rolling production thread. Q&A, share your work.
constructive criticism only.
haven't really fully wrapped my head around what exactly they do or why you need them, i mean high-quality soundcard is good obv but i dnt understand the mechanics of it.
I have an Analog Keys which is the main basis of my production, before that I had an Octatrack which I sold to get a more complete solution.
I also have an iPad with Samplr and sometimes Rebirth in my tracks.
My music sounds at least as complete as anything I listen to even with a "minimal" set up like this
even if you dont like the music he works with (hint: every fucking type), listen to what this fucking guy has to say. he is a mix god. if you learn from him, you learn from the best.
Thoughts on low-end? I tend to brickwall the frequencies out below 35hz but I was looking at the spectrograms for various tunes that I like and it seems there's a lot less prominent sub-bass than I perviously thought. Maybe I should roll off frequencies from 50hz?
Reposing my question here for wp666
Been looking to start recording my stuff. It's all currently in the form of live sets on my iPad and Analog Four. It sounds pretty legit but you know how it is, once recorded I'll be listening to it intently looking for flaws in the mixing.
I know that this is often taboo on the interwebs of production but I have a few songs recorded from my hardware straight to stereo that could use some EQ. What methods could I use to rescue it. I realize multitracking is better but my interface is only 4in/4 out
most soundcards have preamps in them. soundcards are an interface between your computer and your signal.
read about preamps here. it is IMO the best intro to the topic: http://www.thomann.de/gb/onlineexpert_171_1.html?sid=8a36140ded0d3d27d2eb6730b03d2013
i record 99% of my material stereo due to the fact that i really work primarily with hardware.
the best thing you can do is:
- noise reduction (if needed)
- subtractive EQ across the entire mix
- fix peaks/valleys (aka volume differences) inside Live w/ the clip gain
i roll off anything under 30-50Hz, depending on the source. the reason is because, on a large system, your 10-50Hz is going to sound like a giant bass fart - not good IMO
the sub is really between 60-80Hz (the 808 is named 808 because the kick frequency is 80Hz). spend time in that zone but remember that no two sources/mixes are the same and avoid using presets
if anyone here has hardware synths, what do you have and how do you like it? I'm buying one soon and can't choose
Well I posted above, I am using an Analog Keys which is the keyboard version of the Analog Four. Honestly, this synth sounds like a fucking recording in the most pleasant way possible. I play it through any system and it sounds big, no need for EQ, and the system of sequencing is extremely well thought out.
If Fatboy Slim were alive today he would make "Everybody needs an Analog Four"
Sorry if that came out extremely fanboy/autism
I just really like it
i own 2 synths, one modular one not. both analog.
IMO buy up a Micro/MiniBrute. youll learn synthesis and get a great sounding analog synth to start your collection
i choose mine now based on what i think my studio's lacking. currently investing in modular.
i make most of this stuff with a casio sa-1, an acoustic bass, and ableton. pretty much all my drum samples are me touching 8th inch cables. i live for ableton stock effects due to poor computer quality
I've got a good handle on synthesis, but I want to graduate from vst's really badly
The A4 seems honestly amazing, but a little expensive. I'm sure it's worth the money, but what about the Tetra? It's cheaper, and seems more than capable, but a lot of the youtube demos are bad
listening on Event TR8s
first issue is your low mids. way resonant. scoop some of that out. guitar tone is affected by this, too.
otherwise, quality mix. honestly, nothing that sounds bad IMO
only con is the cost
So guys- Analog Keys, Prophet 08 or 12?
Keeping money in mind that is.
At the moment I'm really liking the sound of the 08 and I don't really think it's worth the extra cash for the others, but I could be swayed. I've never played any of them myself.
Thanks mate. I was aware of the low-mid problem (which is comforting) and I've actually already done a whole bunch of shit to try fix it, you would cringe so hard at the original.
This is some stuff I have recorded, mixed, and kind of mastered at my school. There are a few songs that are very minimal when it comes to mixing. I want to get around to remixing the reggae song thats on there.
Drum Machine of your choice - TR-8 looks great and is cheap
Synth of your choice - preferably with a sequencer- Elektron makes good ones and Monomachine is not as dated as some people insinuate
Do you want to produce inside a DAW or outside and just record it with a DAW? The former is cheaper and the only hardware you need for it are controllers, while the latter is more expensive because you need to buy physical synths as well as an interface to record them.
im just upfront with promoters and honest - i tell them my sets are largely improv except for my 303 patterns. nobody cares as long as its good
all you really need is a drum machine, synth, and a tape deck of some sort. otherwise, a laptop, interface, and some software.
WP666 any tips on keeping your bassline from clashing with your kick. Listening to some of your tracks there seems to be almost sidechaining going on or am I just stupid? Interesting in how you achieve this with hardware
acapellas? making a garage tune and i need some high-quality female vocals. i mean, i guess i could just sample brandy AGAIN but is there anything more obscure out there and how would i go about finding obscure acapellas?
This thread is weird, it's lacking the usual uninformed comments about how working ITB your whole life is the only way to be a good producer and how hardware is inferior to a VSTi in each and every case ever.
Im this guy here
I am currently saving up to purchase one of these boards to do some recording/mixing/live stuff with. It has 16 microphone preamps, firewire interface, sweet eq, and midi controllers.
dont even talk about those people. Jesus christ autism is a scary mental illness.
On the real, whatever you are using, as long as you can communicate the emotions that you need to communicate through your music, you can be good. A DAW is not inherently inferior if you can output your vision and vice versa
I'm about to buy a blofeld. Is this a big mistake? From what I can tell it can make all sorts of awesome digital sounding synths, as well as analogue re-creation synths. I don't really see what people are saying about it sounding weedy, but I still feel a little uneasy. How can such a nice synth be so inexpensive?
I know my way around an analog board, however the thing I am most concerned with is quality of the recordings. The stuff I have on my soundcloud are all recorded on either SSL 9000, Neve VR, or with really high end gear. My main concern would be if the quality would be anything like the songs I have recorded in the past.
Do you have any songs or mixes that you have done with the board so I can do some kind of comparison?
i wont lie - you will struggle to use it at first, thats why people typically feel uneven about those synths. Virus line is like that, too. just not as easy/straight forward as an analog synth, but will also be capable of some truly complex waveforms/sounds. get it.
Usually the same people who refer to themselves as producers, have never finished a track in their lives, go on /r/edmproduction religiously to hear more about how to tune your kick and how to EQ8 your Supersaw
I had a blofeld, great synth to program very visual, but very lacking for leads, basses, really any bread and butter sound.
Truly fantastic for pads, soundscapes, etc. Waldorf shines in that department and the Blofeld was an ambient MONSTER
I don't have anything on me, but I can assure you this mixer won't be the bottleneck of your recordings. No noise, preamps are amazing. Great bang for your buck but obviously by no means a budget mixer.
It isn't made by korg, Moog, or novation, so it gets fanboy hate, and waldorf isn't well known outside of synth enthusiasts.
It's great if you don't expect huge analog sounds. It's okay if you do. It's meh if you expect a polyphonic Minimoog.
I tend to go balls deep in research before buying gear (or anything expensive). This is the board that really suits what Im trying to do at the moment. I decided with this one over the mackie onyx 1640i after comparing the two and asking many people about their opinions on the boards.
I've been using FL Studio for a bit and now would like to buy a Midi Keyboard. Browsing through the internet I've found a bunch. I'll list them below.
Can you guys give me suggestions on any of these and tell me your thoughts (such as which are good for beginners, if it's compatible with FL Studio of not, etc)?
>Novation Launchkey 25
>Akai LPK 25
>Korg Microkey 25
>Novation Nocturn 49
>Launch Key Mini
>M-Audio Oxygen 49
>Akai MPK Mini
>Novation Launchkey 61
>M-Audio Air Mini 32
>M-Audio Keystudio 49
it's a controller. what makes it good is how many buttons it has. you can tell that from pictures on the internet.
seconding this. still glad i have my trusty mpk25 tho because possible live shit in the future.
I usually judge keyboards for how good the key parts are. Feel of the keybed, size/shape of keys, number of keys, velocity response, aftertouch.
Little odd considering the norm for judging keyboards is buttons, faders, knobs, LEDs, how many pads, and does it make me look cool
I'd go for Nektar Panorama 4, actually I will in a few weeks. I have an M-Audio Axiom Pro 49 but realised that I can't use that well since the integration is basic. It's an awesome piece of gear, but I hate mapping and looking back to the computer all the time. The Nektar guys look like they solved this problem. No support for pro tools or ableton though.
I'd go for a cheap condenser (SE Magneto) instead of a 57... Also, if you don't have a DI out on you're amp buy a DI box so you can record the clean & the miced signal at the same time (I'd go for a simple model from Radial engineering, those boxes last for 1000s of years, even on stage). If you're a beginner and don't want to record a whole band or something you should just buy a scarlett interface (focusrite) they're cheap and totally fine.
This setup should get you very good results, and with a bit of reading on operating DAWs you'll be fine!
The Alesis Q49? Why not the Alesis QX25?
And I don't know if I'd want drum pads. I guess they would be good to have.
What do you mean by "velocity"?
Thank you for the feedback but can you clarify on why exactly? I can't spend tooooo much money on the controller either.
So does the Nektar Panorama 4 support FL Studio?
stick with the SM 57, trust me. You will get the most use out of that mic. It is an industry standard for a reason. Most if not all recording studios have a bunch of these on hand
since it hasnt been posted before, Attack Magazine is an amazing resource for producing /bleep/ types of music
i read it daily
I've just checked:
"For Bitwig Studio, Cubase, Nuendo, Logic Pro and Reason users, Panorama is a dream come true. " (panorama website)
So not, sorry man, you gonna have to stick with the usual stuff.
I'm sure that there is no more integration on novation or m-audio stuff.
velocity is how hard you hit the key. there is a sensor on the keyboard that detects how hard or soft you hit the key and it will produce a different volume depending on how hard it is struck. It adds a bit of the human element to it, you might figure out some cool dynamic stuff by incorporating velocity to your music
this seems awesome, thanks. I'm always looking for competent /bleep/ shit to read and I'm tired of Future Music
I'm working on an old PC and moved backwards to Sony ACID 6, just trying to make early sounding scrubstep with older tech.
>scrubstep trying to be old scrubstep
Just picked up an er-1
I think I'm in love. This thing is so neato.
Any of you guys know about alternatives to the Arturia Beatstep? (16 step sequencer & midi controller)
It doesn't need to have CV or Gate out just MIDI.
I'd like to get that piece of gear but I just wanted to do some digging, see if there is anything better on the market. I couldn't find anything in this price range.
not really another option - the whole point of the beatstep is to be able to use MIDI and CV at the same time to sequence multiple pieces
>>47822125 is correect, look into Max/MSP or - better yet - Jitter
thank you very much. should be pretty obvious i meant apc40, but yeah Max looks very promising. I just want to have the keys that affect audio queues and effector knobs work with Bome's Midi translator in the blender game engine for visual queues, so that any time I make a difference in the music, it affects the live visual.
But I think this will work well, so thanks!
yeah it's hard to tell. I had the chance to check out their setup at soundcheck and it's really complex. I could hardly work out what they were doing when they were playing.
would be great if you guys that are into house music could check out my shit and give me some criticism
would like to hear your stuff too
also going to berlin for the next 5 nights, kerri chandler tomorrow night at watergate and tigerskin (dub taylor) at suicide on sat
any of you guys have recommendations of clubs/places to go while im there?
currently working on a track, will give this a listen in a bit. i shared my SC further up
ive had friends go to Watergate and absolutely had nothing but horrible things to say about the crowd. the worst of the deep V-neck deep house bro club, apparently. Kerri Chandler is so good, though, and im sure itll be a great time. hope you dont get fucked with.
honestly...im going in Berlin and getting a guided tour from some friends this fall...
are my 3 must-go spots..would be interested to hear other people's opinions
nice stuff, very well produced, not my sort of thing but i can appreciate it
yea cant wait to see kerri, just there for the music and to chill, will keep myself out of bother and im sure ill have a good night
ive been to tresor a few times, its sweet, nice warehouse feel to it, plenty of room to go chill out or dance, also usually good music
will check out record loft and hard wax
appreciate any sort of objective opinion on my work. thank you.
yeah, Watergate will be sick. amazing sound system and fantastic location - im sure my friends were all fucked up which probably led to their dislike of the club
please do yourself a favor and check out Record Loft and Hard Wax. RL might be more your speed as HW is mostly techno/dub with some odds and ends
how did you end up getting your music noticed? you are signed to a label yea?
yea i will do, got a couple of nights planned but need some stuff to do on the others so will definitely check them out
reverb and filter?
i run a label (not techno/house related) and made a lot of contacts that way. when i started uploading material, people came out and asked me to submit stuff.
ive been playing in hardcore punk bands since i was 15...gigs are nothing new. same rules apply to techno. go to shows, meet people, promote your own parties and understand that it takes awhile to get the swing of playing/running shows.
im currently booking everything myself and lining up dates for some off-SXSW stuff in march. its just a hustle IMO. be honest, nice, and help people when you can.
appreciate it. playing live is my favorite thing to do.
see my response above this one. im signed to several labels and have 2-3 records coming out this year/early 2015. some labels that im really fucking excited about.
Can /mu/ recommend me a good (non-midi) sequencer for live use? I already dig my sp 303 but that shit takes forever to record a pattern/synth lick. I want something that I can route my monophonic synth into to get more layers without my laptop when playing live. Recs? Price will be a big selling point here.
u wot m8
that's not a sequencer m8
I'm not too versed in hardware yet, I want something that I will plug my synth into and not vice versa because my synth is monophonic and I want to play multiple sequences simultaneously. Is CV/Gate a normal 1/8" or 1/4" plug? Why don't I want one?
if your synth is monophonic plugging in more sequencers wont allow you to play multiple lines. its monophonic, one voice, one sound at a time. youll need a polyphonic synth to play multiple things at once.
your SP303 is a sampler first and foremost. it might have a sequencer, but its def a MIDI output.
your 303 COULD sequence an outboard synth w/ a MIDI input, but using a sequencer for your 303 doesnt make sense
CV/gate is either 1/8" or 1/4" depending on format and manufacturer. There's even (superior) banana plugs.
If you find old Moog stuff, they use a cinch-jones connector for gate, which is actually a switch trigger (voltage is high normally, and activates envelope generators when the voltage is shorted)
You get decent synths with Reaktor, even if you don't make you're own. Also, plenty of companies offer reaktor ensembles (synths effects) for free or for optional donation, you can build up an awesome collection just from those.
I think yes. But when it comes to NI synths I'd just buy Komplete right away, so much cheeper.
Everyone on this thread should get this plug in. Free until July 8 and then its $250.
yea theres tons of ensembles on NI's website, a lot of which are really good. i find reaktor is just useful to make things you dont own or are odd. also not having to deal with wrappers like you would with max/msp (outside of abelton)
if you run Live, also look into Max for Live. similar concept albeit not as friendly to newbies. many of the things >>47825436 said about Reaktor (ie. free plugins/FX) are also true for Max
an amazing plugin. using it right now. nice tip.
I just copped a juno 106. It sounds great but, a little thin without effects. What reverb do you guys use.
Do anything you want, but be prepared to pay for it. If you want to make robot farts and noise you can actually get away with not spending much at all. If you want tonal music, especially more than one 'voice' at a time, it'll be digital modules or a fair amount of money. Especially these days, a good monosynth will be cheaper and more versatile then a modular even half its cost (the next case, as in empty box, I'm looking at is $750 ffs). However it's a wholly unique to you synth, that's a big part of the draw for me.
dsi has the problem of releasing unfinished product and then running out of money so having to rush the next unfinished product out the door. I swear I'd never get something from him but the Prophet 12 has me real interested.
fuck yea ensoniq
This thing is the shit. I've repaid their goodwill and bought the Space pedal that I've been eying. They're really great dudes, easy to get in touch with too.
Sell it while the prices are high. I like the old midiverb 2 for noisy fx, they're cheap as hell too. If you're software, just buy valhalla shimmer. It's not dissimilar, although you could probably get a real MVII cheaper.
sm 57 can be used for
>anything with an amplifier
>hammering nails if you don't have a hammer
>chucking it at someone you don't like without damaging the mic
Smith's Mopho Keyboard was what got me in to analog synths. It was fun to play around with but I couldn't really dig the DCO sound and I wasn't too keen on working with presets. I like my synths to sound exactly how they should with the knobs in their current positions - no parameter jumps or anything. I've currently got an MS20 mini and a Vermona Mono Lancet. My plan is to start getting some Eurorack modules and the Vermona modular expander because as great as the Lancet sounds (somewhere between an old Roland mono and a Moog), it's rather limited on modulation options. I'd still recommend it over these new Arturia monos though simply for having a second oscillator. I just love all the great timbres you can get with detuned oscs.
Jump in then, especially with the MSmini. Grab an English Tear and it'll take care of the trig and Hz/oct<->V/oct go between. Don't get too small of a case to start with though, that's a fool's errand.
this is very rough but i'm awful at mixing and if there is anything obviously wrong with the track that you guys could tell me about, i'd appreciate it. xoxo
AFAIK it's the only easily gotten one. I don't have any Hz stuff so I haven't looked around much.
Yeah the vermona quad is easily the best for polyphony. Though, the amount of digital stuff coming into euro now is wacky. A Yarns and an Edges, or just the edges if you're willing to do some DIY, make for some very quick poly patching. It's a great time for synths.
Here's my portable rig. Keyboard is a junker because it was for a synth meet, I don't use one personally.
[spoiler]AHNE[/spoiler] We're trying to make it twice a year, which it'd be great. Pretty much no douchebags, piles of awesome gear I couldn't justify owning even if I could afford it, amazing jams after dark.
it doesn't do what i want it to do, though, and it doesn't really sound right. i want to have more control over the modulations, and i want it to actually change the pattern, not just randomly loop certain parts of it.
i don't know what this is, but i'm downloading anyway. i hope it isn't 32-bit. here are some nice spectral plug-ins for [spoiler]mac osx[/spoiler]
sick setup - Mutable Instruments + Make Noise must work together well
also, Monotron fuck yeah
i use Live 9 on my PC and 8 on my laptop. jump into 9. you wont regret it.
that should get you started. you can also automate plugins this way.
>that should get you started. you can also automate plugins this way.
i'm already familiar with this, but i want something more generative, similar to max, but simpler and more accessible. also, i want to change the pattern itself, not audio effects.
ive never come across a "how to" guide, other than looking into producers/musicians you like and reading about their methods
"experimental" is pretty broad. what type of music specifically are you into? share some artists if youd like.
Not sure why you would want an APC for experimental music,
Also, nobody ever needs a synth for makin music, they're just fun and sound incredible. Don't just buy something because you think you need it, but it because you understand the purpose of it and when you really want it.
Buy monitors and and interface out of necessity though.
honestly im more into techno/house. dub techno in specific but the costs for equipment look way too high for only beginning. artists i guess i would say im into the most would include deepchord, leon vynehall and luke vibert
honestly i just kinda put it out there cause im only starting and i dont want to make a huge investment into something that im still unsure about
i have a couple of friends who record and release and do some insanely dubby things with Live and some VSTs...
the generative drum concept would be nice w/ some more straightforward dub techno chords, though
woah sounds pretty cool, mind linking me a release? also im not really too interested in the software its more the equipment/hardware that im looking into but im still really new to this so i might be wrong in looking for equipment first
>There are no rules
this is the most important thing to remember! never shy away from trying something new because it goes against what someone told you about music! always try every idea you have because with the way music is done today the only thing you have to lose is time, and as you get better, you'll find yourself needing less and less of it to do more things.
I recently started producing some breakcore, manually placing each hit of the break in my DAW, and I've realized just how true this mantra is. it's really liberating in a way I can't explain to be working in this genre where the only real constant is the presence of the amen break.
How's the production on this?
why should i switch from FL to logic/ableton??
I've had great success with fl and is there any real reason as to why you should switch to the other??
ah ha, I do. There's always a couple in the bunch, he wasn't in attendance though.
Yeah def, in my larger case I've a brains for sequencing the PPs. I'd like to get some analog memorys before they're all gone, he's discontinued them, but for the price... Sequencing in situ is always a hard sell, same thing with utility modules I'm always like man I could get *foo* noisemaker for this.
Check out Numerology sequencer. My favorite for generative jams back in the day was Opcode M. I know cycling74 has ported it to modern OSes but I think just OSX, not sure.
>techno/house. dub techno in specific
Literally was made with the cheapest fucking shit available, stuff that is now practically worthless. Troll craigslist for an RM1x and any sampler, alesis 3630 or valley people dyna-mite if you want to class it up, and tape delay (or pedal). Have fun. Don't record shit, jam for six because you're going to hate everything you put down anyway. Smash hits were made and genres defined on shit people throw away now, you've got more potential in a netbook than most studios had thirty years ago.
I'm an advocate of actually putting some money down on something since it'll keep you motivated. Buy an old groovebox (not the 303), buy your DAW and VSTs. It's not that expensive, honest.
I only keep up on the other DAWs so that I can work with other people. I've been using cubase for twenty years and I'm not likely to change now. If FL works for you than stick with it.
learn the components of a kick drum sound, learn the key frequencies, and learn how to treat them properly with EQ. your sounds are like your children: you may have a lot of them, but they all need equal attention from you. this should be a good jumping off point for you to start beefing up your kicks: http://www.benvesco.com/blog/mixing/2007/mix-recipes-kick-drum-eq-and-compression/
that is in no way an end all beat all, and you'll have to experiment, but it has a lot of useful information that can get you started on the journey to amazing kicks. poke around that site for other aspects of drum processing, too.
i mix on grado sr80is and people tend to say my mixes are of high quality. once your headphones attain a certain level of fidelity, it's all about learning what you're listening to. i always cross reference my mixes on a variety of systems, including my ten year old desktop speakers, my laptop speakers, my apple headphones, my car stereo, etc etc to get a good idea of what it sounds like. monitors just expedite this process.
Any guitar. Solid body you're better off with a contact mic but it'll still sound alright. Mic the sound hole, or attach your contact mic. Strike the body of the guitar with your fingers, or a padded mallet. Trim sample, pitch down as you like, combine a generated sine sample if you want sub-bass.
Making your own samples and kits is what makes you learn how sounds work and how they fit together. This is more important than any book or article you could read, any class you could take, any software you could pirate.
I only normalize when multisampling and not having a motorized striker (solonoid+rig), during the initial mapping. Doing it to whole recorded tracks, or worse program material, isn't a good practice to get used to. Rerecord it louder or bring the levels of everything else down. Everything louder than everything else isn't good.
think of it as like rounding decimals
it can make things sound thin and harsh if you make the wrong adjustment, it depends on the input sample values and the bit rate (and you're unlikely to ever be in a position to tell whether you're 'safe' or not)
basically just fucking ignore me, it's almost impossible to avoid in a DAW
but some dither might help to blur the edges a little (but only apply it right at the very end)
basically there's no need to normalise things if you're then going to be changing the gain anyway, all you're doing by normalising as well is introducing even more inaccuracies
yeah just turn your amp up :)
and try to avoid repeatedly changing the gain of anything in the digital domain (even just +1db now and -1db later can screw things up in weird subtle ways)