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I've read 615.4 articles or posts concerning the introduction to digital audio production and this is by far the best read I've ever seen. You shame even Computer Music or even Sound on Sound with this poo poo brosef. Great job. PS: Its probably mentioned but you forgot RTAS plugins.
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Apr 6, 2008 02:59
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Altoidss posted:Another few things: How would I generate white noise in Reason, and is there anyway to sequence a fall? I haven't figured out a way to do it. I havent used Reason in like 6 years or so, but iirc the subtractor synth has its own Noise section. Turn of OSC 1 and 2, and turn up the noise would be my best bet. A fall? Do you mean a sound that decreases pitch frequency over time? If so i think you can either use the Mod envelope on the OSC's, and program a fall using the ADSR levers on the mod envelope. Failing that, you could also try setting a large range on the pitch bend, with those knobs beside the pitch bend, and use the pitch bend to get a "fall". This method gives you more control over your sound, but it may not give you the range you are after. Hope this helps
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Apr 11, 2008 10:14
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WanderingKid posted:I rarely make it to the end of this stage since I often get lost in obsessing over details and proportion and meh. I had this problem for many years, until I started forcing myself to a fixed workflow. Something like; Basic groove, basic structure, break, buildup, replace sounds, add fills, finalize arrangement, add SFX, add drum/FX transitions, rough mix, feedback, replace sounds again, mix, master, expect failure. Basically this helped me personally alot because it prevented me from straying from getting closer to finishing since I didnt get hung up on small details (that usually turn out to be irellevant and a bad idea to begin with anyway) Its so easy to lose focus and get lost because you want to add 16 choruses to your lead sound. Thats why I can never produce if im high. Another thing that helps immensly; Deadlines! If you HAVE to complete a project in a fixed period of time, you would be amazed at how focused and organized your production will become. And never ever give up.
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Apr 15, 2008 00:03
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haha oh man i hear that so often from producers nerdraging about loops and presets. They go out of their way to create new patches from scratch, because ORIGINALITY. meanwhile all their finished tracks sound like stock pieces of poo poo, but nevermind that because they made all their patches themselves, rite? same with drumloops, some people will rant about this untill the unicorns come home, how using loops in your music is "cheating" beacuse you didnt actually program every single sound or drumhit yourself. I say gently caress that. I hear released tracks all the time with loops i can actually recognize from certain collections that I own myself, but it fits well with the track so whatever you know. Theres also an ironic trend going on.. all those originality whiners are often people thats been producing for loving years without actually finishing a single track, ever. I kinda disagree with the compressor preset argument though, I use certain compressor presets all the time, but I know them well. I only use like 3 compressors on a regular basis, I know how they will affect the sound im applying it too, so whats wrong with using it like that. If its something really dynamic like a bassline or some poo poo then yeah, im gonna tweak it, but other times when i just want some more punch and growl into one, i just slam on a vintagevarmer with the bassline preset and tweak the drive knob to get the sound im after. My point is that after a while you get to know your gear and what it does to your sounds, this applies to all vst's and effects and what have you. you develop your own sound, and thus get a certain routine you use to develop that sound. This is why when you sometimes see a new artist emerging out of the blue, but over the course of the next few mounts they suddenly drop track after track. They have locked down their own routine, and have figured out how to emphasise on their own sound, and can therefore produce new tracks rapidly. Deadmau5 is a good recent example of this.
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May 23, 2008 16:50
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extra innings lovin posted:So this is kind of a weird question, but I'm curious to any answers: This isnt a weird question at all, in fact its extremely relevant to any music producer. I never had an eureka moment in terms of sound design and such, or in terms of making any kind of sound. That either came natural to me, or I didnt percieve it as an obstacle from the beginning. My problem was harnessing all those sounds into something that sounds complete, and musical. Getting poo poo beyond that everpresent 8 bar loops that everyone has millions of projects of lying around. Most concepts and practices reveal themselves to you gradually over time, and there wasnt really that many EUREKA moments for me, in that sense. Its just your good old fashioned wax on-wax off mindset that applies here. Familiarity through repetition, I guess. But you need a direction! If you never have goalposts on the horizon, you will forever be making those 8 bar loops, and never really go anywhere. If your problem is with sound design, getting that synth to squeel just the way you want it to, you're gonna have to make a concious effort into learning how to use a synthesizer. My breakthrough per se, in that regard, was when I decided to stop loving around and dropping presets all over the place, focus on ONE single synth, and start learning every aspect of it. I mastered the concept, the signalpath of synths, and how sounds are shaped, but I never really used that knowledge extensively. So I sat down with ImpOSCar, and started loving with it in every way I could. Reading the manual, figuring out every single knob and setting, and mapping ALL the fun knobs to my midi controller so I could mess with it in realtime. After a few days with this I started feeling very comfortable with it, and I could pretty much do whatever I pictured in my head with whatever preset I had loaded. I never bothered making patches from scratch, so I just took the one closest to what I wanted, and tailored it to fit. So, thats the tip for you I guess. Focus on your favourite synth, and learn it inside out. You will soon realize that many concepts are shared by mosth synths, and whatever you learn from that experience, can be applied to many other synths. As for samples, thats another story, as I havent really found one that covers ALL my needs yet. I use Halion for the fancy AKAI images and patches I have, and If i just wanna mangle samples I just drop them onto an audiotrack in cubase. I feel this gives me enough flexibility, for what I want. You will find that whenever you stagnate, a different approach might just be what you need to break out of whatever rut you may be in at the time. In a way, its just like lifting weights!
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May 23, 2008 20:33
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Mannex posted:
You should look into layering patches. Listening to Boards of canada, they seem to use alot of looped guitar sequences, rhodes keys, bitchrunching, distortion and TONS of delay. You should check out Ulrich Schnauss as well, if you havent. e: http://youtube.com/watch?v=k6d-iB9KcfE&feature=related Quincy Smallvoice fucked around with this message at 20:44 on May 23, 2008 |
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May 23, 2008 20:41
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Blinn posted:Sup everyone; I've just recently got into making some tracks based on samples and here's a track I've been working on for a few days as I'm learning and working with that. Any comments or criticism would be much appreciated! this sounds pretty good, great arrangement and such, but it wouldnt hurt to work some more on the mixing. The low end in particular is very lacking, theres almost nothing there.
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Jun 20, 2008 15:43
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Mannex posted:Low-end sounds alright to me I dont mean to derail and be a pedantic dick but if you listen to simmilar looped housey tracks, like uhm.. maybe stardust or any of that other filtered disco housey stuff you'll see what I mean. The bassline doesnt carry, it just sorta sits there between 100-400 with no real presence. Maybe that was the intention of this production, or that he's not going for the filtered discohouse sound at all, but in my opinion atleast tracks like these need a real presence in their basslines. Sounds much better on the dancefloors too!
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Jun 21, 2008 10:07
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Blinn posted:Thanks for all the kind words. Layering in another bassline is your best bet. Make sure to EQ it in the 60-120 region somewhere and cut a hole for the bassline though. Compress to taste. Feel free to email me at kai at phear dot com if you want further assistance.
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Jun 22, 2008 13:03
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cubicle gangster posted:You cant do this within live because it doesnt support midi layers yet, but you might be able to do it with your midi controller software. I know on the pad kontrol you can have 20 layouts on it, switching through with a button at the top. Instead of making the midi signal do something different, it makes each button send a different signal. cant he assign 2 tracks to the same controls with different channels? my controller switches between channels pretty swiftly. also where the gently caress have you been you fag, broke my heart 
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Jun 25, 2008 14:15
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Yoozer posted:Are you completely new in terms of using a keyboard, too? If not, you might want to get something bigger (e.g. the Axiom 49). This, its one of those "WHY DIDNT I GET INTO THIS BEFORE" kind of things, when you finally aquire a controller. You should in my opinion though get something with atleast 4 octaves, and plenty of knobs and faders. But dont get the Edirol PCR-50 because I did and my F#2 isnt working
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Jun 25, 2008 21:15
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wanderingkid i admire your dedication to these threads
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Jun 30, 2008 21:37
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Overbite posted:You are the wind beneath my wings. pm me, I'll help you out if you like edit: also this: quote:gently caress that attitude. There's no such thing as cheating. It's called "doing what it takes to get the results you like." A million times this.
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Jul 3, 2008 23:46
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Overbite posted:thanks Allright. Cubase goes really really deep, and can pretty much do all of the things you can and can not imagine. You'll get lost eventually. I'll drop my aim/msn on you now, before the inevitable happens
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Jul 4, 2008 00:17
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I just figured out how to get the piano roll opened up and how to assign it a VST and now that I did it opened up a whole world of opportunity. I love how I can make a little melody and move it wherever I want. I couldn't figure out how to do that in FL8.
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Ben and Stew posted:This is the second song I've made in Logic and I feel like I'm finally getting over the steep learning curve. I'd appreciate critiques of the mixing or the song in general. I feel like I might need to do a little bit of detail work so consider this song a rough draft. This is pretty awesome, and you should feel good about having created it. Some work on detail and arrangement wouldnt be wasted however, do not give up on this.
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Jul 10, 2008 10:41
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tell that to BT AHAHAHHAHAH ok im done
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Jul 17, 2008 09:11
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Cyne posted:Hey, here's kind of a strange one. I'm working on a track with the Arturia Prophet-V in Live and am getting some weird issues with MIDI note triggering. The problem is that whenever I play a chord on the Prophet, it sounds fine when it's being played but when the recorded result is played back only the highest note of the chord sounds. Everything appears to be in order - all the notes are there in MIDI, the velocity is where it should be, obviously it's not an issue with polyphony on the Prophet since I can physically play chords with it. What's the deal? Any ideas? I have several other software instruments going and they all work fine, this is the first time I've ever encountered anything like this. Does the sequencer record the whole chord or just the top note.
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Aug 29, 2008 21:33
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oredun posted:i think its set in unison or monophonic mode so it can only play one note at a time He allready covered monophonic, but check unison mode if its on. I dont have the arturia prophet, but the pro-53 (also based on prophet V iirc?) refuses to play chords in unison mode when I tried it just now, so check that out maybe.
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Aug 30, 2008 20:58
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wayfinder posted:No, unison is at most a subset of monophonic. Synths can be monophonic without having unison. I think he means unison is only available in monophonic?
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Aug 31, 2008 19:28
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The Fog posted:So, in essence he's saying: Why do i feel like im on thin ice, but yes, thats my understanding haha
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Aug 31, 2008 19:44
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WanderingKid posted:Pressing more notes simultaneously or using high unison count just uses more CPU cycles which is good and bad. Its good because you don't really ever hear dropped notes. Its bad because playing with high unison RAPES your computer. Case in point - z3ta. My god that thing will murder just about any cpu on any of those arp and effect heavy patches.
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Sep 2, 2008 17:23
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Stux posted:Again, going to disagree with this. Reaper is already competitive with "proper" DAWs for features, speed, everything really. I can't really see any area where is lacking, what do you find it lacking in? Credibility? Just a guess! edit: and indeed a welcome to mr zimmerman.
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Sep 9, 2008 10:38
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Yoozer posted:
To add to this, with the example of a lead and a pad mixing together, a trick is to find the sweetspot of the lead, by creating a notch filter and gain that +5 or so db, and roll it across the frequencyband untill you find the position where it sounds brightest, or clearest/warmest, depending on where you want it in the mix, then turn down the gain and cut an area in the pad in that exact area untill you hear the lead blast through the pad, as that frequencyspace becomes available in the mix. Its just like photoshop with EQ's, really. edit: this is an essential technique of mine in the case of mixing kick and bass. That area NEEDS to be tight as a drum, or the whole thing sounds like poo poo.
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Sep 13, 2008 20:23
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skrath posted:My latest tune, uplifting progressive house. Would love some feedback. Been playing it out a bit and getting a good response so it's working on one level! uhm.. wow? First of all, BITCHING KICK DUDE! Seriously, as good as FLAWLESS production, in terms of mixing and overall level of OOOMPH. The synth sequences feel pretty old at the end of it, so you may want to invest some time in creating a few more parts and replace the current sequence that seems to run almost unchanged texturewise all through? I do feel also, that your track would benefit from some sort of alternate synth part in the break, something that contrasts all the nice soft sounds you have allready. Something that will REALLY kick the dancefloors rear end, that demands the punters attention. You dont even need to run it after the beat kicks in, just drop it in the break after the initial cooldown, that builds up TO the beat, and then the rest of the stuff takes over. Hope that makes sense! (I'll try and dig a few examples up) Oh yeah, mess around with those filter envelope amount sliders abit in the breaks and such, abit more, along with more amp release and resonance. Theres alot of soft, not enough sharp. Balance! Okay, I didnt plan on whining this much, but I just need to stress that this is loving awesome, and you should be proud. edit: why do you hate snares/claps so much what did they ever do to you, turn them up distort them whatever MAKE THEIR PRESENCE FELT Quincy Smallvoice fucked around with this message at 22:38 on Sep 17, 2008 |
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Sep 17, 2008 22:32
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Altoidss posted:Yeah, these two are affecting me the most. I miss the hardware theme of reason but I can cope. Turn on the preview function of live's browser, hey presto!
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Sep 19, 2008 01:57
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Kai was taken posted:This is a tip that I picked up for compression A/B. Im not so sure anyone going to this much trouble to validate the effects of compression should be using it in the first place, personally. I was wrong in 84 once though so...
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Sep 24, 2008 07:41
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this thread just got nerdy as poo poo
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Sep 25, 2008 08:04
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A MIRACLE posted:I have a kick-related question. Is it supposed to clip? nothing is
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Sep 25, 2008 15:33
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mezzir posted:I got a technical help question actually. I rewire reason into live a lot, and I've done it on several computers and don't think I'm doing anything 'wrong' per se. However, I always have to do some pre-delay on the reason tracks. Always took this as standard cause its separate programs, whatever. However, a lot of the time the amount of delay I need won't be static, and it'll depend on what my computer's doing. For instance, maybe I need a like 60ms predelay with just reason and ableton running and one synth. However with several other synths in ableton playing and maybe firefox running, it'll change. And then if I create another synth track, it'll alter it further. This is a major pain in the rear end, anyone know why it's doing this? (it's gotten to the point at times where I can't touch the computer while its rendering as any cpu usage will gently caress up the timing) What ASIO driver are you using? Try this if your soundcard doesnt have a native one: http://www.asio4all.com/
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Sep 25, 2008 19:44
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whoa guys chill here have some downtempo with attitude http://home.monet.no/~darkbeat/track/Kai_Handberg_-_Midsummers_Night.mp3 By the time this ends you will be at peace, but slightly pumped. (or disgusted) (I'd like a few reports on the mix, low/mid/high balance, and if anyone has intro suggestions i'll love you forever)
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Sep 26, 2008 00:43
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IanTheM posted:I really like the intro, at first it seems like it's going to end up being something Lindstromm-esque (very electronic, but flowing) then when the break beats come in I was totally not expecting it. Very good stuff, just so drat detailed. Seriously, not knowing the genre that well I can't really comment on how well it seems within the genre, but I like it. Only suggestion: you use bitcrushing a lot, and when un-tweaked the bit-crushing can be very grating on the ears, especially if the recipients speakers tend to emphasize the highs (which I suspect the case is with me). A few times the bit crushed synth lines seem higher than the high hats too, but I don't know if it's a bad thing. You are absolutely right, I went overboard with bitcrunching, and I should probably tone it down. The reason i use it is the cut through the mix primarily but whats the loving point when everythings crunches I guess my brain stopped working or something. Beleg posted:
I guess I need to find another beefier soundsystem to listen to, because the bass is thick as gently caress right here. Organic sounds are a very good idea wich I didnt think of at all, It will balance all the digital. Got a few ideas too, thanks alot! Thanks for the compliments too, and for listening! (both of you)
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Sep 26, 2008 10:44
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Stux posted:Uh, a limiter is just a very fast and hard compressor, trying to say that someone is limiting if they use a fast attack on a compressor is kind of weird logic, because limiting IS compressing. They are just compressing it a lot. If I used a compressor with a 1ms attack time and a ratio of 4:1 would you call that a limiter or compressor? You're kinda both right, you know. This debate cant go anywhere, nor is it very productive. But by all means, grind this motherfucker down!
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Sep 26, 2008 13:13
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The Fog posted:Yoozer! Thank you, sir. I love how people go like "yeah i dont use theory at all", listen to their tracks, and its "yeah, you do, you just dont know it"
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Sep 27, 2008 13:02
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hahahahaha talk about owned well played rivensbitch
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Sep 27, 2008 15:23
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Well im here to debate, discuss, learn, teach and share about a subject I am very passionate about, what about you? No need to get bitchy and defensive. Unless you take yourself very seriously, that is.
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Sep 27, 2008 16:00
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I Dig Gardening posted:I took a completely different approach to mastering with this song, did some things I've never done before and I'm pretty drat happy with the results considering I have no idea what I'm doing. woooo heard this on my walk today and it got me bouncing like mad! You have some issues in the mix. The pad takes up way too much space, and sure, textured pads are nice. But at what cost? It takes up space from the rest of the elements, so they all suffer for the pad to sound good. Is it worth it? So I suggest a really really wide cut in the pad, and let the rest of the mix sit on top of it. Pads are normally used as a sort of glue in the mix anyway, sitting below everyting else in the mix. Secondly both the snare and the vocals dont cut through enough. For this I suggest a slight boost in the 5000hz area on the vocals, as well as a cut in the same on the lead and pad, well, everything really. (not much though, just enough) Some distortion (or some more? it sounds alittle distorted) might also give it alittle more bite. The vocals on this are really really good so they deserve to be the centre piece/focal point. Otherwise the arrangement, drums, fills and transitions are all top notch, and you made one hell of a track here. After hearing this and Alaskan thunderfuck, you got yourself a new fan right here.
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Sep 29, 2008 16:05
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sh1fty posted:Quincy you never answered! what part do you mean? i used different methods. if all you want is glitching dblueglitch is a free plugin that will do the job. otherwise the scissor tool can help as well. I honestly couldnt tell you what exactly I did to create the track, it grew to 50 audiotracks, 4gb of audio, and all told, considering how many times I bounced poo poo and reapplied effects, im probably using like 10 Ghz of raw processing power on it. Meaning, theres alot of poo poo goin down. quote:sounds to me like the vocals and the song are not in the same key, pretty dissonant sounding sounds fine to me Quincy Smallvoice fucked around with this message at 22:07 on Sep 29, 2008 |
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Sep 29, 2008 22:03
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I Dig Gardening posted:Definitely in the same key. The key is Eb minor and the main melody goes Eb, Gb, Ab. Its a little "bitey" on purpose, just wanted to cause a little bit of grit hahahahah okay man okay quote:I'm working on this edit (the transitions are pretty drat rough, I'm really mangling Ratatat's work). Should I make the hats lower in the mix? Cut out some treble? They sit right where they are supposed to frequency wise, but have you considered panning either the open or the closed right? As it is you dont have much sense of stereo in the mix, so if you were to spread your percussion and hats around abit, the sound would seem wider. The right side seems abit empty too. You could always try different patterns, or mix in some shakers here and there. Personally I pan first, then group all the hats and do a HPF cut until I think it sounds right. Not a bad track by the way. quote:That just blew my mind. That sucks though since I use a mac. Anything close to dbule for mac? I'd prefer not to have it run in parallels. You can still use scissors you know, go all manual and poo poo. Cut it up in to 64th and just go nuts with placement. I have no clue about mac plugins though, but luckily moron above me does! Quincy Smallvoice fucked around with this message at 12:01 on Sep 30, 2008 |
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Sep 30, 2008 11:39
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Ben and Stew posted:Yeah, I'd say for someone who wants to stutter edit, do it old school (cut tool) a few times so that you will understand want certain chopping intervals sound like so that when you use a prog to do it you will better understand what each setting does. Plus, manually cutting gives you way more flexibility. Exactly, plus, you can spread the audiopieces to like 5 tracks and have different effects, soundspaces and poo poo like that, on them. (guess that goes under flexibility though)
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Sep 30, 2008 17:05
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sh1fty posted:
love your sounds used here, except for that gated pad. its abit.. 1992. Could do with a bassline as well. Most original beat I've heard in a long time as well, nice work
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Oct 1, 2008 20:27
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