hello, fellow producers of /mu/. what are you all working on? share projects, post soundclouds, discuss production, talk gear, what have.
just ordered pic related, and I'm very stoked about it. I've been dreaming about this thing since last summer, and I finally found a unit in good condition with power supply and memory card at the right price. now I just need a decent, cheap audio interface... I've been working solely with midi and samples up until now. any suggestions?
I haven't made anything since I cranked out an EP in a week at the beginning of this summer:
But I've been really feeling the creative slump lately. I have a couple of sound design/scoring projects for some short films going on but I'm really procrastinating.
Last piece of gear i got was a Kaoss Pad Quad and I sort of regret it but I sort of don't because you can still get some pretty awesome sounds out of it.
Also, what DAWs do you guys prefer? I use FL and I always hear a lot of shit about it but I don't understand why it has such a bad reputation. I mean, it's a sequencer and you can record shit into it and sample it and add effects. Isn't that the point of a DAW?
how often do you go out to shows?
if regularly, how often do you check out the setups of the people/projects playing?
if you haven't ever did any REAL research on what the people of your specific genre of music use, than you really aren't trying at all.
Use whatever you have at your disposal at first, and learn as much as you can about everything else. Sponge it up, absorb it, be better than the average nigga.
knowing more never hurt anyone.
I don't go to shows very often, there's not much going on (that I know of, anyway) out here in AZ, especially the part of AZ where I live.
I've tried my hand at live stuff, but I haven't put together a full set. Built a little live set out of my EP though: https://www.youtube.com/watch?v=NIN5xSdNv9A
Honestly once I move out (yeah, I know) and get my own place (I'm going to move closer to the metro area where there's some more musical shit going on) I'm going to seriously try to get into the music scene of downtown phoenix
>I haven't put together a full set
start off small, if using the sampler, 3 or 4 samples/beats/etc. playing live is a totally different animal than recording.
small live shows should have something catchy, and LOTS of energy. thats how you keep the people watching you from walking out.
energy, something interesting, and nothing too long.
Currently I'm working on a remix of Porter's Fellow Feeling, a solo uplifting trance tune, another trance tune with my best bud/CEO of my label, an experimental collab and a solo orchestral piece. The remix is.the most finished out of all of them.
>what are you all working on?
Yesterday I finished another track for the Cavern King's OST
And have been working on music and SFX for a Ludum Dare game
Regarding gear, I'm really looking forward to getting a Roland SH-201 next month. It will be my second synth and first poly. I really like the demos, the price (around here gear is really expensive) and the USB capabilities. I was in doubt between getting a DX7 or the SH-201, but Jean Michel Jarre tipped the balance.
>Also, what DAWs do you guys prefer? I use FL and I always hear a lot of shit about it but I don't understand why it has such a bad reputation. I mean, it's a sequencer and you can record shit into it and sample it and add effects. Isn't that the point of a DAW?
I have used practically every major DAW in the market for work and my main one right now is FL Studio. Disregard the DAW wars, find the one with the workflow that works for you the best and read the manual to make sure you're using it to the full extent of what it can do.
Well if it is anything like the k2000's VAST system it is pretty menu-divey but not really that terrible to use. Honestly I'd recommend finding a good computer editor for it because you should be able to edit over midi sysex
$179, with memory card and charger included. i'd been hoping to pay less but all the other ones i found were either missing knobs, no memory card, or just plain didn't work. otherwise they were in the $250 range.
thats exactly what i'm going for, haha. i haven't found a good way to do this in the box that isn't shitacular
do that stuff in your daw, then bounce your slices to your sample, then bounce back to the daw
How do i get started with bleeps? I have alot of musical ideas i want to put into motion but i'm unsure where to start.
What software/hardware should i familiarize myself with?
The sound, the workflow, and the immediacy of it.
I mean, if you consider running a tape deck into an audio interface and hitting record as "a complete hassle", then I guess it is.
working on my debut EP
i have a couple beats up on my soundcloud that are basically old and shitty but yeah
you dont need to buy a bunch of hardware immediately. download a daw (doesn't really matter which one) and some drum samples and get creative.
I use FL Studio. You can download a demo version for free.
If you find the stock synths/effects to be shitty you can search the web for VST plug-ins. There are many good and free VSTs
Here's my wishlist to get my start on a functional production studio, anything I should add?
Arturia MiniBrute Analog Synthesizer
KRK Rokit 5's
Sennheiser HD25-1 II Closed Back Headphones
M-Audio Oxygen 49 USB Pad/Keyboard Controller
MXL 770 Cardioid Condenser Microphone (I would only use this to sample live things and throw them into harmor)
Ultimate Support JSMS70 Speaker Stands
On Stage Classic Single-X Keyboard Stand
M-Audio SP-2 Sustain Pedal
Rokits are lower-mid heavy, and do not accurately represent the mix. You don't want mixing speakers to make everything sound good, because then you won't know what actually sounds bad.
What would I need to buy to make music like http://youtu.be/4bTM1yNiW0g
>Every dollar spent in drugs is a dollar you're further away from having a bitchin' setup
This. It's incredible how much gear I've been able to afford by not buying frivolous shit.
>Every dollar spent in drugs is a dollar you're further away from having a bitchin' setup. Think about it.
>mfw all i need is a MPC, MBP, and a midi keyboard
getting super baked and making grooves is one of my greatest pleasures in life. plus, i get i can get an 8th for $30. Colorado wsup.
You want at least 6" speakers. 5" are almost universally not big enough and don't clearly represent the low end properly. Plus rokits aren't good.
But if you're in a small room, it's best to use good flat response headphones instead.
they're different things completely. ofc gear will help you make music for obvious reasons but an acid trip can give you completely new ideas that you probably never would have thought of otherwise.
you can have all the gear in the world but if you dont have any interesting ideas you will never make anything worth a shit. personally i rarely feel limited by my setup, so spending some money on other things isnt that bad i think.
Made my first attempt at something like deep house the other day, my bass sucks(I just downloaded Trillian to fix it) but everything else sounds alright i guess
the more i keep reading and hearing about Sweden, the more like, uptight it seems. the same goes for the Dutch.
but i guess that's what happens when you're raised on suspiciously racist cartoon caricatures of people from different countries.
It only gets hate because it the most UI friendly and accessible DAW, so of course some people are going to use it to make shitty trap beats.
Been using it for roughly 2 and a half years and I've really enjoyed it. Very simple but can be quite complex if you want it to be.
Most people I know who rely on drugs to make music, usually make terrible music. The people I know who actually make good music and do drugs don't make music while on drugs because it nearly always turns out bad.
I generally like Sweden. We're completely fucked when it comes to certain things. Feminism (I'm all for equality but these are tumblr type feminists) and drug laws for example.
But overall it's a good country to live in.
Plus if you ever used any other DAWs its literally the same thing, other than a few tweaks here and there.
Reason and Ableton are just like FL, the only difference is there's no VSTs in Reason and with both programs its like pretty much producing with only the piano roll
i think we are talking about different things. if you're talking about people who really need to get baked before sitting down to create music i completely agree with you.
what i was talking about though was occasionally doing drugs (and by drugs i mean psychadelics like LSD or mushrooms, at least in my case) and using that experience as inspiration for your music
all of this shit should be like fucking 10-15 BPM slower. seriously. give it a shot, see what happens, but i definitely think it is WAY too fast at the current BPM
also the kaoss quad is imo one of the most pointless effects processors. There is little variety of effects and the fact that there is a whole section dedicated to beat-mangling is just... icky. i entirely believe you that it has great applications, especially live, but I will definitely stick to things with more interesting reverbs and delays.
>getting a DX7
I understand that it's nice having physical gear, but the sounds of the DX7 are so easily replicated and already available in many common VST synths that it just strikes me as silly. I fully support hardware, because the workflow is totally different, but the DX7 is also super hard to use from the hardware anyway. it doesnt strike me as the best investment in 2014...
bass sounds shitty, like a cheap fucking synth. the beats is surprisingly fat with the kick, but the rest if it soudns a little dinky. the keys is a masterpiece for the price. i'm not a huge fan of the delay, and i do hate ribbon controllers, but it sounds fucking awesome for the price you pay for it.
the least intuitive interfaces like ever
scratch the KRKs
get more keys. having 49 is definitely enough and a good amount, but i having more is great, and if you already have such an extensive wishlist, might as well bump it up
the minibrute is a fantastic choice though i should ask: what kind of music are you producing?
that might be a little harsh, but yeah, contemporary (future) garage is so dead. all of the futurebass genres are so stale. it's almost kind of nice to see them get assimilated into smaller electronic pop music than have them stand alone as decaying amateurish club music
anyone ITT have experience with breakcore stuff? one further, does anyone have experience with recording live instruments on top of the breaks? Been trying to do so for a few months now, and have been doing it with some success, albeit mostly with bass.
I have some friends that make breakcore, but 90% of what they do is only sample manipulation. Thankfully talking to them has helped me with my sampling stuffs, but I've been having to try the rest by ear.
is an example. apologies for fuzzy/snowy noise on the strings. only had an 1/4"-1/8" adapter piece for my guitars and had to plug right into my mic input for this. was able to EQ some of the bad stuff out, and have gotten an interface since, but i digress
Already scratched the KRK's, thanks for reassuring my choice.
The minibrute is more for fun than for aiding me in making music, I just really want a small analog synth to play with. I make ambient trap for the most part, so I don't think it would really fit in for the most part, since it's a lot better at making more abrasive sounds from what I've seen. But who says I can't try and have fun while I'm at it, ya know?
>I understand that it's nice having physical gear, but the sounds of the DX7 are so easily replicated and already available in many common VST synths that it just strikes me as silly.
If you use a lot of hardware effects it's a bit nicer. Also the keyboards on those are gorgeous. If I had to pick one synth to also use as a midi controller I'd probably pick either a dx7, korg dw8000, korg dss1, or esq-1
My dick is diamonds for the moog sub phatty at the time. I've wanted an analog synth for long now but i just don't know much about them
Is the sub phatty "worth it" the moog name aside? Is there a cheaper VCO alternative with a fat sound close to the moog?
>UK Garage is shit because its simple so you shouldn't make it
>Jungle is shit because its simple so you shouldn't make it
>FL Studio is shit because its simple so you shouldn't use it
Bleep general everyone, no one here can actually play an instrument and yet are all elitists
for real. pretty much every dance subgenre is simple as fuck once you figure out their idioms. even shit like BoC is mostly just studio fuckery to get "that sound" rather than anything complicated musically.
no one really still talks shit about FL studio in 2014. I personally do not like the workflow, but It's a respectable DAW like any other, and DAW hate needs to chill. Except Reason. why does it have virtual cables. WHY. but there are such cool devices and it sounds so good.... BUT THE FUCKING VIRTUAL CABLES UUUUGH
so, instead of arguing about genres and DAWs, how about we talk production?
anyone have any cool tips?
>put quiet, filtered white noise in the background of the track to fill up space and add texture
>make a crazy drum pattern, compress the fuck out of the drum bus, run it through a bit of distortion, a lot of reverb and some resonators for a nice ambient pad sound
>use multiband compression as a sound design tool
I'm not joking.
>anyone have any cool tips?
Always mix quiet. You can raise the general volume later, but you want to have full control of the gain staging until it's time for mastering.
Sup! I've been playing around in FL studio for around 5 years. Don't really have much gear except for my Focusrite 6i6 and guitars.
Here's a track i finished today:
Also, thoughts on pic?
True, loud always sounds better too, which is not what you want when you're doing a mixdown.
I do some things that are usually really discouraged though.
>mix into a compressor on the master
>boost good frequencies and lower the volume instead of surgical cutting
>reverb on your bass
I like a little mud in my mixes though, I'm not into the really sterile poppy sound as much. Machinedrum does some of this stuff too apparently. I'd recommend checking this out for people who use Ableton
nice production, perfectly enjoyable. I would recommend that you have the main synth get a compressor sidechained to the kick. the kick could use more force too. also the phaser is too present for my taste, I would roll back the wetness or the feedback.
as for the volca beats? read the thread. we commented on how we dont like it much earlier ITT. nice kicks, but shitty percs.
>mix into a compressor on the master
>lo fi, exp, downtempo
Just light compression. Ableton's glue compressor, actually. I like to think it emulates using actual hardware, which adds some of its own compression, but who knows. Lately I've been recording to cassette which does its own compression. I also use $30 computer speakers for monitoring, and I'm really lazy with my mixes but everything translates pretty well and like I said, I prefer some imperfection in my tunes.
heyy is this the kinda thread where you get feedback?
I have never produced anything of this style before so I'd love to hear any thoughts from you
Hi, first time poster.
I've mostly been dicking around in FL Studio for quite a while, and though I have a good feel for making something sound good (having all "instruments" sounding decently clear), it's a very unprofessional deal.
I feel that I could be doing so much better if I had a clearer idea of what's going on.
Are there any good resources I could use to get better at this stuff?
those drums at the beginning are way too loud/punchy/compressed. maybe turn down the volume on them a bit and add a bit of reverb? otherwise I like what you're doing. i think adding a cool clap pattern in could make it even more exciting and varied, if you're into that
If it's a mixing problem, I'd go hang out at /r/edmproduction for awhile until there's nothing left to learn from them. They don't know that much and some of their advice is shit, but it's all good to know. Also, http://www.pensadosplace.tv/ is supposedly pretty good for tutorials, but it's more focused on mixing recorded materials. Everything still applies to bleeps though, sometimes you can even go crazier with it if you don't care about it sounding "natural".
If it's a problem with composition, what worked for me was listening to a lot of good tracks and trying to generalize what was going on with all of them. e.g. how many different instruments are playing at once, what kind of transitions are used and when they occur, how much variation in an instrument's part happens over the course of the entire track
How do I achieve OPN's R+7 choral sounds? Should I sample them off actual choirs or their a way to synthesize them?
Yeah, mixing just takes a lot of practice and making sure you're not being absolutely retarded with your sound selections.
For transitions, I like to automate some parameter like reverb dry/wet or length, filter cutoff, delay amount, whatever, and then at the end of that automation curve, I do some really obvious change like adding/removing an instrument or changing up the melody/bassline. I think it ends up giving the automation a bit more purpose, like a buildup or signpost of sorts, rather than just changing the sound slightly.
Audacity will work well for recording; just record with the line-in on your computer and not the mic input.
>also, does anyone know of a simple free program that can separate tracks in a mix?
Do you mean recording multiple tracks at once or recording in stereo and separating the different elements afterward? Because the former is possible while the latter is not.
I think OPN uses synthesized voices. If you're using Ableton, you can draw in a formant-like spectrum (pic related) in Operator, add some unison, maybe some chorus, and low pass filter to get rid of the obviously digital high end. But I'm guessing OPN probably uses some preset from Omnisphere for a lot of his sounds.
I was thinking about maybe investing in a hardware setup for making stuff like this:
I made a diagram kind of an ideal setup, and wanted to ask: has anyone had any sort of an experience with this type of setup? I'm not a beginner and have been making music with virtual synths for quite some time. I even tried to emulate what it would be like in Ableton (single osc synth, 1 707 kit, both with only a 16 step sequence playing throughout the whole song, with 2-3 effects and a 3-band EQ for each sound module) and got results that I was really satisfied with.
Would it be worth shilling out +$600 for it?
Just FYI you can replace the mixer and cheap tape recorder with a single 4-track cassette recorder. If not, I'm fairly certain there's a model of that mixer than has a USB output so you might be able to skip buying that other USB interface entirely and just run the cassette recorder back into the mixer when you want to transfer it to your PC.
that's going to sound... not great. first - DO NOT GET THAT INTERFACE IT IS GARBAGE. it is truly a deplorable interface. running your mixer output through a tape player is a bad idea. I don't know why you think adding that is even remotely a good idea. With a cheap tape player, you will junk your sound almost immediately. The microbrute is something i would always suggest, and pedals are entirely a matter of personal taste, and i don't see the problem with those necessarily. The beats is fine, but it will sound like your percs are coming from a volca beats, which is not necessarily desirable. charming, but not impressive.
i guess the most objectionable things in your proposed kit are the awful interface and the odd choice of running through a tape player
these threads are embarrassing, nothing but a bunch of autists sharing their "studio setup" consisting of a tape recorder and some fucking guitar pedals.
It's a fun setup for jamming, although the downside is you can't really do a more detailed mixdown after you've recorded it. Personally, I use Ableton and Push and record it to cassette. It's not as limited in terms of what sounds you can get, and you can step sequence everything, but it's not analog and still costs $600. Theoretically, you could also record the multitracked jam to arrangement view with Push for later editing, but the main problem I've encountered with this is that you can't create new session clips while you're recording, but if you make all of your loops beforehand, it works well.
fair enough, but seriously, i'm fairly certain that OPN is using very obvious Reason presets in the vocal section of NNXT. I can't confirm right now because i've since uninstalled Reason, but if someone else can it would be appreciated, just for peace of mind
I know it's kind of an odd thing to do, but in this case, I wanted the the tape recorder for a couple of reasons, I wanted to make the mix sound more on the lo-fi side, and so I could have both digital and physical copies of the performances.
I just checked on Ebay for a 4-track cassette recorder and most of them are around $100 used.
The mixer that's in the diagram is $65, the cassette recorder is $50, and the interface is $30.
So it would come out to the same price, and that's if the 4-track has a built-in USB connection. Yes, it would be more of a hassle having those three separate pieces of kit, but I personally think it's worth it to get those pieces new.
m8 i think you might be the retarded one considering how buttfrustrated you're getting over the setups random people on the internet have
do NOT get that interface. seriously, get a solid interface like a KA6 for $200, then you can run the instruments directly in and use the DAW's effects, and still have the ability to bus the master out of an auxillary output into a tape player. don't be a dingus.
I'm curious as to see how much you hate my setup.
Id recommend against always running your master through a tape deck as that can get problematic. Tracking individual tracks into your DAW through tape can be neat though. Also instead of an overdrive for the beats I'd get a compressor or levelling amplifier but that's just me. Aside from that it looks like you'd have a great jam station set up aside from the terrible interface.
I've ran entire drum machines through overdrive effects in Ableton, I think as long as you don't go overboard when applying it I think it can sound desirable, at least through my experiences.
I'm not really trying to make anything that detailed though. My idea is just to jam and record what I've got, record the entire mix onto a cassette, and record the cassette playing via interface so I can save the audio from it onto my computer.
He's mostly saying that because overdrive into tape will probably result in being pretty garbo.
Overdrive on drums can sound great but you have to be careful with tape because saturating it a bunch can really kill all of your dynamics.
I agree on the interface, the one in the diagram was just an example. But to be honest, I'd rather use hardware effects so I can adjust them throughout the jam live, I personally don't like to bother with like 20 automation clips in a DAW.
You're right, I didn't think of that. In this case, I'd leave out the dist pedal then, but I'd still want the other hardware effects, plus the EQs that the mixer provides.
How could I produce sample orientated Hip Hop?
Stuff like Madlib?
Do I just need something like pic related?
This is a post from a guy who used to lurk /fa/ and made stuff like dj shadow.
thats actually a really good idea for samples. I don't make sample based music but if I ever were to I'd probably go down to goodwill or some shit after hearing this to find songs
then just get a fucking nanokontrol2 or some shit it costs very little for a controller and will act exactly the same way. hell, even take an afternoon to spray paint it or put stickers on it or bedazzle it so you can tell the sections apart and have it be like three distinct dedicated devices.
Nah, I'm more of a techno man myself. I like simple shit, I wasn't trying to be an elitist or anything. That said, chopping up breaks and sequencing 128th notes isn't that complicated either.
can anyone identify the model of this record player? all i know is that that it's made by a company called AIWA. it's on craigslist for 15 dollars and i want it, but i don't want to make the trip out there if its going to butcher my records anyway
i'm not the guy who hates UK garage
you could chop out individual drum hits and sequence them, keeping in mind that there will be artifacts from the other drums - this would be a good way to make slower/4x4 genres. for crazy jungle fuckery i would just bring the amen into an audio track, cut little parts out and move them around to make weird glitchy rhythms. it's all mostly trial and error though.
pleb answer: smash everything through a limiter
real answer: compress the things that are peaking really high, EQ things so they have their own space in the spectrum and aren't stepping on each other
Just finished my new album
if it's really 0dB *on average* it should be loud as fuck. if you're just peaking at 0dB, it might not be loud. maybe there are phasing issues, have you checked your tunes in mono? are you filling up the whole spectrum with sounds?
I'd like to make a general statement about the use of presets. If you want to use them that's fine, but you gotta understand that you can't be considered a great producer if you stick with them. You can be one of the best songwriters and use presets, but if you want to be a respectable producer you need to realize that by using presets you're only working with whats handed to you. If you learn how to properly use synthesis to make your own sounds, you can start to make your songs sound like YOUR songs with your own touches, and you can start to refine your abilities until your own sounds are unique and sound good enough to fool people into thinking they're presets. Unless by chance the sound you find in a preset is EXACTLY how you want it to be, you're very limited in comparison to those who design their own sounds and it's naive to think you're fine to just keep using them without trying to make your own and explore what unique possibilities you could be making.
that's why a lot of music ends up sounding the same. kids get away with using presets basically because a lot of people don't know how to make music at all. if you've even opened up most programs or touched a lot of machines, it's incredibly easy to recognize.
it's just lazy, not creative whatsoever. what's the point in getting involved with this stuff if you can't even try to make it unique?
1. wtf is bleep?
2. i got a yamaha su10 sampler from a local pawn shop. the guy had no idea wtf it was, sold it to me for $10. it was fun at the time, but i dont really use it anymore.
>tfw there isn't any yard sales in Brasil
>tfw a turntable, mpc and mixer are expensive as fuck
i try my best e-digging,i think that if i could get some obscure gems and proper hardware i would be the shit
I feel like all the people who bitch about the DX7 being hard to program have never actually used one. It obviously takes more time than just turning knobs on your standard subtractive piece but people like to talk like writing patches on the thing isn't dissimilar to mountain climbing. I love it personally. Also, I feel like FM8 doesn't tackle the sound correctly. FM7 got really close though. Hmmm...
Program chiller. There's no substitutes for good arrangement. No technique is going to magically make things sound "chill". Think within the context of your song. What doesn't sound "chill" by itself might surprise you once you have all your elements together.
i never really understood this attitude toward sample-based music. are you really just using recognizable samples/loops from those "obscure gems"? for me, sampling is all about getting those ready-made full textures from tiny unrecognizable bits of audio. it doesn't even matter what the source is, any song can be sampled imo.
I want to begin learning how to mix, but I've been told that mixing is an art of sorts and that there isn't a 100% correct way to mix. How true is this, and where do I start learning to mix?
its all about your own unique sound. There is no 100% correct way to mix, you might want it to sound a way another person wouldn't when it comes to boosting frequencies, and choosing which sounds are more defined and which are in the background. Mixing is really a time and practice thing, although looking up youtube tutorials doesnt hurt
Another FL user here. It's a great program.
Here's my SC, I'm working on a new project, I released my debut on BC and SC in mid July.
I'm trying to learn as much as I can about sound design and mixing, mastering, etc.
The biggest thing is to make sure every sound thats louder in the mix has a distinct section of the EQ to itself. Cut out or reduce frequencies where other sounds are playing to avoid a muddy mix. Learn how compression works early on, took me way too long. Don't be afraid to experiment with the EQ, sounds can change drastically with a little change in the right places, as long as its not intruding very far into another sounds territory in the mix.