Music Production thread: Sunday Jam edition
Ask questions, share tips, post work in progress, remember to use clyp.it
several new modules on the way. anyone else get some new modular over the holidays?
also played with a volca sample last night. sounded cool, not sure im into loading the sample in via a smartphone and headphone jack, though...
Still a work in progress, made it with ableton and asio. I really don't know much about music production yet and have only a midi keyboard to work with. Tips and suggestions are very welcome.
nothing hyper fancy, trying to build another synth voice is all. got a Moskwa sequencer over the summer and really love that.
what VCA and ringmod?
With a mixer. I recommend kitchen aid brand. A lot of people tell you you don't need hardware mixers or blenders these days, they're full of shit. I can't tell you how many countless times I've needed a good mixer or two. I mean, how do you even make dough in a DAW anyways?
ya, not as many as Euro. theres no big secrets, just cant list any vendors until we actually have their modules for sale...until then, its obv all tentative.
go to amazon and buy "The Synthesizer: A Comprehensive Guide to Understanding, Programming, Playing, and Recording the Ultimate Electronic Music Instrument"
How do I make my instruments sound more real? As in, when I'm playing electric guitar, the clean feed and bits I play with light reverb sound fresh and clear, like you're actually there, listening to it in person. When I whack on some distortion, it sounds cheap and shitty, it feels like a "recording", rather than "as live".
I dunno if this makes any sense but I'm struggling to phrase it right.
i'm assuming since this is /prod/ that you are applying effects with the plug-ins from the DAW. i'm sure there's a way to make that sound good, but it'd be better if you just got a tube amp and some pedals and a nice microphone.
you can do some cool things with plug-ins on a guitar (hammock does crazy shit to their guitars with reverb, things that people like strymon and neunaber are only now just getting even in the range of with stompboxes) but distortion and overdrive just sound unnatural. like a huge line 6 pile of shit.
Don't knock line 6 mang, they actually have decent stuff. You just have to avoid budget/beginner stuff, just like every other manufacturer.
i still have an echo park that i use because i actually prefer the tracking of their swell mode to strymon's. but i really don't dig their distortions, overdrives, their amplifiers, and general business philosophy. i'm sure they're responsible for getting a lot of kids into guitar... i guess that's good.
and i heard chimp spanner does the majority of his albums with a POD.
i'm trying to say something nice about them.
Ah no shit, I thought this was for anyone making music and needing advice, shit, sorry if this is the wrong thread to ask in.
I've basically got a guitar > pedal > amp > mic > interface setup. Not using plugins.
Do you guys use analog synths to record a whole segment or just midi and splice? I've always been recording everything by segments on my roland gaia and i have to worry about exact timing and attack/release.
I've got bad news for you: Gaia isn't analog, or even really virtual analog. It's a sample-based synthesizer.
Find different labels or self-release. Make a name for yourself and you're going to get noticed, even though by then you might not need a label.
>Make a name for yourself
sorry for the retardeness but how does one approach this? this is what I'm thinking
>write blogs that review the music I make
>have a website/soundcloud/bandcamp
>befriend other producers
>try to get gigs (lel)
what am I missing?
>give away free music people are interested in
but there's no easy answer, to be honest. You just have to keep doing your thing and getting your work out there in communities and sites and hope that eventually you gather enough following for a label to find you profitable.
Blue Yeti II or something I think. Not the spherical one, the actual mic on a stand model. Not the best in the world by far but the best I've got to work with, and it works okay for what I'm doing.
Mic is as above. Distortion, I'm using both Voodoo Lab Sparkle Drive Mod or Boss Mega Distortion MD-2. The Sparkle Drive sounds alright recorded actually, but the Mega Distortion just sounds fake as fuck when switched on, like a low quality sample of it's true potential.
This is what I was able to put together after 2 hours of tinkering around in FL Studio. How terrible does it sound?
Im thinking about just making mixes. I just want to be involved with music somehow. Whether it be making house tracks, or making club type mixes.
have you tried all the different pattern settings on the mic? if i'm looking at the right mic it has 4 different pattern settings.
>have you tried turning it on and back off again
it sounds like you need to actually work on learning instead of searching for approval
of course you're not going to do anything worthwhile right now, there's no point in showing us
This is my most polished work so far after having an Akai MPK mini mk2 and fucking around on Ableton for a couple of months. What do you guys think?
Any of you guys collect your own field recordings or work making sound for computer games and film?
I'm sick of working my job and I'm thinking of trying to get into film and game sound design as I'd love to work in something I enjoy, making soundscapes and using field recording.
Anyone that can give me advice here I'd really appreciate it.
I've been working my way through the sound on sound synth secret articles to try and understand how synthesis works, it's really interesting, but can you or anyone else post up some sounds or music that is made using these euro rack synths. I often see huge walls of these things in studio pictures and always wonder why on earth you'd want so many modules...there's obviously a reason for this which I don't understand?
I always assume that once you get past a few lfo's filters, modulators ect you can't really do much else with the sound! I know I'm obviously wrong about this but can someone pls explain.
If you want to expand on that then buy a cheap recorder like a zoom h2n or a cassette player, a 4 track unit digital or cassette secondhand, a small mixer.
For sounds to play distort either buy some cheap shitty keyboards or guitars, or record homemade sounds onto your recorder or tape player and play them back.
If your to retarded to use a daw then get a free sample editor and you can cut and paste all your sounds into that and use that as a sequencer...sort of
Take a look at a manufactuer who makes complete systems, like doepfer or synthesizers.com, they will have a page that describes the purpose of every module they have.
You'll find that there's more than just plain VCOs, that there are different types of them, like saw core, triangle core, or wavetable and FM oscillators. Or that there are many different types of filters. There's different types of sequencers, some sequencers dedicated to triggers even. There's a vast wealth of utility modules for inverting, attenuating, mixing, rectifying and doing whatever else to a voltage. There's all sorts of controller modules that may detect proximity, light, pressure, or just may be a plain joystick. Even VCAs go beyond just one type, they can have a linear or exponential response (exponential is useful for audio because that's how we perceive volume). There's different ways to go about building many modules as well, using different ways to amplify or shape a signal (transistors, diodes, and tubes), and some may have a higher build quality or more features than others.
We can't hold your hand through everything though, if you're truly interested, you need to do a lot of your own research.
Obviously not that why I was asking if somebody could explain to me. I'm not trying to compare the sounds but anons answer to my question was to post a piece of music so I could hardly help but listen to it.
Ok so what would the benefits of building a module be over just having a ready built synth, I'm guessing it's nothing to do with the sound then?
Strange stuff. Would love feedback
>building a module be over just having a ready built synth, I'm guessing it's nothing to do with the sound then?
Partially correct, modulars do offer a lot more flexibility than a 'normal' synth. Also, since most synths are good for one thing but not so good for others (ie basslines vs airy pads) having a modular and knowing how to work it could be better than buying a few diff synts to fulfill your needs
Here is my first attempt at writing a full song:
How can I get the bridge to lead back into the chorus without the chorus sounding really underpowered? How can I end the bridge well? Any other tips appreciated.
I really want to make droney stuff like Tim Hecker. Currently using FL Studio and Massive. I've made some nice droney synths but I don't really know what to do besides loop a minor chord while messing around with automation. Also, I have a midi keyboard (Axiom 25 or something) but I don't know how to get it set up so the drum pads do drums, keys play synth etc. Right now every single pad and key just plays the currently selected sound.
The Pod HD stuff is very powerful if you have the right mindset. I can get the weirdest shit out of those things. I think they're unfairly overlooked. I don't think it makes sense to treat it as a replacement for amps, etc. but take it for what it is and it's extremely useful.
nope! you cant do that. although they did released the SDK for it
over $3k. heres his rack: https://www.modulargrid.net/e/racks/view/145411
im not sure what the Intellijel on the top left or the Pittsburge in the bottom row is, though
It's got a midi in so if you connect it to a controller I'm guessing it should do, but saying that it's pretty cheap so I don't know for sure about that feature as I don't have a controller in my setup at the moment.
Holy fuck! If I ever lose my job I'm buying something like this and will sit at home all day fucking around with sounds. That sure was a cool journey through some interesting sounds, if that video was another 2 hours long I don't think I'd of even noticed
that's the worst "starter" music you can make though, drone production has very little production techniques that can be applied to other genres
also, there's a reason why every shitty soundcloud producer makes "noise/drone".
>tfw spent all day producing and haven't made anything good
>tfw it's 10pm and I've closed Ableton but don't feel like doing anything else and feel guilty for not producing and trying to make music
>tfw things I used to like doing are now boring and unfulfilling
>tfw all I want in life is to make music I'm proud of and live off it
Can't stand modulars myself. Coil was probably the only act that put one to good use. Even the older German stuff: it's just pure wank imo.
Remember: Miller's best music was made on a single budget Korg keyboard.
I was playing with this at the store, and I gotta say, its not that fun
then dont release on opal tapes
yes, Pittsburgh Modular + Doepfer are inexpensive and great to start with. get a cheap case (Tip Top Happy Endings of Synthrotek Cheeks of Power)
The W30 isn't bad at all
Experiment and back off the modulator levels
>also, there's a reason why every shitty soundcloud producer makes "noise/drone".
I don't think that really reflects on the value of the genres themselves. All that means is that they're trivial to do badly. That doesn't mean there's nothing of interest, that they're not worth exploring or that they can't be done well.
Fuck why do I have to work all fucking day. I need a job making fruity sounds
Also any of the old emu samplers I have a esi-32 cheap as fuck now, I've seen them go on ebay for around £45 recently, compared to the £1500 I paid for mine when it came out
I've been mixing for about 7 months. how can I improve them? Also best way for a dj to transition into production?
>it's just pure wank imo.
I don't think modulars are really a great interface, or anything to lust over as the ultimate means of electronic music production. But failing to appreciate the music is really just your problem.
I was referring more to the kids in /mu/ who are too lazy to learn how to mix, program drums, equing, synthesis etc always end up doing shitty "drone" aka hold a note and see how many freeware VST effects I can cram on the channel before my pirated copy of FLoops crashes. I've yet to hear a decent drone producer in a soundcloud thread
There is nothing wrong with the genre itself, but starting out with drone is pants on heads retarded. I cannot think of anything useful you might learn by doing drone that you could apply to more "normal" music. Is the literal meaning of "wanking"
What a lot of people fail to realize is that by looking at the careers of producers who dabbled into "experimental" stuff is that they did not do so until late on their careers and after they were amazing producers
Human beings are like gas. We expand to fit the containers we're given. 9/10 times somebody on a modular is going to be making sequenced atonal garbage with various jarring timbres. The last 10% of people are just doing some Walter Carlos shite.
>But failing to appreciate the music is really just your problem.
Not that anon, but that's hardly true. It'd be like accusing someone who doesn't like masturbatory guitar shredding that they're just "not appreciating it."
When I think of music labeled as "modular synth music" I just think of boring and directionless shit.
Same here. There's nothing I'd rather do besides making music, but then I got to go to work and I'm too tired to make music afterwards. I have to wait until the next weekend to pick up where I left off.
Miller is the guy in the modular video people were talking about a few posts up. He's also the founder of Mute records, the guy behind The Normal, a collaborator with William Bennett and JG Thirlwell, etc.
I need help making verses and bridges.
I never have issues making drops, but verses and bridges are always so hard for me I usually give up. I try to find cool acapellas I can loop a sentence of, but never come across anything good, I try to make a melody but it always ends up sounding too different to the drop, and sometimes finding the right sound or synth is a nightmare too.
>9/10 times somebody on a modular is going to be making sequenced atonal garbage with various jarring timbres.
I would be doing that to if I had a whole bunch of shit being modulated and tonality didn't matter anymore. but its not hard to use a modular synth musically
>I was referring more to the kids in /mu/ who are too lazy to learn how to mix, program drums, equing, synthesis etc always end up doing shitty "drone" aka hold a note and see how many freeware VST effects I can cram on the channel before my pirated copy of FLoops crashes.
The thing is, that's not an invalid way to work and experiment either, if you have the right mindset. You can get a lot of valuable insight from doing that sort of thing. That's exactly the sort of thing that Brian Eno did, for example. I think it's dangerous to view things as having a strictly traditional hierarchy of composition -> sound design. There's a lot that you can learn by breaking that down and exploring alternatives.
Whether or not people get anything worthwhile out of it is a different matter. Someone who started two months ago would similarly be making really boring shitty EDM or indie garbage anyway.
navigating their soundcloud gives me a pretty good idea of how they approach their "music" though. Sure, a single song might not tell you much about a producer's talent, nut 5 or 6, you sure as hell can tell
there is a reason why in any soundcloud thread the majority is "chillbeats" aka FlyLo ripoffs and "drone/noise" aka I'm too lazy to learn proper sound production.
Thanks, would I be right in thinking modules would be a great way to learn how synthesis works as if you were poor you'd basically just own say a sine generator for months then add a filter etc so it'd give you plenty of time to learn what you have inside out?
What starter modules would you recommend?
I can guarantee you Brian the Eno was relentless self-editor though. He didn't just release pieces centered around one halfway-interesting idea that he chanced upon.
Good music is almost always hard work, regardless of whether it is experimental or traditional.
Not really. I mean sure, if you want to go the "well that's just your opinion!" route then yeah I guess that's the end of it, but then why have this board at all if you want to just curtail all conversation at that?
It doesn't even seem like it's a rare opinion or anything. Just consider for a second that maybe there is legitimate criticism to be raised and that blaming the listener is silly.
I think the reason there's this misconception about modular music is because of all of the modular synth videos on YouTube. People who use modulars aren't always making dedicated modular synth music. You can use them to process external sounds, or as a beefed up monosynth. Maybe as a sequence synced to a drum machine. But it's still not the entire goddamn track like you find in this generalized "modular music" people keep talkin about.
I mean people still use analog monos, right? Same damn principle.
Mate, I'm about to buy my first mic and preamp, and I feel like I'm mostly gonna be recording vocals like those of itaots and pablo honey and guitar (both acoustic and electric with an amp). Maybe a tinsy bit of tenor voice.
I've done quite a bit of research and comparisons; do you think an SM57 and a M-Audio M-Track interface (the 75$ one) are good picks? Would you recommend them? Opinions from other anons are welcome too.
If you're poor, do not start with a modular. It just doesn't make sense. There are plenty of good analog monos (and even polys) that you can get for the price of like two modules. Modular only makes sense when you finally feel held back by the hardware you already own.
I'm a bassist looking for >my first hardware synth to use in my experimental rock band as an alternate sound/extra layers in the studio.
Should I get a Novation Bass Station 2, a DSI Mopho, or save up for the Moog Sub 37?
if you want to get into modular, bit the bullet and just buy some modules.
i would recommend a basic synth voice starting with these modules:
Doepfer A110 VCO
Doepfer A140 EG
Doepfer A130 VCA
Dopefer A120 Filter
Doepfer A145 LFO
The thing is, there's more to music than tonality. I get the impression that you're failing to appreciate broad areas of artistically fertile territory. Yeah, most people with modular gear are hacks. Most people with guitars are hacks too. Morton Subotnick is still great. If you don't like it, it means that you're sticking to a very traditional (and IMO outdated) definition of musicality. That's not Subotnick's fault.
I used in once, and couldn't figure out how to write midi for 30 mins, then only used the piano plugin it had. I don't think it can import vsts, if it can , then it's just like any other DAW
I think the problem is partly that there aren't enough diverse and interesting demos of modular stuff out there, because it's fairly exotic. If you look at videos of people playing guitar and find that many of them are shred wanking or sloppy generic blues riffing, you still don't get the impression that all guitar music sounds like that. I think there's not enough knowledge out there of what modular synths are good for; people find something shitty and assume that represents all of it.
not for you to decide. too many people dump money into vintage monosynths because someone told them that was "the way" to learn synthesis, simply is not the case
ultimately up to the end user what they want to do
But popular who make music with modular synths don't necessarily make "modular synth music." Key difference. I'd imagine those who use them for non shitty music don't try to make damn sure you know they used a modular.
>I get the impression that you're failing to appreciate broad areas of artistically fertile territory.
Condescension, typical modularfag shit. Regardless, you're right about there being more to music than tonality, which is exactly why "modular" music is awful. Modular musicians always completely ignore the perhaps most important and difficult aspect of music: composition. If you're going to reply that composition is outdated then I just don't know.
Yes. Most DAWs, if not all, have free demos. Feel free to try them all before picking which one to buy (read: pirate). Unless you're talking about Reaper, I love those guy's business model. Fuck anyone and everything related to paying $400+ for software.
Remember; the best one FOR YOU is the one that works best with how you work; meaning the workflow you feel most comfortable with.
I'd recommend you get a condenser mic. The SM57 is a great mic, but it's not appropriate for recording vocals. If you wanna use just 1 mic to cover those few things, I'd recommend a condenser mic. That interface is not great, and I'd recommend you check out the Focusrite ones for that same price range with just a couple mic preamps. Their pre-amps are based.
You can get some condensers in the 100-200 dollar range from guitar center, and I'd recommend checking out the used gear they post on the website so you could get on the higher end there without paying much. I wouldn't recommend going with one of those MXL mics made by guitar center (they are everywhere) so just look into other mics in that price range. I think that should put you in position to do just what you'd like
well then go with your heart.
Up until a certain point though, you will get a lot more bang for your buck with normal synths. A lot of them have decent routing options anyway.
but it's your money dude.
I made this track in Ableton, took me like 3 days, first time I made something I'm actually proud of that doesn't sound like shit. I was about to start replicating it in Reaper (got the evaluation copy; love their business model). Would you say Reaper could be suited for this type of music; could it be easily replicated?
I like how fast Reaper is and think I'd do better in a real, legit version of it, than in a pirated version of Shitton.
>But have you heard/seen the Sub 37?
Yeah, it sounds like a Moog.
I don't know, I'm not really into them.
The minimoog is on a lot of classic stuff, but that had something to do with it being one of the big players at the time. There's nothing about the sound itself that warrants the pricetag imo.
>typical modularfag shit
I don't even like modulars. I use software.
>Modular musicians always completely ignore the perhaps most important and difficult aspect of music: composition. If you're going to reply that composition is outdated then I just don't know.
No, I think your definition of "composition" is overly narrow. It's true that a lot of people who treat a modular as a real time performance instrument end up painting themselves into a corner with something overly static. There's a limit to what you can do with form if you've got two hands and 200 knobs, and generally the really good stuff is extensively multitracked and edited. But you don't even seem to be making that distinction.
I use Logic Pro, which is like a really pro version of GarageBand. I have respect for Garage Band. It's quite capable, really.. It was the first DAW i ever used and I put together a little jazzy track using a midi keyboard in no time at all.
at you're service :^)
Just remember it takes time to learn the basics of a DAW, they all do the same things; what changes is /how/ they do those things and how they look. You'll likely have to watch a few tuts on youtube for each one; try to make a track in one and then try to replicate it in other DAWs. Pick the one you found the most intuitive, fast and fun.
Why would I throw more money into a synth that I already have a broken version of? I already know the issue is that the regulators die and fry the whole CPU, and there's no replacements for it.
I assume you're talking 'bout the Mopho? Menu's... hmm, not a huge fan of those, that's why I like the Sub 37 but would not want the Sub Phatty.
I like the Moog sound though. And the 3 octaves + paraphony are great additions. I hope there will be a 'regular' production model at some point, because the current $1500 one is a special ed. and thus extra costly.
>I think your definition of "composition" is overly narrow
If you consider and arp playing one or two patterns for twenty minutes with variations in filters/ringmods/shit being the only thing to break the monotony composition, let alone good composition whatever.
>and generally the really good stuff is extensively multitracked and edited
Then it wouldn't really be under the scope of this criticism, since it (hopefully) wouldn't be billed as "modular music," but just as whatever genre it is.
Shit I must've been confused with either the Slim or Little Phatty then. Sub Phatty looks p. good actually.
Because of the price tag. And because I can't try a Moog Sub Phatty/37 out anywhere near where I live. I could demo the Bass Station 2 though, and while I generally liked it, I got lost in the presets because I didn't know where the knobs were set when I started with a preset, so I wouldn't know where to start with knobtwiddling and such. I do like the ability to save my own presets though, makes live on stage usage so much easier I imagine.
Thanks for the suggestion.
I think I see why you would recommend against it, which would you recommend though?
I know focusrite is better quality but I can't seem to find one cheaper than 150$. I'll look again. Thanks for the condenser mic recommendation, and reminding me that guitar center has a used section. I'll check that out right now.
How many of us here are proficient keyboard players? If so, what midi keyboard do you like?
I recently replaced my Axiom61 with a Novation Launchkey 49 and it has some great automapping for different DAWs
this one is 100. only 1 mic preamp. I use the Sapphire Pro 40, and I've had 2 of them now. I do have to say that their customer service is total shit, but I just had an unlucky experience and got one of those units with a manufacturing defect
>If you consider and arp playing one or two patterns for twenty minutes with variations in filters/ringmods/shit being the only thing to break the monotony composition, let alone good composition whatever.
What's wrong with repetition or minimalism? Listen to timbre. And anyway the repetitive elements generally serve as a backbone to the piece, not the entirety of the music. Isn't understanding this fundamental in electronic music?
>Then it wouldn't really be under the scope of this criticism, since it (hopefully) wouldn't be billed as "modular music," but just as whatever genre it is.
Since when is anything billed as "modular music"? The fact that something is made using a modular is notable, but it's not a genre.
I was tone deaf. I started working my ass off and took voice lessons for years. I am very thankful I put in some effort cause voice is by far the best instrument. Everyone has one!
Then it makes a lot of sense actually. About the only thing I thought the MS20 mini would be useful for is industrial stuff. Totally not my cup of tea, but yeah, then I get why you would be able to like it and find a use for it.
Lmao! You really think so? It's the first track I ever made that didn't sound super bad. After making a bunch of other melodies but not being able to make percussion to go along with it. I could probably better it some if I went back to it but decided to not tamper with it once it was finished. I just wanted to ask you if Reaper works for that kind of shit. Or if the workflow was good for it; idk.
I admit though the only thing that track was missing was the watermark "You are listening to Gay95FM; only the gayest hits of the 90's".
>What's wrong with repetition or minimalism?
Nothing, if used correctly.
>Isn't understanding this fundamental in electronic music?
If you listen to shitty edm or something, I guess.
>Since when is anything billed as "modular music"?
It's not really uncommon to see things tagged as that, and usually things with that tag share common traits that I've already described.
>The fact that something is made using a modular is notable
Not really. It's pretty arbitrary. The fact that the musicians go out of there way to make it known that they work with modulars is a good indication that the music won't be very good.
But what does /mu/'s producer general think of moogs?
I think the moog little phatty might be the next investment for our studio/jamspace. Anything you guys prefer better? Any qualms with this particular piece?
How the fuck should I know? I'm 20 and mostly into experimental rock and fusion-ish things. I've only heard the old school MS20 used for some lines/effects on a few experimental rock albums, and I've only seen the MS20 beign used live by Jaga Jazzist earlier this year in 2 or 3 songs but only for short things before the guy (I think it was Oystein) went back to playing guitar or vibes or something.
>the watermark "You are listening to Gay95FM; only the gayest hits of the 90's".
Reaper is great though. You can be pretty sure that there's a way to do whatever you want, no matter how obtuse of obscure. Problem is, it may not be intuitive or apparent how to do it, but you will be able to. Same can't be said for other DAWs and that's what keeps me with Reaper, despite the fact that its UI is super ugly. I suggest getting a skin or something.
The other problem is that it has no good plugins like Live does If you've got plenty of third party ones then that's alright, but it would be nice to just have some simple, pleasant to use essential tools stock.
Moogs are the ultimate memesynth in my opinion. They really don't sound stand out to my ears and I think the only reason they're as hyped as they are is because the brand cought on early.
Well there are a lot of variables there. Some people charge by song. I recently got the newest standalone version of Izotope's Ozone and it's given me the opportunity to dive in and master my tracks. It's fun as fuck and easier than I thought.
But you're the one with the stupid assumptions of me just not getting it or whatever.
Sorry you're unable to accept that some people have criticisms of things you like, but saying that repetition is the backbone to all electronic music is ignorant.
I like both inputs, but what are some alternative if it's not worth the money? I've already kind of felt the reservation that 1000 bucks might not be worth that synth.
Right now we have a Korg Concert 350 and a Nord Electro 3. Trying to find a more "workstation like" synth similar to the moog to add to the mix.
just started a thread asking about this but I should also ask here
Monday I'm going with my band mates to pick up some equipment so we can start pre production for our tracks
We're playing an indie rock/pop sort of style
I run a decent amount of pedals into a fender twin
Was wondering if anyone could give me some tips on guitar mics/drum mics/vocal mics
Were using logic and this stuff doesnt have to sound over the top since its pre pro
I hate taking the word of an employee at GC or Sam Ash assuming its valid so why not ask here
Another anon here, but please go to /bleep/ some time. Ignore the discussion and listen to all songs posted. They might not all be great, but you'll understand repetion much better.
Moogs aren't anything like workstations. Workstations are like Korg's Kronos, Yamaha Motifs, etc. Not sure what you can get in that area for 1k right now, but I'd bet you could get some good second hand models of last generation for maybe around that. New workstations tend to be on the pricey side. The Kronos seems neat, if you want to spend a lot.
I'm probably using the wrong terminology. I probably mean as a Synthesizer. Like for manipulating and fucking with a sound, not for sequencing it. I also like the noise production on the moog.
>costs 25$ more, one less mic input
O-ok. I'd rather get that, than an M-track that probably has hiss. Better safe than sorry, definitely.
>looking through used condenser mics on guitarcenter; holyshit some of these are at a bargain. Thanks mane.
Okay so yeah I'm clearly fucking up the terminology here. Is there a good place to go learn about all of this stuff? What's a workstation vs a Synth? How would you relate the Nord to the Concert Korg to the Moog?
The Sennheiser MD421 is a go-to mic for me. It's good for literally everything. No exaggeration. My friend and I were doing producing/engineering for 2 bands last summer and we used that mic to do so much. From vocals to drums to guitars.
no problem m8. glad i could help somebody. i am not very knowledgeable about the synth stuff so it's hard for me to contribute.
I've figured a neat idea. If you get a Reverb'd or Delay'd signal to hit before the signal itself. It's got a pretty interesting effect, though I wonder should the effected signal then hit on the beat or slightly before?
>this stuff doesnt have to sound over the top since its pre pro
Garbage in, garbage out, son. If the sound quality of your recordings are mediocre at best, your final product won't be much better.
In general, if you have zero mics, get a SM57, SM58, MD421, E906, D112 and a condenser mic.
Nord is a stage keyboard. Has all of your bread and butter sounds. The Korg is a digital piano, made to feel and sound like a piano. The Moog is an analog monosynth, made to play one note, sound good, and be a badass. A workstation is a keyboard that does a bit of everything, they usually have a good keyboard, good piano and other keyboard sounds, sampling, but a fairly limited synth section, they also have fairly powerful arranger/sequencer sections to build multitracked songs all within the workstation.
Awesome I'll look into that mic some more
The idea is we would take it to a studio of course and the final product would be made there
Nowadays handling production for your own music is a must and I just want some advice on the equipment to start with
Any particular condenser's to recommend?
And with those mics a four piece band is pretty much good to go?
>i want to make music but i have no idea how, cant work a daw, dont know music theory or know what a sequencer does, cant play any instruments, and too stupid to learn about anything.
why do people do this? dont even bother
It's a bit vague of a question really m8.
Not sure why I'm bothering to reply as it's obviously going to take me a lot more energy than it did you to ask the question.
There are a lot of ways to go about making any type of music you could use a computer, or real instruments and hardware effects?
How much money do you have to spend
The basic setup for recording drums is the 4 mic setup: kick, snare and two over head mics. Those mics may be all you need.
Kick - AKG D112, Beta 52, any equivalent kick/bass mic.
Snare - SM57
Overheads - A pair of identical condenser mics like Rode NT5s or Samson C02s
and an audio interface with 4 XLR inputs
You can use the kick mic to record bass guitar (or you can record bass D.I through the interface), the sm57 to record all the guitar amps, the pair of condensers to record acoustic guitar and other string instruments.
For vocals you can use the sm57, but if you'll probably want to get a large diaphragm condenser like the at4040.
>The idea is we would take it to a studio of course and the final product would be made there
So you want to record a DEMO. Riiight, ok, then I know what I'm working with.
>Any particular condenser's to recommend?
I like the sound of the Rode NTK but it ain't cheap.
>And with those mics a four piece band is pretty much good to go?
Guitar 1: SM57
Guitar 2: MD421
Bass: as much as I hate saying this, for a demo; DI (but when you go to the studio insist on a mic, SM57/MD421 + D112)
Lead vox: Condenser
Back up vox: SM58
For overheads/cymbals: get a matched pair of Oktava's (MK012 MSP2 should be around 3hundo)
For the toms (SM57?)/additional hihat mic.. shit.. maybe someone else could chime in?