>ring modulation on everything edition
Post the bleeps you're working on, discuss others' bloops. Learn why your DAW of choice is shit and why pussy and tits = puredata and supercollider.
>Sound Synthesis and Sampling (book):
>Intro to Synthesis (video):
Just posted this in the old thread so gonna post it here too.
I started making my music years ago using a DAW that hardly ever gets a mention on here called AudioMulch. If I get time I'll try and write up a little bit about it, for the WIKI.
Anyone on a budget thinking of getting into electronic music should definatly give this a look as for a little over £100 its a great bit of software, developed by one guy.
Here is an video of some of the basics it can do:
I've been using FL for 14 years, since it was Fruityloops 3. Its evolved over the years from a loop maker into a fully functional DAW that you can record audio and MIDI data straight into. Great program, although I feel I should be using cubase like my composer buddies... I'm just so comfy in FL and reason that I dont want to change. I can get shit done so quick, would take time to re-learn a new DAW and I'd never be as quick as I am with FL.
Some tips on ambient tracks? They are pretty hard to develop while maintaining them interesting. Been lurking these threads almost this past months so I thought I should pick up a trip for these.
Some feedback would be nice:
Isn't it comfy? I use other DAWs like Cubase or Renoise but FL is the most comfortable and has the most humble interface imo
Even though I haven't used fruity loops for a long time if you like using it keep using it. It was pretty basic when it first came out with some pretty awful sounds bundled with it but it was still quite a good DAW I understand now that its really good and a much more professional bit of kit?
Its probably hated on for the same reasons ableton was for the fact that it was first based for kids and Dj's to make music with simply and pretty cheap too. While us serious musicians were shelling out £850 for an audio editor (Wavelab) all the kids were making better music with their £50 fruitytoots. Pure jealousy no doubt.
I feel like ambient music just needs slight variations over time to keep it interesting. Just listen to it in the background and if it becomes too repetitive for you, change it up, because it'll be 100x more repetitive for the listener. But this advice goes for any music, really.
if something is liked by many people, there will be also many haters. look at modern pop stars
some of daws have something really unique... bitwig for example have open API for midi controllers and you can write your own script or download one made by other users.
i love the workflow of fl studio also. the only thing that bugs me is the sound thats going out of multiband compressor =/.
i already seen some local producer saying that he used fl studio but now hes doing stuff in ableton and it takes him twice the time.
i also saw comparison of bitwig and ableton and bitwig has faster workflow.
on the other hand pro tools is industry standard but ive heard its sucking your cpu like bitches suck dozen of big black cocks
anyway im goin to my daw of choice and do some fucking banger
>tfw finally started getting comfy in Ableton and then my laptop took a shit
>tfw broke college student
Knowing I could be practicing and getting better over the next few months rather than saving up for a new computer is killing me
Also your ..one.. track on soundcloud is pretty good imo, almost too ambient for my tastes, but good nonetheless. That's the only feedback i could muster up.
All the best ambient/chill tracks I've made were pad-heavy. Chords are key, start with one note, introduce another, and another, and another, and keep sustaining the whole time.
Gives a great sense of movement and mood without bringing the energy level up.
Shakers are great for mild percussion but make sure you change up the velocity to have it emphasize the beat structure if its a central part of a measure (like CHICK-a-chick-a-CHICK-a-chick-a). A light, poppy and low-cut electric kick is nice but if you don't get it pitched right it'll screw up the whole track.
Keep melodies minimal. Try writing out a full scale in whichever order you want, then get rid of most of the notes and only keep the ones that sound significant. Two or three notes over a couple of bars can be huge.
I use Logic Pro 9 regularly for recording, mixing, and mastering, but I still think FL Studio is the fastest to get your ideas for electronic music down.
The thing with FL that makes it so popular is probably that it's very very easy to use even without owning MIDI-keyboards etc., which makes it a great program when learning to use DAWs.
Nowadays I barely create electronic music at all, and just record stuff with microphones or via line, and for that I think Logic works best for some reason. I always found it quite awkward to record things in FL, and also to mix/master in it, but that's just my taste
chords, basseline, synth that kind of shit.
i used to make hip hop so drums im oke wit, but when i need to delve deeper it yust feels like im randomly doing something and it never sounds good.
also i use ableton.
i listen to a shit of bleep so i got lot of influence
> example of shit i style i want to learn to make https://www.youtube.com/watch?v=2mDSLDJPPdw
What's your opinion on the Roland JP8000?
I'm thinking of getting it as my first serious synth purchase. I would also like to perform live with it.
1. tempo 120-140bpm
2. make a basic 4/4 bass drum beat and keep it looping
3. make a sequence of your liking, keep it somewhat minimal with not too many notes and key changes
4. make a synth sound of your liking. Don't be afraid to get atonal.
5. additional percussions: hihats going 1/16 notes, weird clacks and clashes and whooshes bathed in reverb and delay
6. Additional synths, maybe a minimalistic pad playing just one chord and/or some more percussive, minimal synth.
7. loop the stuff, mute and unmute different tracks, add filters and what not
it's pretty easy to start, honestly. Just hard to make it good and unique.
protips: download 909 and 808 drum machine samplepacks and buy shitloads of hardware.
so you like heavier, Mord/Perc Trax style techno.
a lot of those guys use modular synths as well as NI Maschine.
otherwise, how i continue to try and teach myself sequencing a track is by pulling apart tracks i love in ableton. studying the comp. of a track is key to learning how to make techno-ish basslines, chords, etc
also, listen to some dub/digi for inspiration on chords
i have maschine but don't realy use it beside as drumpad, got it for like 150 euro when it was 300 second hand mostly so thought why not. should maby get more into it
Modular synths are expansive as fuck but a dream same with shit of hardware.
the thing with maschine is it's a lot of tweaking and making your own template and learning what is what and shit.
idk i've been going to much bleep parties and did almost no bleep production these few months feels like im starting from begining only now have i woken up .
I have a bunch of VSTs with ".patch" files.
How do I export the samples in the VSTs as .wav?
I can add them to an empty track and export the track, but I feel like there should be a cleaner way.
yeah...but honestly, thats the only way youre going to develop any sort of "stamp" on your chosen genre. essentially at this stage, all anyone can do is either try and do their best impression of their techno greats OR go off into other genres to push those further.
tldr dont stress, take your time, and never rely on presets especially in NI instruments
A patch is not a recollection of samples usually but is rather a recollection of settings on a synth that create a certain sound.
So if you want to rip the sounds outta the synth, you have to play/sequence some notes to sample.
Unless I'm way wrong and didn't understand shit.
Are you using Renoise?
i bought the maschine studio for the full price back when it came out
way too much when i look back now, but i really love it, i realized that drums can get really good if you play them in manually (not for house/dance etc tho)
Yeah I already try to work with diversity on a track
Thanks! Yeah, I realize I only have one track. I uploaded tons of shit to soundcloud before but decided to start all over uploading just the worthy tracks.
I've been working on another track, still cleaning it up a bit before uploading
Thanks for all the tips. I already work with lots if pads abd chords but the scale and percussion tips were nice.
You're right, I just did some more digging and it looks like the samples are actually encrypted inside of ".big" files; doubt I can extract them directly.
I'm going between Ableton Live 9 Lite and LMMS. Trying to get LMMS to do everything Ableton can do, since it's free and doesn't have track limitations, but it crashes when loading VSTs. So I was going to try to extract the samples for use with LMMS.
If you're getting it for the supersaw you might want to get a SH-201 instead. Basically a revamped version with USB. Regarding synths tay away from the Gaia, it's not real VA, sampled piece of shit.
>been making 1 song a day
>not really full songs, but a drop and usually an intro and verse too because implying that making half a song isn't making a full song in house music
>like what I make and get a rush and think it might be good enough to put on my SC
>listen to it next day and I'm not happy with it anymore but don't dislike it too much either
>do the same everyday
I do think I'm improving and learning new shit, but damn is this frustrating. I'm happy though because I never used to be able to make one song a day, not even one song a month.
>that feel when you're no longer so bad at production that your music is entrancingly horrible
People think the hard part is the beginning. The real hard part is not getting thrown when you're skilled enough to make tracks that bore you. It's worse than going "ah shit this is terrible, ahaha experiment aborted", because you used to be getting better by leaps and bounds.
Now it feels like you're stuck. But you're not. You're still improving just by being inside your program. But your results are more put-together and structured, which means your tracks are probably starting to sound similar. And when you make a lot of similar tracks that aren't up to your standards, you feel stuck.
Keep doing it tho. Forever. Til you're the king.
Starting off was hard for me, but I think I know what you mean. Like now I'm good enough to more or less do anything I can think of, but that's the thing, I can't think of anything good, I'm not original or talented enough.
You can get better and better at composing, but not creativity or originality. You either have it or you don't.
no because I'll win
when I started I thought I was great, but listening to tracks made just a few months ago, I realized I was pretty garbage. Oh well, I'll just upload whatever I have worked on for a while to my soundcloud
Thinking of getting the Kontakt Ultimate piano collection, particularly the Gentleman (for that occasional ragtime mood I've been getting in lately). They worth it? The demos I've heard sound good.
Pianist here, my personal experience when working with producers is that the end results depend more on the skill of the pianist playing than the actual instrument you use.
Only saying this because it seem a bit too pricey.
I've been cravinga Monomachine for ages now... it's just barely out of my price range but i think i'd gladly live on ramen for a few weeks if i had it
i already decided on it rather than the analog four despite the obvious analog advantages (a4 doesnt sequence midi, has worse drum machine capabilities etc.)
does anyone have a monomachine and can hype me even more into buying it?
I have ableton live lite on the side of FL, it's been acting real fucky but it has some nice features, so I may use it to kinda supplement FL. tfw dual monitor and can run both side by side once I get Abletone working correctly. FL is super comfy tho
What's your typical mixing workflow? I'm asking because I'm just looking at the spectroscope and fucking with compressors and EQ trying to make the parameters low and the sound good but I kind of feel like i have no idea what I'm doing.
dont mix with a freq analyzer or a scope and yes, unfortunately, you dont know what youre doing yet
i have a chain for every signal. whether i use certain components depends on the signal type (ie i would not compress a sampled 909, but i would EQ it)
1. proper gain staging (on your preamp, clip in Live, etc) so that the signal does not clip but is loud enough to work with
2. subtractive EQ (as many as 3-4 on a track to suck out garbage/sculpt the sound to fit)
3. compression - usually stereo/mono comp, sometimes multiband if its a stem w/ multiple elements
4. additive EQ to boost desired freqs
>Channeling anxiety to your beats
>complaining about them making you anxious
Dude, that just means you did it good, try channeling another feeling and see what happens. Maybe you have this kind of talent or something.
But yeah, I also feel awkward listening to my own music
FL studio is rendering my project as over an hour of no sound when it should be 4 minutes 28 seconds with sound, anyone know what to do? It also varies on each render by the minutes after an hour
finished track, its meh to me. included SS of the session
My girlfriend disagrees, and pretty much every other girl I've been with before her. Some boys I know disagree too.
You have to face the possibility that maybe you're just unpleasant, buddy.
>tfw 4 midi keyboards, all currently plugged in and positioned
I write almost everything by double clicking in the ableton note editor.
I would suggest a used 25 key keyboard to get the ideas down.
If anything, I've found the opposite.
had a few girls come up to me after shows and display intense interest, one later become a gf
another chick had been a fan of my produced music for years, ended up making her cum
being able to play and sing songs on the guitar (esp in another language) is one of the ultimate seduction techniques
You'll be a scrub with or without a keyboard if you don't put in the effort. The controller just makes things a little more comfortable, although like >>52713397
I still use my mouse most of the time, and I own two controllers.
Besides, I started making serious money with music before I got a controller, so I'd say it's not necessary at all. Just convenient.
I really don't care about the supersaw much
I'm all about those warm classic pad sounds, plus it's in my budget
I know to stay away from the GAIA, if I don't get the JP8000 I'm gonna get an SH201 but I'm leaning more towards the JP8000 right now
I use the double click on the screen while the four bar loop is repeating method. I don't know what it will sound like until the loop passes the note that I placed, and then I decide whether to leave it or change it. It feels like I'm not writing music as much as discovering it.
An average girl doesn't like musicians, they like cute singers who can play 4 chords on a guitar.
The only thing music can help you with is to eventually gain confidence and charisma with live shows or ego-boost if your music is good and appreciated.
Basically girls, ( there is exceptions ) fall in love with the man you become through music, not with the man who plays it.
I really don't know what it is, but my tracks feel like they're missing something. There's no energy or fluidity to it.
How do I give my tracks some more soul? Some more energy and sense to them? What are some small tricks to make your tracks sound more professional?
Sorry if I'm making little sense but I listen/look at my tracks and even compare them to similar stuff I'm trying to make and it's like it's not missing anything yet it is. There's just this certain thing I can't pinpoint that's missing.
I'M NEVER GOING TO GET MY RIBBON MICS NOW
there's lots of point in having a single condeser! stereo pairs are always a good thing to have when you want general at-large recording capabilities but obviously if you're recording one source at a time one mic is king. in fact, lots of recording n00bs learn about stereo techniques and start stereo miking everyting from acoustic guitars to percussion and stuff, when in almost every case they're using exactly one too many mics
what do you plan to be recording anon?
I'm not even really sure at this point, at the very least vocals. I got an MXL770 in some deal with a 2i4, but apparently both of those things are shit and I should stop buying gear.
those are excellent choices anon. i wish i had a focusrite 2i4. as it is i got a hodgepodge of interfaces i have to use together and it's a pain in the dick. and the mxl is quite decent as well, i have a 990 which is the same mic but without the filter and pad... i love it.
as a general rule, when people are being cynical they're just spoiled. you dunn good anon. got a pop filter?
ah shit alright that's quite refreshing to hear.
yup haven't used it without it. one thing though i've been a bit unsure of is what the proper angle for the shockmount and mic position are for standard vocal recording.
usually you just put the mic so the capsule (that's the lollipop insude the mic that picks-up sound) is right in front of your upper lip (this way it's slightly higher than your mouth and this makes it pickup the clearest sound). the mic/chockmount should generally be level level, or maybe slightly angled down toward your mouth(depending on how high it is. for the most part you should be singing like 8" away from the mic (adjust is this is too "roomy" sounding). use the pop filter to keep yourself at the desired distance.
if you find the shockmount gets in your way you can tild the mic (if you have mic stand with a boom arm). it shouldn't really be necessary though