Post projects, ask questions, general DAW discussion.
Working on a piece for a cold war concept album, For each track I scribbled down some key ideas. This piece is called "ECM" (Electronic Countermeasures) and the ideas were: Comms chatter, Jamming, Intelligence, Information, Speed and Light.
Mostly a combination of real comms chatter and jet sounds with radar and power electronics synth.
if you have a low pass filter turned all the way down then only the low frequencies are passing through when you turn it up then all the other frequencies start to appear (mid high) same thing just reversed for high pass
pretty much the standard FL 11 plugins, + Kontakt 4 and Play x64 which I run my EW samples through
Thanks as simple as that seems, I'm just figuring it out
It's really great as you start being able to make your own sounds
I recommend Analog in Ableton for newbies as it's really basic but great for learning
I usually use the classics, fabfilter, trilian, massive
still kind of new to production, but I think I finally found a sound today that I can call my own that combines a lot of my influences and is comfortable to work with. Good to say that I can stop writing songs that sound cheesy as fuck and forced
and these are my effects plugins
A tip for synths...
Use a nice, clean and powerful tone, and then put it through some effects, rather then program the synth to do the work. The best ones for this are delay, reverb, chorus and distortion, depending on what you are going for.
Its very lazy, but if you want a quick but usable synth sound. Just do this.
Also with drum programming...
Want a quick beat but dont have very strong drum skills? Just make a simple drum beat and then put it through a delay, but make sure the delay setting you use is an even number. Again lazy and obvious, but its a great way to get some stronger beats behind your music with little knowledge and time.
I've been moving towards chillwave/ 80s type of stuff lately. I've done rock, chiptune and symphonic shit. Some plugins I have only to mix things for other people since bouncing and sending WAVs takes way too long.
If you're gonna make some generic trap music or Beatport-core EDM, you have to have Nexus installed.
Zebra2 has a really interesting interface and I really like the built in reverb. It's a bit confusing to some people, however, so they settle with the presets.
Gladiator is really great. Since I used to be an FL Studio user, the interface is easy to get down and it's self explanatory. There's a lot of results you can get from it. It might be a bit too much on older computers.
Back when I switched, FL Studio only had Edison to record live audio. Since I was moving to more audio-based productions, I went ahead and made the switch to StudioOne.
I also went ahead and got Ableton which came with my keyboard. I prefer StudioOne's workflow but Ableton has some neat routing features that are great for DJing.
Don't get me wrong. FL Studio is a great program and I still have it installed.
These plus a bunch of P&M effect plugins that I use for everything
>last week friend booked me to play solo noise show opening up for black metal bands
>the show's in 18 hours
>I don't (didn't) make noise music
>they just asked me to make it "extra heavy"
>now making a harsh noise set using as many slowed down Slipknot samples as possible
I don't know if my computer can handle anything more brickwalled than this
You'll have to double click at the top of the playlist or piano roll and drag to select a part of the song. It will then repeat that part. Set the snap to line to make sure the loop is accurate
in my synth, there is a type of oscillator called a detune oscillator, with options like octave detuning, detuning by 5th, interval detuning.
is it possible to detune different oscillators to these settings manually using the tune parameters?
so ive been really trying to improve my sound recently and been learning a lot about eqing compression and the like, i think ive come on a lot but id still like some good solid feedback from people that know what they are talking about on what to improve sound wise and even structural wise, anything at all is good, its all about the learning process at the moment
any help is greatly appreciated
Fl Studio isn't even hard, it's UI can be learned in ~10 minutes. There's a reason it has the baby's first DAW stigma. Ableton's is a little trickier and more oriented towards hardware alongside, but is still perfectly viable with MKB. It even comes with built-in tutorials so theres no excuses.
so does anyone have any experience with playing their shiiiet live?
did you use ableton?
I really want to learn how to dj and perform live but it looks so different to playing live instruments
assuming you have a midi controller
>break your sets down into stems (percussion track, bass track, lead, etc. etc.)
>map knobs/faders to those tracks with effects like beat repeat, volume, whatever
Any thoughts on the Korg Volcabeats? Is it possible to make anything worthwhile with it?
Here's a summery track of mine:
I make everything in FL. Been using pretty much Massive exclusively for my synths lately
>not contributing to the wiki
Could you make a hardware/no computer live electronic setup for under $1500? I wouldn't use it for really complex stuff, just maybe 3-5 different sounds with 1 pattern for each throughout the entire song.
Here's a song of mine if it helps to get the idea of what needs to be incorporated:
>hey anon what do you think of my aesthetic consistency?
>im already bored of it
>it needs waaay more 80's synths and more oscillators need to be detuned, some cowbell, harmonized, some slowed down pitch-bent vocal samples, the justice drum kit but also with an amen break, an 8-bit patch harmonizing the melody line, also a small but tasteful yoi-synth reference (so I can feel cheeky when I listen to the this in the club), some sped up pitch-bent vocal samples, and a trill trap breakdown to be able to keep my attention
Found a cool way to get unique sounds using harmor. Load up any sample into the image section and turn the speed to 0, then use C Tuner and Edison to resample the same thing into Harmor but making sure its close to C, then you have a new synth noise that is mapped to your keyboard
idk if this is common knowledge though I'm still in my first year of producing and finding a lot of stuff out on my own
I guess he never did actually say "good drum programming tips.'
learn to mix each sound independently so they work together instead of just throwing tons of shit on top of each other lol. learn about how some frequencies cancel each other out. learn about eqing and compression.
I've been producing my own music for a while but I'm trying to improve my sound a little more, like everyone else here, haha. I'm looking for more ambient synths and effects similar to Blackbear, PND, TheWeeknd or something; also, does anybody have any tips or tricks to make my tracks a little more dynamic?
Here's my soundcloud:
Hey i make drums in fl studio. I used to make my own before i realised that i can just get samples. but that is the past. Now, for the most part i only use maximus and PEQ2 to get good drums. Pic related. PS i only use fpc for idea composition, as for this song i was just feeling lazy. Good thing FPC has multi outputs.
what synth are you useing? because in harmor, there is an A and B global detune, in sytrus there are 6 different operators with their own detune options, plus global, and even in shit like 3xosc you can detune shit for each osc independantly with automation. What i found is helpful is to just do stuff untill you know what works/doesnt. and remember. HAVE FUN
I wanna into making stuff just for fun. Do you guys know how to read music? Or can you do it without that? I can play drums and read drum sheet music, but it's very different from everything else, much easier it seems.
>working with standard notation
>on a device 1000 times more powerful
>not working with standard notation
Its like you don't want performers to play your shit.
I might be a DAW producer, but I'm primarily a composer, and at the end of the day I want real scores for real musicians to play.
>Its like you don't want performers to play your shit.
you guessed it. performers are inconsistent
>I want real scores for real musicians to play.
pic related is a real musicain
Hey, I don't mean to be that guy but where should I start if I want to start producing? So far I've been learning some basics around Reaper and Massive with my friend who's teaching me some shit, but as far as equipment and what not, what should I start with? I was thinking making more noisy and experimental type stuff, but I don't know what I should use as equipment.
Also, I've started learning a lot of music theory and basic piano, is this a good step for learning the ways of production?
You're missing out mate, working with performers and getting pieces played at concerts is the main part of being a composer. DAW projects just plug the gaps when you don't have enough funds for a project to record live performers.
Also an electronic piece of equipment will never be able to match the sensitivity and subtlety of a real instrument, no matter how much automation you put in.
you have an awfully limited scope of what being "a composer" is all about
Also a human bag of meat will never be able to match the precision and efficiency of an electronic instrument, no matter how much practice you put in.
You need to trust your performers. I understand that's tricky coming from an electronic background, where precision and efficiency is everything, but there's something very special about a real performer playing music from a sheet of paper. Magic happens, and the piece will change [slightly] based on rehearsals: what works, what doesn't, special effects that could be used, etc.
Understanding each instrument and how to write for them is a huge part of a composers job, you want your music to be playable, but still hold the interest of the performer/audience. Learning about all the instruments and their limitations and possibilities can take a lifetime, and you never truly learn everything. You're always discovering a new instrument, or a new technique.
Thanks. I'm also OP. When I'm not writing scores I like to experiment with crazy shit, sometimes even singer songwriter shit.
what recording input has the best bang for the buck if you're trying to record live guitar straight into the computer (no mics)? i've tried a couple different interfaces that were shit and could never get over the latency. anyone have any recommendations?
I record guitar through a micro cube, directly into the mic jack.
The micro cube (or any amp your have) acts as a level, so you can set it to the exact level you want (Checking on screen that it doesn't exceed 0db)
Works for me, but is probably a pretty pirate solution. I just record straight into FL
I'm not really good describing these kind of things but here I go
the voice repetition (or whatever it's called) around 00:49 just doesn't work, it needs to be shorter
also I think the piano doesn't really fit with the style
what is that thing you're using around 1:25? I like it
>but there's something very special about a real performer playing music from a sheet of paper
somebody looks at a piece of paper and blows into a pipe is certainly quite the ritual, i'll give you that
>Magic happens, and the piece will change [slightly] based on rehearsals: what works, what doesn't, special effects that could be used, etc.
Magic happens, and the piece will change [slightly] based on production sessions: what works, what doesn't, special effects that could be used, etc.
>Understanding each instrument and how to write for them is a huge part of a composers job
understanding sound in its entirety is a more rigorous goal and thus more notable of an ability than knowing how to implement only a handful of types of metal pipes & wooden boxes
> you want your music to be playable
not only is this unneccesary (as if knowing the source of a sequence of sound could redetermine its formalist quality), but it its plain ol living in the past by willingfully limiting oneself to the abilities of human beings
>but still hold the interest of the performer/audience.
>Learning about all the instruments and their limitations and possibilities can take a lifetime, and you never truly learn everything. You're always discovering a new instrument, or a new technique.
>dropping trip left and right
juesus christ, please get ur shit 2gether
>Learning about all the instruments and their limitations and possibilities can take a lifetime, and you never truly learn everything. You're always discovering a new instrument, or a new technique.
I don't get it, do people say this because they're so afraid of solving music that they have to stretch it out over a lifetime to feel good about their hobby?
to anyone struggling on their project or thinking that theres too much to know. just wrote it somewhere on fb so sharing here too
its actually not about your knowledge. if you made already a few tracks that you like then you should realise that its about to get that one thing out of -billions- (this is the number that is overwhelming most people) and put in in a project. then stick to it. or add another. its up to you. people always come to this conclusion at some point (i did yesterday). its the matter of saying 'fuck it, you guys argue which daw is better, am gonna do some fucking banger'. the knowledge can be overwhelming. then its the moment to go sleep, wake up in the morning and write that fucking banger. also, the billion number is the cause why you put this post here (and you are not the only one!) good luck
you can say that what i wrote here is wrong but this is how i roll.
also which distortion/overdrive plugin do you recommend? beside camelcrusher
ok ill work on the vocal chop.
as for the sample not fitting the genre, im just trying to be a bit original with footwork, its all just old soul records with ignorant hip hop accapellas (dont get me wrong i love that shit). i guess im just trying to do my own thing with the sample choices
that thing at 1 min 25 is the piano sample chopped up and pitched up by 24
Is NI battery any good or should i just stick to throwing samples into Poise/Kontakt or Reaper directly? I might get an orchestral percussion redux first though.
This has the look of a producer struggling to comprehend what a composer does.
Its fine if you want nothing to do with real performers, but you're missing out. They're 100 times better than any sample you can find.
This is no hobby. This is a lifetime obsession with music and how that music can be played. Electronic music is one facet, live music is another. It pays to know as much about the facets you wish to pursue as possible. The issue is there's so much to learn about so many instruments, that it really does take a lifetime. I know many older/established composers who still learn new things about instruments on a weekly basis.
>A composer (Latin com+ponere, literally "one who puts together") is a person who creates music, either by musical notation or oral tradition, for interpretation and performance, or through direct manipulation of sonic material as electroacoustic music.
>or through direct manipulation of sonic material as electroacoustic music.
are you sure you're not the one who's confused?
I'm aware of the technical definition, but the fact is you're not much of a composer if you can't work with real players. They are and have been the main focus of composition for as long as music has been written.
Obviously these day composers are also expected to be proficient with DAWs, electroacoustic works, and synthesizers.
Many composers do actually combine electronic with real performers;
>They're 100 times better than any sample you can find.
wait a sample of what, a sample of an orchestra? this type of music and its fans are so literal it makes me laff, its like people looking at a photograph and saying 'I dnt get it'
ccn your orchestra play any possible sound? no. there's a world of sonic abstraction far beyond what could occur by any natural phenomena or from combining the worn relics of your ancient toychest
because it sounds like you're saying a plane cant get you across the atlantic ocean because it isn't a boat
>I'm aware of the technical definition
>but the fact is..
the fact IS the technical definition
2:06 is the sexiest break ive ever heard
can /production/ give me some criticism?
here are two tracks
>hip hop, math
second one is me playing around with multiple time signatures in FL
vocaroo degrades the quality so badly that i cant give good critisicm on mixing or anything.
the synths on that trap track are sounding like you just picked a preset. good melody though
Players are better than samples because you can tell them what to play, you're not stuck with a static sample. Sure you can have fun with samples, and often combining a real performance with post production editing can make for interesting stuff.
You'd be surprised the amount of interesting and unusual things a traditional orchestra can do. The 60s and 70s were pretty intense for introducing new techniques, guys like Penderecki and Ferneyhough really opened the orchestra up to doing anything.
Someone who plays an instrument and reads from a score.
band musicians are technically players, but Ideally you want your player to be able to read a score, otherwise precise communication of what you want can be difficult (especially if the player is in another country attempting to play your piece). The more detail you can include in a score, the closer the performance will be to what you want.
Scores evolve over time, after many rehearsals and performances, small details like balance and dynamics change, until you eventually have a score that will produce an excellent performance every time.
>Players are better than samples because you can tell them what to play
>thinking you just get one sample and you're stuck with it
if I don't like one of my "players" I throw him out and find one of literally infinity instead of one of at most 6 billion
>Someone who plays an instrument and reads from a score.
nothing about generating sound? not that important to you?
The best samples usually need to be bought, Especially if you're looking for samples of real instruments. Companies like East West and Spitfire Audio are all pretty good. You can even find some free/illegal torrents
The technical definition stresses working with real performers.
A composer is someone who learns as much about music theory and history as possible, learns about every instrument and techniques/characteristics specific to those instruments. They attend workshops to have pieces performed and analysed, and essentially spend their lives perfecting their craft.
That's the basis, nowadays composers are also expected to work with electronic music and DAWs.
what are the best vsts for house music. i've been trying to download some but not too sure where to start. i already got ni massive hypersonic 2 and albino 3, but i know i should probably have more
$200 1.3ghz duo AMD HP Laptop $50 ear buds
NO GEAR NO MIDI CONTROL
>when he says samples he actually refers to orchestral audio packs
omg mate hold on i'll be back in a few minutes get to the rest of ur shitpost omg hahah hahaha
Its hard to explain, until you have the joy of working with real performers and attending rehearsals. There is something magic about it. trust me. You can never match the subtleties and inflections of a real performance. No amount of automation can make that happen. Studio and live music are very different. Both have merit.
>nothing about generating sound? not that important to you?
Playing an instrument inherently involves producing sound.
get on my level with practice, not with imageboard tips
>have been a performer
yeah m8 its gr8 and its a riot of a time, I agree
but its far from the future of music
>You can never match the subtleties and inflections of a real performance.
imagine you are sitting just outside the room where a performance is taking place and that you cannot see the performers. imagine you listen to two identical pieces: one by a group of performers, and one played from a CD
can you tell which is which?
yes i can tell the difference between the shit they play over the PA before sets and stuff that's actually being played by actual actuality musicians
>mfw aural skills
not sure if this fits in this thread. My friend and I use ableton, and we wanted to make a really textured/atmospheric song to put at the beginning of our album, and i had this idea to use these huge decorative glass candle holders he has to get a ringing/bell tone. So we used a tuner to find roughly what each candle holder was, and then just used the ones that all sounded good together and produced a nice ring. Then we layered about 10 tracks of just looped feverish smacking of the glass things. As the effects (reverb/dist) start to increase, so does the ringing, and it turned into this cool sunrise shoegaze track. It was pretty surreal to have this actually work and turn out so well. if someone wants a link, i'll post it; the whole album is on bandcamp.
only getting back from work and seeing this now
im going for deep house because i want to make deep house, plus i only have 2 tracks so far
if i wanted to make other genres i would
also if you only listened to 3 mins of each song, generally the style of deep house im going for takes about 3 mins just to build up, im not going for 2 min trap songs that drop every 30 secs. deep house for me anyway is supposed to be chill and mixed nicely into other songs so i can enjoy the build up and the tension before they drop
thanks for the feedback anyway but if you dont know anything about deep house you prob shouldnt be giving many tips
isnt me by they way although i agree with what he is saying, music is subjective, if you dont like deep house dont comment on peoples house tracks saying they are shit
and you obviously have never listened to proper good old school deep house past the beat port top 100 tunes which are mostly shit
deep house is great music when done properly
thats ok, im not forcing you to listen to it
no need to be a bitch because you dont like my music
i have got a lot of good feedback so far and some people really enjoy it and most importantly i enjoy it so ill keep making what i want thanks
why are you still trying to argue
dont listen to my music if you done like it
music is subjective
also please post your music to prove you arent competely full of shit, if its good then fair enough but i dont see why you keep telling me my music is shit when im not trying to impress you in the first place, i simply posted my stuff to try and get some help making it better
i started with ableton live 8 although i think 9 is available now
it all seems daunting at the start but practice makes perfect.start out simple just copying tutorial videos off youtube untill you figure shit out
and then from there develop your own techniques and style and youll have it in no time
it does take time though
also for dance music check out attack magazine, just search it on google, lost of great tips and walk throughs
This is going to be a 20min long track, to release as an EP, it's already 12 minutes long. I wanted to do something different in the spirit of some of those 20min prog epics from the 70's. It's still very rough though. Any tips on how to progress?
>yes i can tell the difference between
>the shit they play over the PA
>stuff that's actually being played by actual actuality musicians
both are played by actual actuality musicians
thus both are shit
wow this was an unexpectedly early checkm808
Can anyone link me to some punchy drum samples? Im fine with about everything else but the drums in logic pro are weak as shit
>something specific being popular today means you can be successful, maybe get famous and rich
>something specific not being popular ten minutes from now means you cry yourself to sleep in your parents' basement with no one giving a fuck and bills piling up because you literally cannot do other music and are now in too deep to branch out
Ok guys I have a question for anyone who uses Reason 6. Do you know of any ways to do external sampling, like being able to sample audio files or something? I know there's Recycle but I feel like there should be some other way
That's because the background ambience music is produce in studios with many tracks of multiple layers of instrumentation whereas the live set is an extremely rough live mix that sounds pretty shitty in comparison
Wow what happened to this thread?
There's wide variety in both studio and live performance quality.
I've been slamming away in reason getting piano and vocal parts ready for sibelius. a 6/8 piece with an organic vocal part that doesn't really like being over the 6/8 syncopations.
MIDI files are my friend. export from A -> import to B for mock up then C for score
we should make a pastebin of essential VSTs and free samples, as well as some infographics on how to make a basic song on FL
The VST list I have so far: (I think they're WIN)
does anyone in here know anything about recording black metal? is there a specific daw that works best for this? any tips in general? i'm very new to this. if it helps at all im probably going to try to incorporate some ambient synthesizer sounds as well
voxengo span is the best free fequency analyser
fabfilter stuff is easy as fuck to pirate and they dont have mad digital watermarking that will come back and bite you on the ass
also what the fuck is ramen pack?
oh yeah before i forget,
did anyone else fall in love with ableton's reverb plugin, or is it just me? I literally have a whole album based around that thing (in terms of sound). To be fair, I haven't been able to successfully install another reverb plugin so it could just be a lack of exposure.
How good is the built in ableton reverb plugin compared to the leading VSTs on the market?
what audio interface should i get? i was thinking something along the line of one of the focusrite scarlett models, but i'm not sure. are there any better ones for less than, say, 250 dollars? i need MIDI inputs and outputs, and a headphone jack.