>no mom it's not a piano edition
Post your bleeps, discuss others' bloops. Learn why your DAW of choice is shit.
Sound Synthesis and Sampling (book):
Intro to Synthesys (video):
There'd be a pastebin here, but I don't know it
hey /prod/ just got me one of these as my first hardware piece of gear for music production, did I do good?
I never thought such a seemingly simple genre would be so complicated
I've been struggling with this a few weeks now. How do I make those bassline house / garage basses like here?
Nope! Now all you need is a DAW and the patience for some tutorials on how to use the synths inside of it. Midi controllers aren't synths, but are just controllers for synths inside of your DAW.
You would use an audio interface if you wanted to record a guitar, or external synthesizer, or microphone, etc.
Depends what you want to do with it. If you are starting out it's cheap and will teach you the basics of what is possible in terms of production workflow. Especially what works for you and what doesn't, a.k.a. "This is how I make my music. There are many ways, but this is mine."
Sooner or later you are either going to buy more dedicated/specialized gear like synths or master keyboards. Hopefully you realize what you want until then, which saves you money.
Old akai synthesizers are GOTY, but new akai midi controllers/pads are pretty good. Well actually, I've heard some negative things about the sample pads, but I'm sure they're not that bad if you take the time to replace the rubber with something else.
Anyone have any experience with the action of a nord piano? I came into ownership of a Kurzweil a couple days ago and It feels pretty nice. Not as great as my grandma's grand piano, but pretty fucking nice. I am really curious about nords because the interface looks especially sexy.
Which mixer should I buy, guys? It will be my second step towards making noise.
They're all so different. What is it you need to accomplish? What inputs do you need? Balanced? Unbalanced? High Impedance? Mono? Stereo? Microphone? Line?
The euotrack will give you the most options but behringer stuff has notoriously low headroom. everything will sound dead through it. the USB one a shit.
If you're just tyring to make noise and manipulate sound I'd go with the Numark because it should be able to handle a lot without anything burning out, like intense accidental feedback loops and 120W DC, etc
I've written a lot of music starting with harmony and then putting the melody over or into it. Never as nice as having a melody and then discovering the harmonic motion that it implies.
For me it comes-off as much more natural that way, the way I work.
I'm afraid I don't really know what it is I need to accomplish, or what inputs I need. Basically, I have absolutely no equipment (or knowledge) and want to try making noise. I understand that a mixing board is pretty necessary, so I just need an inexpensive one to get familiar with. It would be nice if the mixing board doesn't explode or anything.
I'll gladly take any recommendations for equipment that you have. /noise/ is a bit slow.
Pretty much what >>52465367 said. My melodies have to stand pretty well on their own for me to write good harmonies. Otherwise, it just won't sound very good at all. But I often start with harmony, Sometimes even bass parts and drums cus I like funk so much and get too involved in the bass sound. This seems bad for making good musical content though, so I try to avoid it
You need an audio interface if you want to:
- record external stuff in high quality
- record instruments like guitars which need hi-z inputs (you can get by with guitar preamps)
- record dedicated mics which need 48V power to operate (you can get by with dedicated mic preamps)
- need dedicated MIDI ports because your hardware instrument has no USB midi built in (you can get by with cheap USB/MIDI cables)
- need lots of external connectivity (split monitor and headphone outputs)
- need really low latency
For starting out you can just as well install ASIO4ALL if your DAW insists on ASIO. I would suggest to disable any "sound enhancement" options your sound card has, like crystalizer, bass boost or these virtual surround things.
tell you what brochinsky, surely you can squander $60 yea?
I would get the numark because of its multiple inputs (including phono) and it's coolbeans crossfader and rugged prosumer chasis. I would ALSO get the eurothingy because it has all the inputs, outputs, level controls, routing, etc you could ever need.
just for the love of shit don't send phantom power down any unbalanced lines (i.e. the RCAs etc). Even the numark probably couldn't take it. That said, if would be very tricky to accidentally send phantom power from the mic ins to an RCA plug but just say'n.
Yeah breh get both, I would. Fuck the USB thing, it's bullshit.
If I wanted to make something ambient like, would layering a whole bunch of synths that compliment each other be the way to go about it, or do you think one synth could get those textures?
When I do that, the melody always ends up cheesy as fuck. Which sucks, because I really like coming up with chords independently. But I guess that's just another thing I should put on my list of things to get better at
Yeah, $60 shouldn't be a problem.
What would happen if I sent phantom power down an unbalanced line? Would it just damage my equipment? or is it more dangerous than that?
I probably would have gotten the USB one hadn't you posted.
also shop around for random shit electronics.. old recievers and radios and toy keyboards and shit. if you run a feedback loop of radio static you can create an entire soundscape that you control with the dial and EQ
if you're just trying to make noise and have fun running signals around i think the little USB dealy isn't really value. phantom doing down the wrong place can blow the electronic components, and if you short it back into itself it can blow the preamps that it came from (done that with a bad mic cable once). it's not something you're likely to do, even if you're trying. phantom power won't harm you, it's like 7mA tops.
spoooo what's the setup gonna be? this stuff going into a soundcard or the like?
9th Wonder’s '10 Track Commandments' for Music Producers
# 10. Unless it’s a rare sample don’t sample the first 10 seconds. Don’t loop the first ten seconds of "Thriller."
# 9. Do you. Which means if you sample, sample. If you play keyboards, do that.
# 8. Always make beats with a MC in mind. Ask yourself, "Does this sound like Busta joint or a Nas joint?" That’s the best way to build up your catalogue.
# 7. Don’t put more than 10 beats on a beat CD. I put 30 on one once and MCs can’t absorb all of that at once. I learned the hard way.
# 6. Flippin’ Bob James’ "Nautilus" at least once is a right way of passage, even if you don’t play it for anybody.
# 5. If you make beats on a computer, don’t have Limeware or something on it. You’ll get viruses and lose everything.
# 4. Some people don’t like to record with a lot of people in the studio, butI like to record with a lot of different people there because you get a lot different feedback on the record.
# 3. If you want longevity in this game, align yourself with larger entity and be the main producer like, Marley Marl, The RZA, The Neptunes, Mannie Fresh, Organizied Noize, The Bomb Squad, Dr. Dre. They don’t just make beats, they provided the landscapes for a whole crew for years.
# 2. Forget reading the manual. You gotta break something to figure out how it works. Peter Jennings didn’t graduate from high school. It’s about natural ability.
# 1. Stick to your equipment. Don’t let anyone tell you that you can’t make beats on a bucket with some sticks.This is hip-hop. If you can drop 40 points a night in Chuck Taylor’s, do it. You don’t need Nike Shox
Sounds outdated as fuck, and it sounds like one of those JUST BELIEVE IN URSELF bullshit advice. Not to mention it seems to apply to #chillbeatz producers.
># 2. Forget reading the manual
># 1. Stick to your equipment.
Terrible, terrible advice
this is exactly the numbheaded anti-intellectual arrogant self-absorbed popstar-imitating-and-regurgitating attitudes and behavior that make contemporary music so fucking fake and incompetent
went to vegas this weekend not 21 so I couldn't get into the clubs, but I happen to walk across xs Arty was playing I think. anyways I walked by and the door opened I could hear this giant bassdrum, precussion and melodic groove. Fuck for that moment I fell in love. I have never been to a festival concert nothing. I know what arty was playing was some edm crap, but damn for those few seconds of music, you could hear everything in the mix.fuck idk where I'm going with this but color me inspired
That sounds like fun. Thanks.
Yeah, I'll just be making noise. Okay, it's good to know that phantom power isn't as spooky as it sounds.
I'm not sure what my setup is going to look like. I'll probably get acquainted with the mixing board first, and then purchase a guitar pedal and shitty microphone and/or contact mic.
A Soundcloud can come later, when I actually like what I'm making. Just like what Masaya Nakahara (Violent Onsen Geisha) said, "For someone who has no musical talent like me, the only thing that I could naturally create was noise."
the only one that is good advice is #1, but i even disagree with "stick" to our equip. we all gotta upgrade sometime. But what i take from it, is it's not what you have, but how you use it.
also what dumb fuck wouldn't read the manual? smdh
> 1. Stick to your equipment.
He has a point: It's better to learn the stuff that you already own inside out and use it creatively instead of running around like a fat girl in a candy shop. Buying the next synth won't suddenly make you a lot better at creating music.
He makes good beats to though, it's all sampled, but I like them. I guess this is all from 2005 although that doesn't really excuse that kind of advice
is this you? or did you just post a pic of a moog you found
I hate interfaces and interfaces hate me
one day you'll see me playing your favorite festivals
you'll see me pop up on your social media
I'll be traveling the world living out my dream
you could have been apart of it, but I guess I wasn't good enough for you.
one day you'll tell yourself "he fell in love with me once I could make it happen again"
you'll inbox me
I'll tell you everything you want to hear give you a taste of my life
I'll fuck you a lot and treat you worse and worse everyday
but you'll put up with it because you want to stay with me forever so you could love the good life as well
then one day I'll break up right after we fuck and I'll make you cry
I'll make you feel the pain you made me feel all these years
Not long, only about a month or two. I use it to record random ideas. It has some type of midi sync mode which I'm very interested in. Still learning how to use it but I really like how I have to approach going about recording with one.
I find that whenever I record stuff to my computer I end up forgetting or deleting it but I've come back to several ideas I recorded to tape and been able to flesh the ideas out more. I still need a lot of practice but it's a handy tool to have for sure. Also they're super cheap, I got this one for ~50 dollars.
fooling around with cinebrass for that epic trailer music feel. (r8 my braam)
Love the french horn. the slides between notes gives it a real feel
compromise bro! reason has shittons of tinkerability these days
i think im a better producer than everybody in this thread with little to no proof and i dare you to debate me also your favorite daw is shit, and if you mainly use digital instruments; digital is shit; and if you use analog mainly; analog is shit.
lol, I only have 3 organs now, a chopped hammond, a yamaha with a synth, and my gigging combo organ. there used to be a fourth one, and I got...well...lit it on fire. I have pics somewhere
>he actually wrote that
BUAHAHAHAHAHAHA HOLY SHIT
that's literally a memesynth you retard how stupid one must be to but that garbage
i'll be right here enjoying my Kurzweil i bet you can't even play the piano
holy shit my sides
I feel you, I love messing around, and would do so for hours, if not for the tediousness of using a mouse. I can't even play piano formally but find it very fun to just twiddle knobs. and having hardware just looks cool, not necessarily to others, but I know I would appreciate them
>Ever letting Strelok live
Its like you want the zone to collapse on itself.
hope you make it past the brain scorcher, stalker.
You're telling me! I'm a junkie for hardware. I don't get anything fantsy and I can't STAND getting anything redudant. I finally just got myself down to ONE multi FX pedal because my other pedals were a shit. I have like 25 mics though, but they all have a very special purpose that I couldn't live without ^_^
I collect and build all kinds of shit, even if its cheap. Microphones, preamps, keyboards, etc. I have a binaural mic I built out of a bowling ball, a parabolic mic I built out of a squirrel baffle, a Leslie I built out of a dead Hammond, etc.
And I even try to use the shit as much as possible... when possible
nah I just played a shit ton of S.T.A.L.K.E.R. in my time. I only very rarely check /k/ these days.
there are those who record rock and non electronic music. I do a bit of everything, from orchestral to singer songwriter to electronic and sound collage. There's a dadrock anon around...
I do the occasional sludge and black metal. And have recorded a death metal album with my band. I didn't produce it though, so doesn't really count for these threads.
m-my brain isn't conquoring much of anything these days
...but I like your moxie
I'm not. I'm not an electrical engineer but I wish I was. ;_;
I mostly repurpose and frankenstein things moreso than design circuits and the like. When I have to make or fix a circuit/board i have an EE friend who helps me with it all.
gotta use the channel setting and just set it to the mixer insert you want, like you would with any instrument.
Ohhh yeah I remember seeing you post this. Wish I could help ya more
I tap my M-100 right off the speaker terminals and crush the DC through this little beast.
1. if something happens to it whatever it's $40
2. it overtrives through a crappy valve and it swells benis
What's a good entry level amp? I'm thinking of getting either a keyboard amp, or PA system, leaning towards keyboard amp.
I want to start playing my bedroom project live, with me singing/playing guitar/keys. I'm not sure whether to get a keyboard amp or PA system. I lean towards a keyboard amp, because I might want to play bass too for someone else/I'll probably need the bass frequencies for other projects. Basically, I want one amp for everything.
I plan on going mic/guitar>interface>ableton>amp/PA.
What's a good piece of gear for getting started with this? Loud enough for playing with a band, and a budget price. Me=poor.
lol, I actually have one of those, works great too, but there's no footswitch, plus the purple guy gets that kind of tone anyways
just looking for good distortion projects that would work well for organ
If you ever plan to run a band live, PA. You can start out with a powered mixer and passive speakers. It's much easier than transporting an amp or a powered monitor.
If you think you'll have PA covered in the future, or just want one amp and be done, get a keyboard amp. I wouldn't suggest running bass through it though. Volume wars=dead amp.
Yeah there's no footswitch. I just have it up on the organ and twiddle it as needed, it's just there to buffer the signal so I can run it into my Marshall head and other pro/consumer audio shit.
this my first try, its not done, basically destroyed a MOTHER song
nothing special, digitech rp-7 valve. it's quite old, but the reverbs sound great (especially the spring) and a couple of the distortions are perfect going into the Leslie. Also for recording, some of the chorus/flanging effects really add some extra swirl (cheating!) to the Leslie. I like it, it works well with the Marshall valvestate I use
Really? A bass would blow out a keyboard amp? I thought they could handle those frequencies? I'm not too knowledgeable about this stuff. My current setup is guitar/mic>ableton. I guess I'm interested in using Ableton for live performance? I use amp sims for guitar/bass, and a midi keyboard for synths/sampling. I've never played live before, but I'm almost done with my EP, so I've been thinking how to translate to a live setting.
If you keep it low, you should be fine, but you can always blow a cone running bass into anything that isn't a bass amp. What happens is that the bass produces frequencies so low, that if you increase power, the cones have to move further to replicate those frequencies, tearing themselves apart in the process.
Why not use both? Sytrus is my favorite FL VST. It can do subtractive, and FM synthesis. Sylenth can only do subtractive. But Sylenth is a great synth. It doesn't have the options other synths do, but it sounds great. Use both, if you like Sytrus, use it. I personally use Sylenth/FM8.
With Craigslist, you have to reply like right away. At least that's what I do. I just say I can pick it up now, $X cash. Tons of people are flakes on there, so you've got a shot.
I can't really get excited over watching a guy fiddle around in a DAW. I mean, it's cool that it's 4tet or whatever, but I've seen like a gorillion videos of other musicians doing the same thing.
Yeah, Future Music has some good vids. Ever watch the Rhythm Roulette vids? Not by them, but still good. They sample 3 random records/make a beat out of them. Here's El-P.
Was here asking about the Akai MPC Element and the Novation Launchpad Mini a week or so ago.
I went with the Launchpad Mini. It was $50 cheaper, and it had 4x as many buttons.
I like it so far, Ableton Live Lite is pretty cool too.
Now I'm writing a program to control its MIDI functionality.
Just uploaded this for the music-related books thread. Thought I'd repost it here for you guys
Audio Engineering and Acoustics ebook bundle
Bobby Owsinski - The Mixing Engineer's handbook
Bobby Owsinski - The Recording Engineer's handbook
Bobby Owsinski - The Recording Engineer's handbook, 2nd edition
Bobby Owsinski - The Mastering Engineer's handbook
Timothy Dittmar - Audio Engineering 101
William Moylan - The Art of Recording
F. Alton Everest - Master Handbook of Acoustics
Rod Gervais - Home Recording Studio: Built It Like The Pros, 2nd Edition
Philip Newell - Recording Studio Design
>I assume he's just going to use it as a trigger and not something to record shit with.
because you simply cannot do the EXACT SAME THING with computer keyboard
money well wasted and you fucking know it
Current soundcloud where I'm placing ideas.
Yeah really been messing around with my drums/percs and what not lately. Rest is just kind of overlay to fill out out and see how things sound cutting threw pads and where things are sitting
I was listening on earbuds, I'm using the speakers for producing right now, but the kicks sounded good, and I definitely was grooving with the percs. How do you make your kicks low and strong like that, so far I've only been able to make ok house kicks that punch through with their midrange
idk, layer until it fills up the 50-300 range. I do this by selecting kicks that are strong in a particular range then throw it on the grid and take off the quantization and adjust to compensate for phasing. usually sounds ok
Basically its a few sounds layered and lightly compressed together then eq'ed lightly individually and then all at once. Base layer is just an 808 so it helps to project the illusion of deepness onto the other samples layered if that makes sense? And try and keep all your samples in tune with each other.
that's interesting, I usually take away from the 150-300 range because I think it sounds muddy. I usually boost 50-100s and 2k's and 5k's (usually a layer for each part of the range).
I'm gonna try utilizing the 100-300s next time and see if it works out.
yea, I only do this because I was looking at this flp of a song that came with fl studio and I was looking at the layers of the kick and I saw a lot of the knock came from the 300 range. I wouldn't really recommend it though, I was showing a track yesterday I think and some anon said that the kick was real nasty around that area, so if you could get it to sound good go for it. I still got to get my ear used to hearing shit like that though so this method will probably change later on
i get ya. you're right though, each sample has its own 'sweet spot'. My biggest issue with kicks though is the spread of them. making it sound like it's really wide. can never get it the way i want it. someday though i'll figure something out
WHO #LATENIGHTPRODUCTION HERE
As a music production major with 8 years experience, I'm gonna have to give input on where I disagree.
#10 - Sample as much as you'd like but make an attempt to make the sample your own. The best sampling uses are to create something fresh and different.
#9 - Keep on learning, even if it's just a little bit of something new.
#8 - Try different things but know that convention isn't always the best for your work.
#7 - Title your instrumentals when giving them over to someone to check out/write to, as opposed to 1,2,3,etc. It makes it easier for them to process them if you're handing them many tracks at once and will give them an idea of what you're thinking.
#6 - N/A
#5 - Back your work up regularly. We have a saying that if it doesn't exist in 3 places, it doesn't exist. Ideally, don't have torrent software on your work machine.
#4 - This is right. Get fresh ears to listen to mixes you're unsure about but do not mention what you consider to be a problem before they listen. Get their input before giving yours.
#3 - Know when to sit back, but know when to take control. You're always learning and always teaching.
#2 - Know your equipment. Learn proper problem solving skills and how to figure out where the problem lies (eg. "We're getting signal into the desk but not into Pro Tools...what's wrong between the desk and Pro Tools?")
#1 - Try different things, but you're correct in saying that you don't need the best equipment. Knowing a cheap compressor inside and out is better than struggling with how to use an Avalon. That being said - fuck yeah, Avalon.
lol, I copy pasted that from some forum, it was 9th wonders advice. I thought it was kind of funny, some bullshit in there, something to take into account I guess. reading that thread though, someone said to keep a log in the studio for people to sign, to make sure that they acknowledge that they aren't really giving any creative input into the production. I guess anyone that does is legally supposed to be compensated?
You know, you could have a send/return for the kick. EQ a "mountain" (upside down U-shape, fuck, it's 6am, I can't English now) between a band of higher frequencies where the kick has some real punch.
Compress the shit out of that. Start sending the dry kick to that - voila - you've added the punch/top end of your kick from the same sample, so it's all good tonally.
that guy has chops, he could probably make any synth sound that good
the Hammond patch was incredible though
I love this song. I love how they have a Korg PS-3300 on the Polymoog, doing nothing
Phew! I was just giving my advice in case someone was taking the more questionable points into account.
Yep! We keep a log of who's where, when they're there, and what equipment is being utilized. This is in case of breakages/theft. As far as that legal compensation thing, if they're involved (even as just their membership of the band), they deserve their slice of the pie. Always keep logs (of everything!) when working in a studio.
yeah he's great, the only thing is that he is not critical of the synths he plays. He will talk about the great aspects of them and enjoy them, but to call these a "review" is not very accurate. they are however, fantastic demos and just overall enjoyable to watch and hear the differences between synths.
I KNOW you have some shit to post, please post it sometime.
I just got this vocoder unit tonight, the red one.
Have you guys ever tried mixing a kick + the same kick pitched up? You just need to eq out the conflicting frequencies. I've been tinkering with this idea lately and got some acceptable results.
Love the warp factory, has everything a vocoder should have:
handy controls on panel
mic socket on panel, with phantom power
built in global PSU
can be used as bludgeon when removing kebab
I don't pitch the kick up. I just compress the higher end of the kick (cutting all unwanted frequencies) and then mix that into the dry signal with a send/return. Pitching the sample up will cause some warping.
Also, EQ out most of the frequency spectrum except where the punch actually is. Same sample, same pitch, same tone, no warping, and you got your punch because you've mixed in a slammed top end of the sample.
Don't forget about subtractive EQing, guys. If you want a certain part of your kick to stand out, don't immediately go to boosting that frequency on the kick. Consider if you should attenuate that frequency on another element in the mix that is masking it.
Exactly. This is crucial with kick and bass. I'll normally just dip the bass where the kick is hitting.
Here's an example of what I'm talking about, the top kick compression. Heavily compressing the top end of it and mixing it in with the dry signal to get it to punch through in my mix.
Bear in mind that this is only an example of the kind of EQ and compression, not exact values. Work with it for your desired result.
Best synth reviewer coming through
I'd apply sidechaining to the bass if it was conflicting. As a rule of thumb, I dip the bass a little (subtractive EQ, around -3dB as a starting point) and if it's conflicting with the kick after that, I'll work on a little more EQ and sidechain it so that it comes in just slightly after the kick hits. The kick drum is what I build around.
Also, I should mention that a fast attack and long release is important for that kick compression in the pic above.
You're very welcome, anon.
Now, it's 7am here, and I have monitors (JBL ones) being delivered around 11. Time to get a glorious 3 hours. Good thread.
Always remember to hi-pass and stereo widen.
I was wondering how you guys work with atmospheric/background sounds? Any tips?
I like some of Sigur Ros' stuff because of their abilty to capture an evironment. How would you go about something like that?
>Also, I should mention that a fast attack and long release is important for that kick compression in the pic above.
Usually with bassy instruments you always want a fairly long release. Because of the way lower frequency waveforms work, a quick release can cause some distortion of the waveform.
You know Caribou, Yacht and Four Tet record their albums on shitty Acers and pirated versions of Ableton/Audiomulch/etc yet some people here have kurzweils, original 808s, etc couldn't make stuff to wipe their shoes over.
the ones who have the hardware are usually the ones that know how to produce. then there's plebs like me who ask a lot of questions and learn using daws. and then theres the ones that only use daws but know what they're doing
reverb. low dry, high wet. can make things pretty distant and background. also cutting the high or low off on the EQ. panning left and right can help things diffuse in the mix, as well as low volume obviously.
use lots of layers of different synths. delays, reverb, EQ and panning should help set up some environmental feels, with the correct synth choices.
Here's an excerpt from Lynda.com's mixing and mastering course:
Lynda tutorials are really well produced and helpful. You can find torrents for that entire course on the usual torrent sites. Specifically rutracker.org has a ton of lynda tutorials. The site is in russian so you have to translate the page.
>what gets you inspired?
I love watching seminars on composition or instrumental techniques.
attending composing workshops are some of the most inspiring things I've ever done. Always come away from them wanting to write music, and feeling more focused on the things I want to do.
Have been watching some good seminars here from some of the characters in NZ music, including some who have played my music or been my tutor during workshops:
>tfw your happiness and well being depends on how well your productions are going and how much music you're making
I need to seperate my feels and lonliness from music. I want my music to be authentic and made "for fun" again and not be some sort of fix for me.
Or maybe that's a good thing and it will push me to make as much music and the best music I can. But most the time I feel bad.
Have a nice long jam for fun, play long enough that you forget about trying to do something good and just 'get into it'.
Listen back to it and parts might inspire you to write something more 'proper'.
Oh fuck. For the first time in months inspiration has hit back and I'm working like a mother fucker. I can feel the creative rush and I'm scared because I know the comedown will be bad and tomorrow I will hate this track in a few days.
Help me guys, I need any advice possible for this situation.
Ride the wave, get the fuck off 4chan. Pour yourself into it.
Then leave it for a few days, don't listen at all. Then come back to it and do what needs to be done.
Seriously though shut off your fucking wifi.
I made this melody, but there feels something wrong, can't really figure out what...
Also how do I learn this melody making and knowing which chords belong where?
Where can I get feedback and know whether my song sounds as good as I think it does or it's just shit?
I can play it to my friends but they'll just smile and say "yeah it's cool", but I don't have any producer friends to ask. I don't want to post it here because I'm one of those autists that doesn't like posting anything that will eventually lead back to myself here.
use your ears, copy songs by downloading MIDI files and importing into your DAW to inspect, learn music theory and see how the masters do it.
You should know if your track sounds good or not. the other option is to do comparisons to other tracks in a similar style as your own, with production you're hoping to emulate in quality. comparing your work with professional work is the best way to get better.
i just picked one of these up and can vouch for what other people have said about noise. i just use it to combine all the different sound sources i want to go into my sampler so it's not really a huge issue for me, but if you're buying it as your main mixer that you're going to actually record usable stuff through i'd think twice.
Guy high on inspiration reporting again
I've spent all afternoon listening/making this track and I don't hate it yet. I think this might finally be the one. I really hope that tomorrow I can wake up with the same energy and love for this track and go ahead and finally fucking upload something
What's the difference between linear phase EQ and regular EQ and when to use/what to use the former one for? I know that normal EQ can cause phase issues that a linear phase EQ doesn't but that doesn't really explain much to me.
Linear phase is much more transparent sounding - you don't hear the swishy resonance caused by the phase shift/delay. It also puts a slight pre and post "bump" in the signal (so if you run a quick transient or impulse response through the EQ you'll see a little bump pop-up on either side of it). This is due to the inverse processing that's done to accommodate the phase shift problem (it's processed forward and backward in time). If you're wondering what this "bump" is and why, consult "sinc function", it's promimence and distance from center is dependent on frequency, so it's more prominent on lower frequencies. This is pretty much inaudible 100% of the time though in real program material, you really need to run an impulse response to really be able to see it, and it's very low level as well.
"Regular" (or minimum phase) EQs add a bigger bump in time after the impulse, slightly more audible. The phase shift also creates resonant bumps around the center frequency (not in the time domain but in the frequency domain) and this gives the EQ its swishy phasy character. Every EQ is different, this happens with both analogue and digital EQs and is unavoidable due to laws of sampling, the sinc function, etc. They chew up a lot less computer resources though, and they have a "nice" sound to it. Especially if you want to do EQ sweeps (or things like wah, etc) you WANT a nice phasey EQ for that. Also that resonant bump can work in your favor a lot of the time.
Linear phase on the other hand is best reserved for audio restoration and mastering.
Is using a few vocal shots off an old acapella (pretty popular artist, Aretha Franklin in my case) considered "wrong" or meant to be labled as a bootleg? The genre in question is house.
I see so many people lose their shit just because they've heard vocals somewhere else before without realising that's how house music has been done for years, but I want to play it safe too.
I just always find it easier to have people sing what I need. No copyright issues and extra patrishun points because singers think anything beyond singing is black magic and you're a wizard. Granted I don't make house music, but the principle is the same.