Discuss music production, software and gear. All DAWs invited, what works for you works for you. Keep it friendly and don't respond to trolls.
Thread theme: if you had to use just one synthesizer, software or hardware, which would be it and why?
>Sound Synthesis and Sampling (book):
>Intro to Synthesis (video playlist):
>Vintage drum machine pack
i only have one synth and it's the microbrute by arturia
pretty awesome, i don't feel i need anything else at the moment
i was wondering if i should get the ms20mini, though, would it be redundant ?
it may be redundant, just depends on what you need it for. production wise, i'm of the opinion that processing and effect chains are more important than sound sources.
a modular but that's kinda meaningless since you could have enough modules to replicate any number of synths. but excluding that, i would go with the minimoog model d. it sounds lovely and is very versatile, i'd mostly process it though.
I've been getting bored of my Poly800 and remember about that Moog Slayer mod that people apply to it and sell it.
I've looked for resources or tutorials on how to do this and I haven't really found much. I've done a little bit of soldering before but nothing really crazy. Does anyone know if doing this mod is easy? or if anyone has some kind of resource I could look at?
yea I feel you, I just am always cautious of using compressors, I know how to use them, I'm just not to proficient with them, and only use them if I know shit is taking up to much range
i try to be cautious too, sometimes i forget why i even put compressors on stuff. i know it reduces dynamic range of a waveform, but why does that even matter, sometimes it just dulls it all up. but i guess that's good since its just a single ingredient in a whole track.
So I dicked around with a Microbrute™ at Sitar Center today. Not a'tall impressed. For $400 you really don't get a whole lot of value out of it. I reckon the synths in Reason can make the same sounds. I really wanted either the Microbrute or the Microkorg but I'm feeling pretty disenfranchised now. Anybody have experience or advice for me?
>tl:dr; want a hardware synth, wat do
I'll have to do more research. I think I'm probably still leaning more toward the Microkorg, on account of the vocoder and stuff. it does have a nice brazen sound to it as well. I guess I'm just a little shocked at how cheap the 'brute sounded.
Don't bother with the microkorg, just use VSTs at that point. At least the microbrute sounds goo if you know what you're doing. Also, where the hell are you finding the microbrute for $400?
Because if you're able to get your compression settings just right, it can make the sound SO much punchier, tighter, and controlled. Especially when it comes to electronic dance music. It tends to make it sound like it's really within the mix as opposed to simply sitting on top of it. Not everything needs compression, and you can really dull-up a mix by overusing it, but you don't NEED to crush it by 10dB... Just don't overdo it.
Reaktor, and Max MSP are worth checking out, but those have a pretty significant learning curve.
>I reckon the synths in Reason can make the same sounds.
Software synths can make almost any sound now, that's not what the appeal of hardware is.
what are good ways to process sound?
i was looking at some producers/recordists interview and that shit was almost all about microphone types, microphone placement etc.
what are some good machines to process sound? could you recommend some analog compressors or shit?
i'm loving composition and finding cool sounds but i'm kinda lost to how make it sound big and powerful
i got a bit of money for christmas and I consider buying some piece of equipment to help me reach that "good" powerful sound, any advice?
i mostly use vsts and a microbrute and voice
Honestly if you're still just doing sonic exploration and figuring out what works with what, etc you really don't need to invest in analog processors. Neither you nor anyone in this thread would be able to consistently tell the difference between analog compressors/EQs and their digital replicas in a blind test. Investing in a few high quality EQs/compressors will definitely improve sound quality, regardless of whether they're analog or digital, but you should be able to get things to sound huge with just the stock plugins on your DAW.
To get things to sound bigger, think more about layering things. Multitrack things. If you're recording something, record it twice, then pan each take left and right to get a really wide sound (while still maintaining mono-compatibility). To get your low-end to sound big and controlled, start putting high-pass filters on EVERYTHING that isn't your kick and bass drum. It doesn't need to be set very high, even 100Hz will improve, but that depends on the source. If it doesn't need low frequencies, take them out. Maybe put a high-pass on all of your basses, then create a separate bass for the very low frequencies. Layer your drums. Snares sound especially good that way. You can make your kick drums sound huge if you use separate kicks for the high part of the kick and the low part. Put a high-pass on one and a low-pass on the other, then choose your kicks (or any drum, for that matter) on whether the click or the boom of it sounds good.
Another good trick with drums is to create a duplicate track of the drums (it can either be your entire drum bus, or just individual drums), and then put a compressor on it. CRUSH the absolute fucking hell out of them so that they pump and distort like crazy, and then ease in a BIT of that signal in with the other (not overly compressed) drums.
Use reverb to thicken things up too. Use a single reverb for a LOT of your instruments in order to have room coherence. Don't overdo it though cause otherwise it'll sound like your whole mix is far away.
Saturate things. Use VERY small amounts of distortions (tape saturation sounds fucking awesome) on elements that you want to have more edge.
I'll let you know if I think of anything else.
It's not advisable for typical studio practices, but you could create some interesting things if the compressor is sidechained and the delay is temp synced to whatever it is sidechained to.
Hello, newbie here. How could I improve this track production-wise?
It's the first time I try to mix sound with FL. The echo and distortion coming from the synth is supposed to be here, so nevermind it.
I recommend using all of your reverb and delay effects as sends, not inserts. Create an auxiliary channel strip, and insert the reverb on that shit. Put the input of that aux track as a bus, then anything that you want to put reverb on, use a send to that same bus. That way the reverb/delay comes out parallel to the actual signal.
The most significant advantage to that is that you can use that same send with many tracks and have one reverb plugin taking care of all the reverb. Saves a TON of CPU. Reverb is room simulation so it makes sense for many elements to be in the same room. Just use the send amount to determine how much reverb you want. Delay works pretty much the same way. I don't usually put any compression on my reverb track.
This guy also brings up an interesting point. This works especially well with vocals I find. If you have an absolutely MASSIVE reverb on something, you can put a compressor on the reverb track, and have it sidechained to the dry signal. That way whenever the vocal (or whatever instrument) is playing, the reverb volume drops, clearing up the mix, and then when it stop, the reverb's volume bumps back up. Ducking reverb.
Yoooo dude how is that Pittsburgh modular? I'm thinking about starting a eurorack setup, and Pittsburgh modular has a lot of cheap modules. Do they sound good? Anything about them or their sound I should know?
Hmmm, I can't remember the exact names, but there's a track on the Bladerunner soundtrack with this ethnic-sounding vocalist and there's an absolutely enormous reverb with a huge decay time, and there's NO way you could get that not to sound muddy without a bit of sidechained reverb. I think there's a few Enigma tracks that use that technique as well though I still can't remember the names. If you do that, your goal is to make it sound as completely transparent as possible. If you can hear the reverb ducking in and out it sounds completely unnatural. I don't really see a point in doing it unless the reverb really gets in the way of the dry signal.
thanks for the reply man, I only have ever used send tracks to automate wet signals but never thought about that "same room" thing, it's helpful to think about I'm going to use that idea more
heres this *house track i've been working on for about 4 hours or so, about to start arranging, but wanted to know what you guys thought of the mix?
wow thanks a lot /mu/, that's very useful
i def need to work on my layering skills, i don't do it as much as i should
also, you guessed it right, my tracks are too muddy on the low end and my mix always end up being kinda saturated, i'm gonna try putting some more highpass on shit
i like to put distortion a lot already, maybe i overdo it
i'll try reverb on multiple tracks it might help
thanks i'm checking them
i'm not sure what you're trying to achieve so hard to judge
here's what i get from it in my humble opinion
>that harp is not quite synced
>too much bass/synths in the mix
>some frenquencies are not sitting well with each other
>you can hear some bad crackling/clipping near 1:15-1:30
otherwise it was an intersting listen, work on your mix so everything sounds more "together"
you're in luck, there's some great advice right there >>52417022
Alright I'm back. Hmmm, the mix doesn't sound too bad at all. I'd probably ease off some of the reverb on the drums, especially on that snare and hi-hat. You do some drum fills with the snare sometimes, and that's a really nice touch, but I'd make it a bit louder to emphasize it a bit more. Your kick has a bit of mud to it somewhere in the low-mids. It might be somewhere around 300-375Hz. The 290-375 range sounds really bad, I CONSTANTLY find myself cutting those frequencies. You can probably get your attack/release settings on your kick's compressor (assuming you have one) to sound even better than that. It's really hard to hear the differences in attack/release so I recommend crushing it to exaggerate the compression, finding the optimal attack/release times, then easing off the compression. I think all it needs now is a lead melody that sits atop all of that. It's pretty awesome so far though.
>there's a track on the Bladerunner soundtrack
Tales of the Future
>with this ethnic-sounding vocalist
Demis Roussos from Aphrodite's Child, singing faux-Arabic gibberish
>and there's an absolutely enormous reverb with a huge decay time
>there's NO way you could get that not to sound muddy without a bit of sidechained reverb.
Dunno, doesn't really sound like it to me. Vangelis put the 224 all over everything with very little restraint.
:) cool man, I made that kick really quick , just layering a couple of kicks together, then on a whim started making a song. my idea of a lead was that saw thing with the shitton of delay on it, I probably won't add anything else , I don't want it to get to cheesy. thanks for the feedback, sweeping the kick with an eq now
Hmmm, I know Elysia has a free EQ plugin, but it's more of a kind of shelving EQ that changes the proportion of highs to lows around a given frequency. It's kind of unconventional but Elysia REALLY knows what they're doing. Blue cat plugins are pretty good as well. There are a BUNCH of other free ones as well but I never really bothered checking them out.
As far as digital EQs go, Fabfilter is absurdly good. Apart from that, SPL, Waves, and UAD all make great sounding EQs.
Yeah the differences are pretty small but if you get pretty into it there are pretty noticeable differences, ESPECIALLY when it comes to analog replicas. For example pulteq style EQs sound nothing like an SSL or a Neve EQ.
>Yeah the differences are pretty small but if you get pretty into it there are pretty noticeable differences, ESPECIALLY when it comes to analog replicas.
There are only differences when the designer emulates nonlinearities. And there's a choice of minimum phase vs. linear phase. Aside from that, though, any EQ can be made to null with any other EQ.
Well of course not. Different algorithms sound different. Sure, it's possible to get VERY close with different algorithmic EQs, often times to the point where barely anyone but mix engineers would be able to tell the difference, but you can't possibly say that all digital EQs are pretty much the same.
If they null then they're exactly the same. If they're based on biquad filters without emulated nonlinearities then they're essentially identical, and any difference is just down to the way the user parameters map to the filter coefficients. So they're not really even different algorithms.
If they're both based on biquad filters then they use pretty much the same algorithm, but that's apart from the point that not all digital EQs are pretty much the same like you said.
Going for a new Audio Interface.
Need it to be portable and don't want the scarletts. What's more high end? I was thinking of the NI Audio 6, something like that. Maybe an Apogee.. any suggestions?
if you're still here, what do you think of the kick now? I thought the undesirable freq. were around 400 and a little below , I don't know why the hell I had frequencies in there anyways. anyway, this is probably the arrangement I'm going to stay with, I'm putting it away to mix some more later on, but just wanted your take on the kick? oh and also I added a compressor to the kick, It didn't have one before hopefully I didn't fuck it up
Is there anything worth it in the 250-400$ range? or if I'm going that low would I just be bothered to buy a scarlett?
The babyface seems like an absolute clusterfuck with that connector. The Apogees are very tempting but seem oberpriced. and The Duet is the only one I'd consider getting, but I like going from OSX to windows sometimes.
I'm thinking of going with the NI A6 if I find it for a good deal, but apparently there's 2 inputs you cannot alter the gain on. That's absolutely stupid, why even have them there?
Yeah I'm still here. The intro is really awesome. I like those ambient electric-piano sounding chords that come in with the start. The mix is infinitely better. The snare still sounds pretty far away starting at 2:07. I think layering a snare that sounds closer, and has kind of a PFFF sound would be really dope. Apart from that it's great.
Nice quads. I don't really know about the NI interface but if you're gonna buy in that price range I'd honestly just go with the scarlet where you know it pretty decent. You could look into some of the lower end MOTU stuff. But apart from that as far as a bit more high end goes, it's really MOTU, Apollo Twin, Apogee, or RME that you should go for.
Parents offered to buy me a new computer for christmas as my old one is, well... old.
What sort of thngs should I most be looking at for music production? My old lapop ran Ableton fine but really lagged the fuck out with many VSTs and shit. Obviously Plenty of RAM would be essential, but what else?
So I got this for xmas and it came with a copy of Hybrid 3 and wobble.
It didnt set it up correctly so ive just reinstalling it for the 3rd time and the authorizer wont open
>hybrid and wobble authorizer icon wont open up
Got this for Christmas and it came with Analog Lab.
Anyone here using the Darkware plugins?
Are they really as bugged, unpredictable and shit-sounding as they seem to me, or I just can't use them right?