like Komplete offers more and better than what Live Suite comes with. Also depreciation is never about percentages but about absolutes. A TB-03 is not a replacement for Live. If you had to replace that functionality in software we would be talking multitrack harddisk recorders, digital mixers, synths, effects, etc. Think of all the things you had to buy separately if you wanted to replace a smartphone. It’s literally this:  On a sidenote gently caress imgur for removing board share links on mobile Laserjet 4P fucked around with this message at 16:26 on Nov 28, 2017 |
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Nov 19, 2017 10:36
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Ringmodulator/AM, alternatively frequency shifter? N64 = samples so that doesn't give away the original synthesis type used, and 1998 is not a time where people would be playing around with modular on the reg.
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Dec 20, 2017 10:30
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Native Instruments Battery fxpansion Geist
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May 11, 2018 08:54
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actionjackson posted:I've been listening to electronic music almost exclusively for the last... 17 years or so. However the few attempts I've had at production never went anywhere. I find myself so overwhelmed by everything that it just feels hopeless. quote:Right now I have Logic Pro X on my MBA. [...] It looks like it wants me to plug in a MIDI keyboard? https://www.youtube.com/watch?v=qaERRLo87vg (skip to 1:00 to avoid the pre-roll and PLEASE LIKE AND SUBSCRIBE) What are the downsides? Computer keyboards only have a tiny range, so forget playing melodies that span more than one octave. Computer keyboards also tend to not react well when you play several notes at a time, so forget chords unless you have n-key rollover. Computer keyboards also do not have velocity. Acoustic pianos do have velocity; the speed the hammer hits the string with corresponds to the loudness and brightness of the sound, so it's basically like TYPING IN ALL CAPS but only on an instrument. So, for a software instrument that mimics a piano, the velocity value is used to switch between pianissimo (very quiet) and pianoforte (very loud) playback of a note. For software instruments that mimic a drum kit, it's the difference between softly hitting a snare drum and wailing on it. quote:Is that what I should buy first? I don't want to spend too much until I decide if I can really do it... quote:Also is there a good tutorial you'd recommend for Logic? I found several on youtube. Also wondering if getting an actual "tutor" would be a good idea. Not sure how much it would cost though. Any beginner tutorial will do. You first need to get used to the mental model that Logic is using. All the instruments in Logic are essentially operated by robots. A MIDI track tells the robot what note it should play at what time. This is like digital sheet music. An audio track tells the robot which sound it should reproduce at what time. This is like a CD, or tape. One kind tells you what to play, but not what it sounds like; the other kind tells you what it sounds like, but not how to play it. The audio output of the instrument is routed to a mixer. If all you have is one instrument, mixing is easy - you have a slider that goes between loud and inaudible. If you have two instruments, you're dealing with the proportion between them. There are audio tracks and MIDI tracks. An audio track shows a waveform. A MIDI track shows a bunch of little squares, comparable to an old fashioned player piano roll. You cannot turn one into the other* (actually you can, but skip that for now - it's not relevant yet) So, here's a thing you can try. Start a new Logic project. Create a new Instrument track. Choose ES2 as the instrument. Open the on-screen keyboard with CMD-K. Play some notes; you should hear something. If you don't hear anything, figure that out first. Click the Record button and just play 4 quarter notes in a row, like a kickdrum. Congrats; you've now successfully recorded something. If you double-click that green box that was just created, you probably see the piano roll up close; you might notice that not all of the boxes are perfectly on the grid. You can use your mouse to snap 'm into the right spot, or you can use quantization. You can compose music by making it so that every element fits in such a green box of equal length; kind of like a pattern (this is also sort of how FL Studio used to work/works). After creating several patterns - one containing 4 kick drums, one containing a bassline playing 8th notes, one containing 2 808 claps or whatever - composing can be done by stacking these patterns on top of eachother, and then deleting or including them based on need. This can be less overwhelming since you're working on one pattern at a time, so you only have to worry about one thing and one instrument; you first assemble all the building blocks of your music, and then decide how the entire song needs to look. All this writing is basically my excuse for saying "sorry, I use Ableton Live, and I have no idea what constitutes a good Logic tutorial."
Laserjet 4P fucked around with this message at 16:52 on Jun 6, 2018 |
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Jun 6, 2018 07:25
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It doesn't have real MIDI outputs, only USB, and it's got mini keys instead of full-sized ones. Not having real MIDI outputs is not that nice when you want to hook up hardware synthesizers and drumcomputers that don't have USB. However, if you have enough pre-USB hardware, you have to buy a MIDI interface anyway, so right now it's not much of a dealbreaker. Either way, 25 keys are better than your typing keyboard, but still not sufficient to learn piano on.
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Jun 6, 2018 17:00
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actionjackson posted:What's a good number of keys? 49 is my absolute minimum and 61 my preference (88 is piano, but weighted keys so heavier to play), but if you're buying this just to find out if it's something you really want to do, then start with 25. Re: hardware - you could get something like a Korg Electribe 2 (not the sampling version). A volca makes more sense when you've got more infrastructure (other synths and effects) as well. These things are called grooveboxes; basically you get a selection of sounds typically suited for electronic music genres. It does work on the basis of patterns, but you've got all your sounds lined up for you and categorized so you don't really have to think about that part that much. You can learn a lot about building percussion this way. There is also groovebox software for an iPad, but it depends a bit on how much you want this stuff to feel like an instrument - then again, the same problem is there when you have a computer and a controller keyboard. Both options are definitely less overwhelming.
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Jun 6, 2018 21:46
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| # ¿ May 11, 2024 12:46 |
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actionjackson posted:Is the main point of more keys that you have more things you can control at once? https://www.youtube.com/watch?v=rEGOihjqO9w The point of more keys means being able to play pieces like this. Less snarky example: https://www.youtube.com/watch?v=S6GG7V7oGoQ The thing this guy is doing here would require you to hit the TRANSPOSE OCTAVE DOWN button twice real quick, and forget playing bass and lead or bass and chord at the same time. quote:Is each key and pad just controlling a certain function in your software? Keys and pads send MIDI notes. It's up to whatever's receiving it to act on that. A middle C may cause a drum computer to play a kick. The drum computer has no idea what is generating that middle C, or that it should play a kick, or that the middle C is the kick note or something. All notes are just that - notes. Keys can be used for other purposes, but it's up to the thing that interprets that incoming message what to do with it. Sliders and rotary knobs send CC or NRPN messages. These aren't notes, they're "now turn this knob to a value between 0 and 127 (for CC) and 0 and 16383 (for NRPN)". You have Logic's ES2 and this way, instead of using your mouse you can let the rotary knob on the controller act as a remote. Laserjet 4P fucked around with this message at 10:15 on Jun 7, 2018 |
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Jun 7, 2018 10:03
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