I'll start. Mixing: EQ and levels are everything. Depending on the genre, cut out anything you don't need in your mix, it just wastes headroom and muds up your signal with unwanted inharmonic information.
For anything that isn't the kick or the bass, you can cut everything from say 80Hz up as high as you can without taking away from your desired sound. Kicks and bass will be tighter and more defined then.
to get a very good sound, you should burn your cd to vinyl, then record it again. once that is done, you use the timestretch feature on audacity to compress it to 1/16 of its original form. once that is done, export it to finale notepad.
>>48499990 That's the point, you wouldn't. I'm talking about non bass or kick stuff, you'd cut below 80 (say for vocals for example... It also helps remove background noise like lighting and AC power hums etc.
2C Breeze is actually much lighter on CPU and beginner friendly than Aether, also I believe it's cheaper. Expensive plugins but very good sound capabilities.
Though I'd much more recommend the Valhalla stuff to begin with, as it's actually just as high quality but far cheaper.
>>48499843 Uploading some ambient IRs for you (and anyone) now, dropbox link in a sec :)
I dunno what is the best freeware convolution plugin if you don't have one, but I know SIR 1 and Reverberate LE are free. Though convolution is convolution, it's all about the IR files you load into them anyway.
(posted this in other thread, and deleted it, seems relevant here)
Question about mixing:
My songs sound anemic and lifeless. Everything sounds like it's playing through a tin can.
I was wondering:
I don't use the Master reverb/delay channels in Ableton. I just add reverbs and other effects to each track separately. What I was wondering is, if I have 2 or 3 channels with, say, reverbs in them, is there a possibility that there is some...signal "crossover"? I am not sure if I am using the right term, but it is like when you have speakers out of phase and the lower/bass signals cancel each other out. Is this why my songs sound so anemic?
Alternatively, I would love to hear any advice in improving that (that doesn't involve compressing the shit out of my tracks)
Not related to production, but all of you are musicians so you can answer this with no problems.
I write my music to sheet. I have a bunch of songs ready to be licensed, but I got told the only thing I have to write down to sheet is the lead melody aka the vocal part. I found this strange, since I find the instrumental melody (for guitar, piano, etc.) is important too. People who have experience with this, how do you do it?
>>48501587 Woo! Renoise is da bomb nigga. it's dat true shit.
I only use renoise... since i don't know anything else. and i am very content with it. I think the interface scares people away though, but don't be scared people because it's a lovely and powerful program. very ez on ur cpu
>>48499853 i've actually been getting tired of reverb, to be honest. it's kind of an unnecessary "pretty" effect. i think you can make more lasting things if you cut out the reverb and start finding other ways to make the music enjoyable. but then again, i mostly make ambient music, not edm, so i may be biased.
>>48501360 But seriously, try instead of having reverbs for each plugin, try using some sends instead, and only have a reverb on each instrument itself if you really want it like that for character (eg, some huge reverb on a snare for 80s feel.) Sharing the reverbs amongst plugins helps glue the whole thing together into one space, so sounds nicer and more balanced generally, and also saves CPU.
Speaking of less reverb, anyone tried the Unveil and Unfilter plugins from Zynaptiq? They're amazing, though I can't afford them right now, they're not cheap either. I have SPL Unverb, and it's not bad..
You can also use transient shapers and increase attack + reduce decay, then lower levels to help get less obvious reverb on sounds.
Once heard a good quote Re: reverb, "It's like adding some red into white paint. You can dilute it, but you ain't never gonna get white again"
>>48503094 Pretty specialized shit.. very cool though.
An interesting thing they do, is have ability to save an impulse response file of the filtering they detect.. So you can also use them in reverse, and kind of take one place's reverb or EQ curve, and then use that IR sample in a convolution plugin, so apply a similar reverb on other things.
I've got most of my bread+butter and workhorse stuff, don't really need any more synth or FX plugs etc. But there's a few high end things like this I'd like then be basically complete for production and sound design.
Unveil, Unfilter, and Izotope RX advanced. All hella-expensive... But yeah if anything else that'd be it.
>>48504050 Yep. Pretty neat stuff. Unfilter can help remove things like speaker cabs/amp coloring (or steal them lol) and unverb can do the same with spaces.
Haven't tried their pitchmap software yet, looks like melodyne but realtime. Might try the demo today actually. They definitely know their stuff and do a few different things than anybody else is doing with software at the moment.
>>48499908 Fucking this. Frequency separation is key to everything. Doesn't matter what kind of music you're making. EQ everything tightly, accentuating key frequencies and cutting the part of the spectrum which doesn't have anything to do with that particular instrument.
Also, kick/bass balancing is a fine art. For bass I'll usually stack 3 different basses with different frequencies (sub, bass and mids), EQing out the regions between sub+bass and bass+mids to make room for a combination kick (sub and bass/mid). The kick is boosted in the regions that have been EQ'd out bass wise. Takes a couple extra minutes but it'll make your mixes come to life.
>>48501587 >>48501587 Renoise is a great tool. I learned to produce on it and have since adopted Ableton. Haven't used it as heavily recently because I've been trying to learn Ableton over the past couple months. It's seriously great at quickly creating sketches/getting ideas out/sample mangling and 3.0 seems to be really solid at creating custom instruments...but I haven't mucked around with 3 yet so I might just be talking out of my ass. :^)
Hey, coming from soundcloud thread. Most FL Studio tutorials I find are 40 mins of a guy doing absolute BASIC stuff. How to you gradually speed up/slow down a song? How do you use reverb? How do you use effects in general?
Just thought I'd throw out some free plugins and sample libraries.
>Glitchmachines has some interesting sample packs and a couple free plugins http://glitchmachines.org
>Frohmage is a great little saturator/bit crusher/distortion dealie https://www.ohmforce.com/ViewProduct.do?p=Frohmage
>Richard Devine has some delicious and free sample libraries http://devinesound.net/
>Waves Alchemy also has a bunch of solid freebies http://www.wavealchemy.co.uk/free-samples/
Also if any of you are missing your 32-bit plugins, I wholeheartedly recommend getting jBridge or jBridgeM (OSX). It's a 64-bit wrapper for 32-bit plugins and it's working flawlessly on OSX10.8. It's worth the $13 or however much it costs. I can finally use TAL Bassline, LiveCut, the rest of the SmartElectronix plugins and Sylenth again.
>>48504519 >how do I into tempo Right click the tempo selector/indicator up top that says the BPM. Choose 'create automation clip'. Go to playlist and edit points in the automation clip. to get the right BPM, you'll have to choose your start BPM with the selector first, now right click again into COPY VALUE, now paste the values of the bpms you want onto points on that automation clip.
>How to reverb? For reverb, also try Fruity convolver instead of just reverb1 or 2. I like to put reverbs on my send inserts so I can share them between any plugins I send to. Cut lows and highs with EQ before reverb especially if it's too muddy, but use gentle slopes.
>>48499908 i always have trouble in mixing and couldnt get a chance to hear it in a proper setting. Sometimes i just stick to headphones and hope for the best. But i do have a pair of roland monitors but im not sure how reliable they are and most of the time, maybe on a drunken night, ill stick to a certain setting. Mixing is the hardest for me. For now, I try to stick to just a limiter on the master or nothing and mix each track as little as possible. for example: https://soundcloud.com/phillipspiller/11-god-in-the-machine?in=phillipspiller/sets/sketches-from-the-arboretum
>>48501587 renoise is cool but i like it for its native effects and it doesnt crash. Other than that, fl studio for me is the shit and i do alot better with a piano roll. If you enjoy typing out patterns then renoise is the way to go, if you like to just use the mouse and brush up a snare rush then fl studio's piano roll is the only thing that matters.
i prefer the piano roll, compositions are fast and easier and can be aimless. Just need to have a little something that helps you stay on task, sit down and get to work and paint.
>>48504816 Headphones can be helpful for hearing low end and reverb.
Use the monitors and the headphones... and your ipod, etc. The more speakers/systems you can hear it on the better. Sticking to one setting and getting to know it is best. Use reference tracks of similar sounds you'd like for comparison. If you have nothing on your master buss, make sure your levels never go above 0db or you get digital clipping which sounds crap.
>>48504778 I started on Renoise and have since started using Ableton. I've been using Ableton exclusively for a couple of months trying to learn it inside and out. Eventually Renoise will make it back into the mix.
I also use Logic Pro X for recording my band and mixing. I've been wanting to start utilizing Logic Pro's instruments in my electronic shit. Haven't gotten around to it yet though. Still pretty obsessed with Ableton.
>>48505106 FL Studio. Relatively cheap, has all the basics, has best pianoroll. Best value is signature bundle. (Has same as production edition + a few useful plugins, sytrus and maximus are both top notch plugs.)
Though, what genres? If doing lots of multitrack audio recording, then I'd reco Reaper instead. It's cheaper again, though Audacity can do much of what it can for free also. If you wanna make EDM you want FLStudio or Ableton. (Or logic if macfag)
>>48505106 Really anything. It depends on your workflow which you haven't developed yet. I started on Renoise, personally. Whichever one you pick, watch some tutorials and just start trying to do shit. The best way to learn is to poke around and figure it out as you go.
>>48505106 i think ableton live would be a good place to start, since it's really simple and has really good workflow. fl studio can get confusing and annoying with all the windows. live is all one window with two screens in it.
>>48505417 Start out with a VST instead. Try out native instruments and others. you dont have to start out with a daw. Alot of people make mistakes like that. a daw is for recording and sequencing. but if you try out a daw, try them all out and spend about a few days or a week on each. dont stop until you find what you like.
>>48505240 I agree. Try using less though. Using speakers (rather than you're headphones) set your reverb up, now mix to where you want to put it in the mix, so it sounds good. Now turn it slightly down again, to less than you wanted. Now it's kinda there but not there.. :) Also, I like to have a few reverbs on send tracks and use them in parallel quite often. Then just blend small amounts of a few, rather than just one big obvious reverb is obvious.
>>48505505 >Implying you can use a VST without a host. Specifically, a VST plugin is effects. a VSTi is instuments like synths and stuff. same diff, but you can't use either of these things without a host program of some sort. Which is what DAWs are, but some do only audio or mainly audio - such as reaper/audacity etc. And the more electronic type of ones, (FLStudio/Ableton/Logic) have good sequencing and other capabilities etc.
Also, VSTi is just being picky, people still call them both just VST anyway lol. Just mentioning it for learning purposes.
And if you were doing orchestral/film music, I'd maybe also suggest Cubase.
A free host you can download right now: http://www.tobybear.de/p_minihost.html A free VSTi you can d/l: Synth1 http://www.geocities.jp/daichi1969/softsynth/ Ignore the japanese, just grab the english manual and the VST zip.
>>48505536 Any and all, but I don't pir8, that's only for plebs. fruityloops was the name of FL Studio, like ten years ago lol, but heaps of people still call it fruityloops. Fun fact: They had to change their name because of a lawsuit from kellogs over the breakfast cereal froot loops. Because someone might mistake the software for breakfast cereal. lol, or maybe kellogs was getting too many hits on their website for 'fruity loops serial'
>>48507012 I'm teaching myself at the moment, was in the same as you. You'll get a good head start by looking up basic theory tutorials and hand techniques and stuff but it doesn't get you nearly as far as a private teacher would.
>>48507012 Sure. You'll probably never be a Mozart or Rachmaninoff, but you can learn to be a good player still.
It's best to take a few proper piano lessons I'd say, to learn correct fingering. This is important. If you don't learn this in the first place, you'll teach your muscle memory the wrong things, and always be crap and limited.
Sight reading is good, but not entirely necessary these days.
Go here and don't bother with the individual .pdfs, just get the large one that has them all. This is super-dense, there's a lot of info here, but it's presented in clear english. 'Music Theory for Musicians and Normal People' http://tobyrush.com/theorypages/index.html That has plenty to get you started on theory.
So yeh, get keyboard, LEARN FINGERINGS from youtube or somewhere, and then you can learn to play anything you can find a midi file for with this cool shiz: Synthesia https://www.youtube.com/watch?v=Xd1se1-hEzo Just like guitar hero, but for a real instrument.
>>48507609 But it's hardly an issue of creativity. If anything, the lack of voices is limiting to creativity. If you use "muh creativity" as an argument, you're just being lazy. Anyone can be "creative" using a bunch of pots and pans from the kitchen, that doesn't mean that real drums aren't better.
>>48507693 I don't see what you're trying to argue. Look at the video. Kid's using the matrix-style parameter editor of the MK to do some really weird effects that wouldn't work the same on another synth. It's not ideal, but it's better than bitching about what's wrong with the thing.
More to the point, learning to work within the parameters of what you've got will serve an electronic musician better than just crying about inferior gear. Fuck, you can get one for like $100, if that. Shit's all some people can get, when starting out.
>>48507865 The fuck? You haven't said anything like that so far. Fact is, I've only been a douche to the guys shitting on >>48500517 far using an MK in the first place and as far as I'm concerned, fuck those guys.
>let's talk about music production Ok,every time I start something I get stuck on something fucking basic and then never can progress forward. I have never completed a serious track. I'm probably going to give up forever and try and find a way to stifle my creative urges.
>>48508409 Have absynth but haven't used it much (came in komplete)
Alchemy is a good synth also that does granular stuff, but other than granular I really love harmor and resynthesis in it.. It resamples your sample into 516 partials and then plays them back as additive synthesis (516 sine wave oscillators - but you can mess with the time and pitch scaling and all kinds of crazy stuff. Slowing things way down for example has similar sounds to granular (but not same - it's oscillators rather than 'grains' (small samples). It's in my top three all time and go-to synths for sure. Second, after Sytrus, but only coz I'm heavily into sound design and harmor is better for messing with already created sounds in resampling, or making new cool sounds, but it's still limited to two main 'voices'
Whereas with Sytrus I have 6 oscillators that can all modulate eachother with FM, RM etc and also use waveforms, additive, has 3 filters + waveshaping and FX, etc.
Sytrus ---> Harmor = Cool noises.
Destroy FX BufferOverRide also = granular funtime but it's an FX. Try it with Absynth for instant success.
>>48508568 Either find out what you're stuck on, if you know what that is, and find the solution on youtube, here, there or everywhere. Otherwise, if it's just nothing new is coming out composition or creative wise, go learn some new skills. Learn a new FX or synth, read up some tutorials on things.. Watch some random youtubes on single instruments, like how to play clarinet, or drums, or the ukelele.
Record some random noise/vocals, anything.. and play with glitch and mangling plugins and just explore sound. Get a basic synth plugin, (Synth1 is perfect for eg.) and learn what all the parts do and how they work.
Keep writing shit. Stop giving a fuck about writing full songs or finishing and treat it all as fun and a learning experience/practice. Save all of your files and project files, don't delete that shit even if you think it's crap now. You can look later and see your progress, and draw from the good ideas later too. Learn2sounds. Wikipedia is your friend, and obviously google.
Question about piano here. I learnt it for 10 years since the age of 3 then i had to drop it for studies (Im asian). Im 18 and I want to pick it back up and whats the best way to go about it? I still have pretty good knowledge of music theory etc.
>>48509306 for me, that shit is easy to make and ill do it. But i share my other shit and people are like "what the fuck is this shit?". Like i have a trap album and a freeform album that i spent more time on making and had a better experience with just because im doing whatever i want, and i get a general response from the trap music lol.
Then i look back and think it too fucking late anyway. so I agree with you.
>>48509706 download all of the vengeance sample packs in a torrent, find the cool loops of drum beats an bassl9ines and synths, and fx... put them all into your playlist or timeline, and poast your new hit to record labels like ultra records.
Pretty simple stuff. Do like this and you can be the next Martin Garrix, Avicii, or Steve Angelo:
No point wasting your time on years of learning useless shit like music theory or synthesis or any of that nerd crap
>>48510501 You should be fucking around with FL studio for at least an hour a day. Really you should just sit down and spend 4 or 5 hours making a track. Don't give up until you've made lots of progress and have most of a track made. Then you can come back the next day and keep messing around, fixing things that don't work, and adding new sections. Its like any artistic skill. You wont get better if you don't do it, so fucking DO it everyday.
>>48510715 I always start with a beat. get some kicks and snares and hi hats happening. fool around with some effects, give your hats delay or phaser of something. make a cool beat. Next step for me is bass. find some nice bass synths and throw in a bassline. You can essentially just repeat this beat and bassline for a while, but you'll need some kind of interest on top. either vocals, or some kind of lead synth, or interesting percussion/effects.
The first step for techno should be beats and bass though. Don't worry about learning everything at once, just get some notes down. Make sure you use the Help Topics in FL Studio if you get stuck, or don't know what something does. The entire program is described in the help topics, and I learned most of what I know from them.
>>48510216 How do I into inversions and voicings for orchestral instruments/arrangements? I understand chord theory and what inversions mean and are... But I don't know all the fancy classical words for them or any conventions of them. Coming from Jazz/contemporary side of things, so understand chord construction etc completely, just don't have orchestral experience or much critical listening/analysis of classical under my belt.
>>48510822 I think the best way is to look at the scores you like the sound of and note down what they're doing. You can learn a lot from other composers, especially guys like Mahler, Tchaikovsky, Dvorak.
imslp.org is a great resource, and you should be able to find any public domain score there.
As for inversions, just use your ears. I personally don't worry about correct chord construction and prefer to just use chords that sound good. If you free yourself from the limitations of correct chord construction, you can go all kinds of crazy places.
Everyone goes about writing music a different way, some people prefer to write by the book, and analyse their own work to make sure all the chords are understood/correct, but if your method is more organic, then you shouldn't worry about it. I come from a band/production background, so invention has always been the base of my writing, not theory.
The other option is to look at some nice chord voicings (There are hundreds of Jazz theory sites that have interesting rearrangements/voicings of chords) and utilize them in your pieces.
Another important factor is Voice Leading. Imagine Chord X is going to Chord Y, you want the individual notes in X to move logically to the notes in chord Y. If course notes can jump around between chords, but having smooth lines and/or held notes between chords can help them sound better/smoother/more logical
>>48510993 Keep doing it. Set some realistic goals, break those goals down into steps and chunks, do steps... achieve goal, repeat. >>48511038 Hmm ta. Yeah I already come from an improv/jazz background theory and feel wise, so I think your right, I'll just carry on as I do, using my ears as the judge, and theory as a loose guide/foundation. Thanks for the link for the scores and the ideas, and the reminder the rules don't matter the ears are final boss.
>>48511085 I often do film soundtracks using FL Studio and nice sample packs like East West and StormDrum.
I make $100 per finished minute of music. The guideline is that a minute of music should take ~4hours to produce (That includes thinking about it, sketching, actual writing, editing, production, testing on different speakers/monitors, etc.) But I usually get a minutes worth it done in 2-3 hours.
last project was a fast turn around, I had 3 days to do a 3 minute film, It took me 4 hours to do in total, and got paid $300. which works out at $75/hr All without leaving the house! (I did have to leave the house for my day job though... the real struggle is fitting music jobs into a full time work schedule. - hence why I had very little time to do it - only 4 hours over 3 days) The goal is someday to just do music work, but the jobs are currently too few and far between to become my sole income
>>48504519 right click on anything and you can create an automation clip in your playlist, so the "knob" can be fiddled with during the song automatically. you can do that with tempo and almost anything else that is fiddle-able
>>48511502 I have 3. Two MXL 440/441 and a normal singing microphone by phonic. Currently I'm running the 441 & normal mic as overheads and have the 440 by the snare/hi-hat and I'm getting a pretty good sound. I was just curious about how other's went about it.
>>48511463 Its probably just as hard as any facet of music. takes a lot of work to become recognized whichever genre you go for. I'm just lucky that I know film directors and cinematographers that make films, and that I've become their "go-to" composer.
You're always going to need connections, no matter which path you take, bands need connections to get gigs, producers need connections to get tracks out/dj shows, composers need connections to get work.
If you spend your life doing something, and doing it well (or at least always trying to improve your craft) someone somewhere is going to recognize it, even if its after you die. The important part is making music you like, and find interesting.
Okay, going to make some more IRs. If you want them, what kind of verbs does anyone want? Short medium or long... as in room, hall, or more large 'forever' ambient ones?
You can 'steal' reverb presets of high end demo plugins, and record any reverbs or some FX you want in FL Studio with 2 convolvers on an insert.
Put a convolver, then reverb plugin, then another convolver. on 2nd convolver go to FILE>>NEW And hit the record button. Go to first convolver and click little lightning bolt icon on the right of the record button. You'll hear a click and then the reverb, now go to second convolver and there's your new reverb IR.
Play with weird samples in your convolution plugins instead of normal reverbs. try some guitar though a saxaphone sample.. Put a kick through a bass guitar slap... etc. Cool ways to get new textures and sounds.
>>48511552 Micing things up is a nightmare. I feel its best left to recording engineers, as millimeters can matter with mic placement.
From what I've seen, ideally you want a clip mic on each snare and tom, 2 or 3 mics on the kick (one inside, one outside, one on another angle etc.) A couple of overheads for cymbals, and maybe a room condenser mic for some room tone/ natural reverb
>>48511679 I like to take a minimalist approach and also like to get kind of a garage rock type sound of of the kit and limiting yourself to two or three mics makes you get creative. It can be a pain, but I love messing around with it
For someone with experience only with Finale and no idea how to use DAWs, what's the fastest way to get the sounds (especially that of choir, electric guitar, and brass) up to tolerable quality? Get a new sound library, or just move to another program altogether?
Why the fuck is the Microkorg so popular? The only response I've ever gotten from that question is "hipster faggot sheeple bluh bluh bluh" but that answers nothing, why did it get so popular in the first place? Yeah it's cheap but so are a lot of Korg synthesizers nowadays. Hell, a used Microkorg will only cost ~$150 less than a new MS-20 mini, and the Micro is wayyyyyy more limited and in many ways harder to customize out of the box.
Was there just some godly advertising campaign that I missed out on? I mean from my experience the Micro is just a 6/10 synth for the price of a 4/10, yet it's arguably the most most commonly used synth among live musicians in the past decade. It's like the modern DX-7, yet without any 'signature' sound. What am I missing?
>>48510216 How do you do good polyphony? A lot of the time when I try to go for two or more simultaneous melodies (not counting the ostinatos, which are pretty much a given and never the emphasis) it becomes very hard to make all melodies equally emphasized or audible, I can't decide which one to focus on.
>>48511801 I cannot into real synths. The only thing I spend money on is orchestral sample banks and DAWs. I used to play in a band with a Korg player. That Korg was fucking SICK. not sure what type it was, but pic is related
Myself, it can be either. Just write anything, then write more stuff that fits with it, and keep going until you have a song.
The melody for pop can be as boring as hell, it doesn't matter. It's about the timbre of whatever instrument is playing it, be it some hot poptart's voice, or some supersaw in your favourite synth..
Don't get hung up on trying to over complicate shit, just focus on making good sounds. Don't overthink shit, it's all too easy to do.
I had my daily reminder just now here for example: >>48511038
tl;dr: make good sounds. John Lee Hooker and B.B King for example, can make a whole song out of one chord, or a whole solo out of one note. It's how you play it and what it sounds like that's all that matters.
>>48511882 Good polyphony is tough. Start with just 2 voices. You need to have a melody and a counter melody. They should work off each other, and compliment each other. Going past 2 voices takes a lot of practice, and once again the best way to learn is to look at the scores of the masters. Guys like Josquin, Palestrina and Bach all have amazing polyphony, So I'd recommend at least listening to some, and analyzing their scores if you can.
The other option is to download a MIDI file of a nice Palestrina piece, and import it into your DAW, then examine it to see how it works. This was how I used to learn how pieces work before I could really read scores. Usually someone somewhere on the web has made a MIDI file of the piece you're after.
for example: https://www.youtube.com/watch?v=BRfF7W4El60
And Here's the MIDI file: http://www.kunstderfuge.com/palestrina.htm (Download the first file at the top - Kyrie)
Good polyphony often involves repeating the same melody, but shifted up a 5th or 3rd, and having that melody interlock with itself.
>>48512326 I've always found writing organic melodies to be tough. recently I worked out I could record myself singing or whistling a melody, and then play a MIDI keyboard along to it, recording the output.
That way you get the organic nature of the voice, and the things you can do without the limitations of barlines and grids, then recreate it with MIDI controller so that you can drop the notes into whichever synth/instrument you wanted to use.
I've always hated the limitations of barlines and grids, and so this method allows me to bypass it, and get some more organic/natural sounding melodies
>>48512366 I'm just bein stupid, not makin fun of you. It's not really a supersaw, it's more soft and complex (though not too complex). It's more like (and most likely) a combo of a few oscillator waveforms like saw, square, triangle etc, then through a LP filter. Sylenth comes to mind, it's a pretty go-to synth for this sort of thing, though Zebra2 and sytrus kicks it's butt. But they're more complex.
Try Synth1, Zebralette, any other free synths from U-He for some great free plugins, and go through the presets until you find similar and start tweaking and playing with it to suit.. You'll have fun and learn things at the same time, and if you can't nail that same sound yet, who cares? u had fun and got some synth practice learning what all the knobs and buttons and oscillators and filters etc do.
subtractive synthesis is: Oscillator/s (Soundwave generator or source) Filter/s (Low pass, high pass etc) Amp section (Volume, ADSR etc)
Learn2 Oscillators,Filters,ADSR,Volume/Gain. That's all there is to standard subtractive synthesis.
>>48512477 Yeah I'm constantly whistling or singing. random melodies emerge. I record them on my phone, or write them down at the piano/elec. organ Sometimes it happens, sometimes it doesn't. Sometimes you have to force yourself to write a melody. Often that's the hardest thing to do.
Wordsetting is the toughest. Getting given a poem or text and then having to set it to music. Takes a long time. Currently writing a song using the journal of a 25yo soldier in WW1 Gallipoli. This project is even harder because the text isn't made to be sung, and includes things like exact times (9:40am) and weird sentences ("Private Tohill, who was standing right in front of me, dropped with a bullet through his shoulder.") Its quite a challenge to get these words to fit into a nice melody that also fits with the underlying chords... I have much work to do. mostly just improvising the word setting, recording it and then deciding if its good or not. Slowly work my way through the piece like that, keeping good bits.
>>48512548 Oh, the bass? thought you meant the chords. Yeah it's just a dirty saw lol. on your synth's mixer insert after the synth, Saturate or distort it, then LP/EQ it, now compress that shiz & sidechain your limited, squashed saw with the bass... ??? Profit.
>>48512192 Not the same guy. I don't really know anything about music theory, but recently I've been experimenting with polyphony.
Do you think these tracks contain any instances of "true" polyphony or are they merely homophobic at best? You might have to turn up the volume a bit because Finale is batshit retarded with sounds
https://soundcloud.com/lastredone-1/dauntless-remix https://soundcloud.com/lastredone-1/riverrun (skip to 2:00-2:48 for the part I'm interested in, the rest is pointless filler I'll cut eventually) https://soundcloud.com/lastredone-1/infinite-sun
I know the composition/sounds are weak, I just did these to try and achieve polyphony
Turn your faders down, (except the master insert.) If you need it loud, turn up the speakers. You can make it louder later when u master, but first, you gotta make a nice mix, that's not pushing too high levels on the master or you'll either clip your audio if have no limiter, or if u do, create excessive pumping like you got.
Pls halp SP 404 v.s MPC I want to make hip hop and already have ableton + midi. I know i can already do everything i can with hardware in a DAW but I feel like I would really enjoy the workflow of some good ol' hardware samplers.
>>48513098 Thanks, I was confused for a while because my friend who went to music school kept insisting that it's only polyphony if counterpoint is involved, or if all the voices follow different rhythms. Which I'm guessing is bullshit.
Cool granular FX/processing: another idea that works...
Slice your samples into tiny pieces manually, as far as you can zoom in, and mess with them that way. make sure to leave lots of little gaps and or move/delete bits.. I turned a slap bass into a cool formanty thing that sounded more like massive or wavetable synthesis after doing this. It can be time consuming but unique. FL Studio has a chop tool, mess with this on sounds, and turn it up to the fastest time divisions (time knob hard left) and go nuts with this, record it into edison, resample, chop more, etc. Manually granular.
Also, how do I use Reaper effectively? The only vsts I have are Guitar Rig, Massive, Addictive Drums, and some piano plugin, but I'd like to think that I've made some nice tunes with the true basics so far.
>>48514072 I use Edison in FLStudio mostly, and slicex. I have other DAWs but only use them for live/acoustic stuff with lots of tracks, and sharing projects etc. If you download the demo of FLStudio, you can use edison and export wavs with it. You can't save your projects, but you can save the audio this way. Otherwise, I dunno what's a good one myself, http://www.pluginboutique.com/categories/5-Sampler/free There's some freebies there that should do the job if ya just wanna stick with reaper too.
I'm using sonar x3 and having few problems first, there's a hell of a latency when I play anything. and the next problem is, that it comes with rgc:sfz, which is great for sfz files but can't operate with sf2 files, so is there any free vsts that can play sf2 or is there any way to convert sf2 to sfz. thanks. pic to get attention.
>>48517287 tried switching out power strips & outlets, I still get the same strong hiss on channel 1 & 2 and a lesser hiss on channel 3 apparently it's a common flaw with my model (which I got for free so at least there's that)
>>48517478 That music theory for dummies book is actually pretty good. Combine that with a university education and you're pretty much everything you need for a music career. The understanding of scores and real instruments opens up more possibilities as a producer/composer
>>48517739 but really the only difference there is that in a school youll go further into theory. in either case it wont limit you save some of the really old orchestra rules than no one bothers to follow if they dont want to
>>48517605 If you can write for full orchestra and grasp orchestration/score study without a university degree, that's fine. Personally I had to go to university to learn those things. It paid off, not only with the skills to write for real performers and study the scores of all the masters, but in meeting performers, composers, and tutors/mentors who help you with your craft. I had my first pieces performed at university, and eventually had a piece recorded by a full orchestra as part of a young composer competition (which I would never have known about if I weren't at uni). University changes a person from a bedroom producer into a professional producer/recording engineer/composer.
Theory also helps you find ways out of difficult situations, learn about new scales and techniques, and generally opens doors al over the place. Music history is also a fascinating aspect of a degree, you get to learn about how music began, and how our modern techniques evolved. You also get exposed to composers of all eras and interesting pieces of music/facts
I went more for the classical composition side, but a degree could be tailored to focus more on band writing, DAW producing, recording, or a mixture. There are even performance aspects, teaching you how to master the your chosen instrument.
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