Share WIPs, discuss DAWs, shitpost about needing/not needing music theory, get advice, learn things, read the manual vicariously through other anons.
What the hell are notation softwares? People in the previous thread are arguing about them and I've never heard of them before and wikipedia seems to suggest they're some sort of pretentious score-viewing software.
>if you want to be a professional production engineer go to a production school
>microtuning is gimmicky shit
>Avicii is better than deadmau5
>eastern scales are shit
>skrillex is literally jesus
>"why cant i stop making shitty techno?"
that covers just about everything
Stop using words when you don't know hat they mean.
The programs are Finale and Sibeleus, they're for writing music to print out for performers instead of for the computer to make the music. They do have rudimentary playback abilities though.
programs like Sibelius, Finale, and others
here's a free one you can check out:
The focus is on typesetting a musical score for real players to play, rather than on the actual sounds of the playback, kind of like a word processor.
you 'type' out a score then print off the parts for the players.
they dont usually have very nice sounds usually using your inbuilt MIDI samples, but some allow you to import high quality sample packs like a DAW.
for example here's one of my scores in Sibelius 6
you can also pull midi files out of them.
i used to help teach a music production class at my old highschool while i was a student and my teacher used to use finale to write all his midi pieces and then he would drop them in a daw.
I'm guessing you have no idea that nearly, if not all music discussed in these threads is 12 tone. But if you think you can make it by playing strange harpsichord music, I'm not stopping you. But don't kid yourself into thinking that what people want isn't 12 tone music.
I tried doing that before. Never again. Instruments all came out mangled. Many were assigned to the wrong instruments. Dynamics became absolutely horrific, some too loud, some too soft.
eastern scales are awesome, fuck u
microtonality is also awesome
skrillex is not
>making music that other people want
>what is pirating
i have over $1,500 worth of plugins that im still using demos for and just freezing and bouncing out the tracks when im done using them.
>restarted guitar rig over 60 times working on a project last month
pain in the ass but its less of a pain than a 1.5k hole in my wallet
Eh, I think the inbuilt sounds are actually okay if you're going for a certain aesthetic and feel.
Did you switch sound libraries from the MIDI stuff to Garritan (which is packaged with Finale)?
yeah If you're going for that FFVI soundtrack feel, they're fine.
nah I dont use sibelius for playback, only the visual score.
My composition prof actually told us not to pay attention to the playback when deciding dynamics. Its better to kind of feel it in your head, what level instruments will be at certain dynamics, and what dynamic they need to be to stand out/melt into the background.
takes a lot of practice: writing a piece, rehearsing it with the players, taking notes in the score and refining the piece.
eventually you get your dynmamics pretty close to correct just using your head, but you're always revising pieces based on rehearsal and performances.
i dont know why but when i master tracks and do stereo imaging all my tracks have this odd sort of ring in the center of the liss. meters.
>shitty drawn pic related because i couldnt find a clean screenshot of the meter
anybody else have weird occurrences they find in their music?
Kontakt is just a VST plugin, through kontakt you can use proper sample libraries from companies like East West or Vienna Philharmonic.
It doesn't have sounds itself, just a staging program for your DAW to recognize certain samples.
This is what they sound like:
(east west quantum leap orchestra)
everything except the synth
East West Stormdrum for example is good enough to be used on the Terminator 3 and 4 soundtracks
I used the RA pack for the OP, but only for the duduk and santoor (arabic dulcimer-type instrument). Its all world instruments, kind of specific and definitely not for every project.
Has shit like bagpipes, alpenhorn, launeddas, dizi, didgeridoo, banjo, etc.
stormdrum electronic kits and large percussion, synths from FL , vocals
I'm using EWQLSO but its fairly outdated. would like some spitfire audio and cinebrass/winds samples.
just like learning you never really stop finding new samples and instruments. the pro composer/producers I've seen work have 1-4 Terabyte external HDDs they store all their samples on, building up huge libraries over time. This + accumulation of better quality real instruments, better mics and preamps allow the producer with the biggest wallet to set up a pretty nice home audio studio and do some very serious sounding work
Learn to use this.
And go in weird patterns.
Also different voicings help like having a traid chord across 2-3 octaves
hi im a 3d artist looking to get into music production
i mention being a 3d artist because we have sites like www.3dmotive.com and stuff to learn from
I was wondering if there was a similar site for learning software like Ableton?
but youtube tutorials are usually pretty good.
Also the manual
So I'm doing some bedroom recording and I could use some tips on how to improve my sound. My gear is a sm 57, vox ad50vt and les paul 50s tribute and I'm recording with Reaper rewired with Reason. I'm more interested on the tips for the second part on the song as I just rushed the intro in
I tend to go for feel instead of trying to use theory to write progressions. Try playing some on the piano/midi keyboard or guitar.
it also pays to think about voice leading. a chord is made up of notes, and each note should move to a logical other note in the next chord in your progression, so in essence you're kind of writing 3 or 4 melodies at once.
the other option is to see how the masters do it, they use chords made from the notes of the key they're working in (from I - VII) and sometimes use applied chords (wiki that shit)
The problem i have is that I often use only one or two chord progressions for each emotion or atmosphere I want to have. So all my "sad" pieces have similar chord progressions, my "triumphant" pieces have similar chord progressions, my "oppressive" pieces, so on and so on. There's variety in the melodies and stuff, but the chord progressions are all similar. When I deliberately try to experiment, I often find deviations unfitting.
Is this another problem that can be solved with learning theory in-depth?
it can help. try shifting through keys instead of sticking in the same key.
another thing you can try is having some of the notes from the previous chord hang over into the next chord. These are usually called suspensions, and should resolve into the next chord. only certain notes will work.
Hey guys, working on this at the moment, mix critiques as well as composition critiques are super appreciated!
Also happy to explain how I did anything if you're wondering, seeing as this is a production thread :)
Here's a picture of the session too.
Spend all of the time you usually spend online making tunes instead and you'll get a lot better at making tunes.
Use your ears not your eyes.
Working on this shit. Dark instrumental hip hop (witch hop). Synths do most of work & sound. Too early to put the tracks out though.
People described my stuff as pretty good, dark & catchy, butt fuck them, I will never think of my stuff as good.
I always sidechain my sub bass to the kick to help the two not clash as much. It really depends on the synth when it comes to compression, I find distortion really comes out nicely if you use some multiband compression on it.
In terms of mixing synths I tend to try and get specific frequency ranges for each one and filter out anything outside of that range, giving each instrument it's own section in the piece. It doesn't always work but when it does it makes a track really shine.
In short I guess it's a mix of good compression and volume. Trust your ears though, listen on different systems and learn what works and doesn't then try your best to find a middle ground.
Has a very rigid feeling to it, which i guess you could be going for being it's entirely electronic.
Are you using the stock plugins in Live? If so I'd recommend branching out and finding a nice 3rd party synth to learn. You "can" get a decent sound from Live's synths, they're just a lot more difficult to use in my opinion and most other peoples opinion.
Ooooo FM8 is great, I guess if you are quantising too much that will give it that feel. Try turning off the grid and placing your notes that way, I find it helps a lot.
You can turn off the grid by right clicking and at the bottom there is an off option.
This is me btw so if you think i'm shit don't take my advice haha :)
*cents for tuning.
50 cents is a semitone (E to F)
100 cents is a whole tone (C to D)
so microtonal notes would be those 25 cents sharper or flatter than usual.
pic related and
are a good resource for using arabic and turkish modes
It's basically a compressor that works on individual frequency bands rather than the entire signal as one thing. It allows you to compress certain frequencies so yeah in a sense it's allowing you to reduce volume of certain frequencies. Very powerful once you learn to use it properly.
Compression is a pretty big thing, it can make or break a song so take your time with it. Make sure you fully understand it before you go slapping it on everything!
It may be tedious but you won't regret it.
Polyphony, or a polyphonic instrument is the opposite of a monophonic instrument.
A monophonic instrument is an instrument that can ONLY PLAY ONE NOTE AT A TIME.
Polyphony is the ability to play more than one note at a time thus chords etc. How many notes you can play at any one time depends on several things, depending on the synth, but one thing they all depend on is the number of "voices".
Higher voice count = more polyphony.
Voice count of 1 = monophonic.
Thought you were explaining the concept in general
Anyway it's not like the definition of polyphony changes when you're producing music; I don't really understand what he is asking when he says "in production terms".
Any FLfags online?
I'm now working mostly with the build-in multiband compressor and maximus and I'm wondering if I should stick to them or get another, maybe more powerful multiband compressor. Also any kind of tips are welcome.
Haha, all good mate. Volume and compression are two different things just in case you didn't know.
Compression tames peaks and lowers your dynamic range, volume just lowers everything equally. But yeah a lot of the time adjusting the volume and compressing something can sound similar. It all depends on the sound source.
Been using Renoise for a few months now and I really like it. Been producing Breakcore, and hip-hip for a friend.
Possibly. Renoise and things like them are called "Trackers" they pretty much look the same,
Pirated copy from What, not sure if they have the latest update. Planning on buying it when I get money this Christmas.
>tfw after a year of pointless messing around and experimentation you finally start to recognise frequencies by ear, know what kind of compressor release time I'm looking for, how to shape my envelopes etc.
feels fucking great man
What kind of polyphony do you want?
Clear examples of "classic" polyphony would be
with the flute, oboe, brass, and piano/harp all playing a different melody
with the trumpet, violin, vocals and piano all having different melodies
is a very clear example of polyphony throughout, especially the ending segment which has like four different melodies interacting (brass fanfare, the strings (and horns and flute? can't tell) doing the recurring melody of the piece, the electric guitar, and the MIDI choir ostinato
2 different definitions (already covered by anons, but posting more detail for clarification)
Polyphonic synthesized instruments:
often in a DAW turning on "poly" will enable a synth to play more than one note at a time.
I have an mpk mini that sits in my car trunk for tactical non-use. I only paid $20, so $79 seems a bit of a waste for me.
Why not buy something with real keys or good pads, instead of half assing both.
anyone know what exactly makes the syncopation of the hi hats weirdly out of sync but totally dope?like it's slightly delayed: is it just that or some other effect/delay vst?
Also how do into that synth sound of evian christ?
>tfw bought Antares EFX 3 without realizing it requires an iLok
>mfw researching iLok for the first time
Holy fuck. I still can't believe this shit isn't a joke.
>needs to be plugged in whenever you want to use the VST because muh piracy
>everyone keeps saying that it always breaks or never works and that their refund policy is nonexistent
I guess that's what I get for actually paying for software for once and supporting developers. Honestly, fuck this shit.
the one thing i find is people need to make their sound and composition different.
sounds so basic, but for fuck sake i've heard the same shit daily in soundcloud threads and crap. Only memorable person off a thread i still love is kootlefoosh and he does really obscure ones.
yeah, i was thinking about just starting with that because as it stands its actually significantly below my budget, so at least if i end up not wanting to do much hardware synthesis ill at least have a ballin-ass midi controller that can also synthesize
Most people here can't compose. They'll just take some muzak sample, slow it down, slather it in reverb, and call it vaporwave. There's no interesting melodies. People don't focus on writing/composing. It's all muh plugins, muh sound design.
That being said, there are some gems here too. I've downloaded /mu/ bandcamp stuff in my collection.
i need some light vst with good sounding grand piano and rhodes in it, the more the better but not too much
>inb4 kontakt - loads half an hour
I was stuck on this for a while
>It's all muh plugins, muh sound design.
Lately I've been just trying to get better at composing by just layering many different simple sounds that work well together. It's actually a lot of fun.
what are some good vst's that are easily pirateable?
I need to add some more stuff to my vst collection but I don't feel like spending any more money
Alot of the ambient tracks I make with reverbed and timestretched glitches and field recordings end up with horrible DC offsets.
>not tuning your own scales
multiband compression sounds great in bypass, anything else you should stay far away from
beat time area (ruler above everything in the arrangement window)
right click + add time signature change
plenty of good free ones that won't give you malware until you can decide what to spend money on
synth1, taurus, tyrellN6, xoxo, minimogueVA, DSK, jackdark etc
pianoteq might work
Looking to get some monitors for my desk. I have a 300$ budget.
I went to guitar center and listened to a few and liked these JBL 5 inchers. What should I get? What studio monitors do you guys use?
what do you speculate Recondite uses for his sounds? he has stated that everything is in the box, but it still sounds like some kind of digital acid, and i have never been able to nail the sound myself. it's been a matter of curiosity to replicate the super rich acid-like pluck just because im truly bewildered as to how he can get such a rich tone. i dont think it's 303 emulators because they are too limited in terms of possible sounds, and i cant pin point anything else
i fucking hate trying to make music everyone has already made something too beautiful for me to compete with
Just got my mini amp to power some cheap bookshelf speakers I'm getting. The speakers probably suck, but it is a step up from producing using only the left speaker
Don't act like "composition" (i.e. melody, harmony) is by definition required good music. Timbre, etc. is just as valid a form of expression.
That said, most amateurs obviously don't put in a lot of effort or think about what they're doing. It's entirely trivial to make the usual soundcloud ambient/drone/noise junk.
Hi. I'm new to this production thing. I'm only using Audacity and I think I'm starting to get the hang of it.
Does anyone that uses/has used audacity know of any useful plugins for effects? Also, any good places ways to find samples that you're looking for online?
You should get an actual DAW. Audacity really limits you. You'll have more effects too. I started out with Mixcraft, I use Ableton now. Most people use Ableton or Fruity Loops. Sample music you like. Freesound.org and musicradar are good places to start with samples.
>I'm only using Audacity
You probably should consider using something else. Audacity is pretty crippled in every regard. Even if you want to just use an editor (god knows why), at least pick something with real time, non-destructive effects.
I've owned Akai interfaces, m-audio interfaces and focusrite.
Focusrite by a mile are the best for their price range.
The 2i2 is a great little budget interface if you only are looking for 2 in 2 out.
If you want a starter mic you can't go wrong with a Shure SM57.
It depends on what you want to record but dynamics are generally cheaper and are easier to use for someone with poor mic placement technique, they pick up less high frequency stuff.
I know it's limiting but I'm working with a budget. I tried Ableton, but oddly twice now the crack torrent's that I've used haven't really worked. See pic related. I don't know why, but none of the wounds work. I try dropping them into a slot, and they automatically just go to the display title bar on the bottom, so that's shot. I tried Reaper next and that went nowhere too.
Can I be cool too?
Or is this thread only for bleepbloopmakers?
Hey what's good, just posted this track up yesterday http://youtu.be/SF5-Hq-K44U
Use FL Studi 11, pretty damn proficient, if anyopne has any questions just lemme know cause that's kinda my thing haha
I'm looking to record mostly vocals and odd sounds to create samples, but also some instruments like piano, guitar and other odd stuff.
Seeing as I'm just going to have one mic for the time being, should I just go for a solo interface, or is it worth it having a 2i2?
OFICIAL PRODUCER TIER
Dub techno (read: not BC/Deepchord clones)
Deep House ("deep" as in the meaning of deep house pre-2012, you fucking pleb)
UK Garage/2 Step / Other Britbong Acidy Loopy Pish Posh stuff
Muh chill FLoops-made jazz/hip hop beats
Any of the above genres made in the most generic/shitty tier
"I just discovered Madlib/Flying Lotus" shit
>Why do you even bother posting your soundcloud you fag (aka "I'm going to record my farts, run them through a few Ableton filters and wa-la! I'm an artist!")
Care to name a few?
It's not free though.
I've watched tutorials and this hasn't happened though. I'm just talking about simple drag and drop shit, which through tests I've learned only works for about 5% of the sounds. Sound was supposed to go in the highlighted portion of the timeline, and it didn't.
There aren't too many single input interfaces aside from the Apogee range.
Apogee do make some nice stuff too so I guess it's up to you, do you think you'll ever use 2? I went for a 4 input one and now with i had got the 8 input.
a SM57 will do all of that well. Guitar comes out a little nicer with a condenser mic but the only mics in the same price range that are condensers are the mxl mics and they are pure shit.
oops yeah got it mixed up
Anyway, like I said, Ableton's manual is pretty easy to understand. However, you might simply not like its workflow, so you might have to try other DAWs
Oh I wasn't aware of the Solo... If it's the Scarlett range then the pre's themselves are all the same so you're just paying for the second pre.
Are you hoping to record just samples for electronic music use? Or are you hoping to record live musicians?
If you are just sampling/field recording then one input is fine.
If you want to track bands/solo artists I would definitely fork out the extra 50.
Thanks. I'd heard of Ardour but didn't have a compatiable. OS. I'll look into LMMS.
Hm. I thought it must've been an obvious thing I'd overlooked but since you're all saying it should work I'll look further into it. I'll read through the manual and their official tutorials tonight.
Andy Stott doesn't produce dub techno. Any clone of anything is wack
You know what you're doing, but the track itself is not too interesting. Keep producing nigga
Glad you agree
>Are you hoping to record just samples for electronic music use? Or are you hoping to record live musicians?
Both honestly. I can play about 4 instruments but I just do it for fun. I produce some synth pop, techno, electro, hip hop and deep house. Really, anything to be creative with.
My real hope is to sing over some of my electro and synth pop tracks since my voice is pretty good. So I guess if that's mostly what I'll do, 2 won't hurt but only 1 is necessary.
Thanks for all the help my dude.
Yeah I would go for the 2i2 man. That way you can set up some sweet stereo mic placements and get some nice sounds happening.
Things like piano really shine in stereo.
No worries mate, all the best!
>You know what you're doing, but the track itself is not too interesting. Keep producing nigga
Thanks dude. Composition I can fix with practice and experimenting with different methods, crafting the sound is what I've been working towards.
Speaking of which, what are some good methods for composition with bleep bloops? I've read of many people such as Burial just building a drum track and then start making as many ideas as possible off that one drum track, then he picks the best ones and lets others pick the best ones, then he puts it together into one track.
>god tier production
look man, i love dub techno, but claiming it's some kind of production wizardry is pants on head retarded
techno is hard to gauge cause it has so much room for experimentation that it can range from the worst pleb tier production to extremely creative and some of the most experimental awesome production possible
i know this is b8 but, jsut thought i would contribute something useful
i hate you.
buy it. support do they can get more money to make better shit that will make traditional instruments obsolete.
>hur dur i pirated all this software
>hur dur check out my minimalistic beats.
I know absolutely nothing in techno, despite pleb bias.
Can you give examples of
>extremely creative and some of the most experimental awesome production possible
I'm genuinely interested.
>it can range from the worst pleb tier production to extremely creative and some of the most experimental awesome production possible
That is what makes it God tier
The line between pleb-tastic crap and God-tier is a cunt hair wide.
Go to your typical "Electronic music" label and listen to any of the not-so famous producers. Sure, they can produce but they for the most part stick to the same sound.
Try to produce GOOD dub techno without sounding like a Basic Channel clone. Pretty much every dub techno producer I can think of has his very own sound. Which is the part that takes years and years of experimentation
he didn't say he pirated it, he is using demos. which i find kind of funny tbh. it's a huge pain in the ass to work with. but it's not pirating.
i guess im drawing the contours of techno very, very broadly. i consider weird shit like most of raster-noton's discography to be in the umbrella of highly experimental techno. Emptyset, ueno masaaki, brettschneider.
i would say check out barker & baumecker for a start into how lush of a sound you can drag out of traditional techno equipment. it's not paradigm breaking, but it;s still a really unique sound. i guess super well known would be john hopkins, which definitely is informed by techno. it's hard to jduge where techno ends, because so many people in the techno scene end up making really weird avantgarde bullshit. you have a gamut running from minimal techno (which is plen EDM stuff, imo) to raw industrial stuff that almost sounds like gabber ("i dont like this it sounds like gabba" lol see perc trax) to motherfuckers on raster noton playing with glitched blips and bloops coupled with sounds at like 18khz (alva noto, fennesz)
this is just the tip of the iceberg and im limiting myself to some quick pics but w/e