There is unironically no /prod/ thread at this moment
I don't even go on /mu/ that much anymore but this triggers me
/prod/ - DX7 edition
come at me fgts
i have a Kurzweil K2500s (400€) and a DX7 IIFD (300€)
imo it's all the synths i'll ever need
next purchase will be a sampler or a sequencer of some kind
recommendations for these would be welcome
I want to buy A hardware drum-machine that is capable of sampling and full compositions. Would the Elektron RYTM be good for this? Ideally I would want to get an MPC but the renaissance would be my only option and I don't want to need be tied to a computer.
Is the Elektron RYTM similar to the older generations of MPCs in-terms of usage?
>Elektron RYTM similar to the older generations of MPCs in-terms of usage?
nothing like MPC's aside from the pads and the fact that it is a sampler. better than MPC's imo though
also look into korg electribes and the roland SP machines
sometimes this happens to me on some controllers and sometimes it's because I have sync and remote turned on on that controller
anyone else max or pure data?
I've looked at a few patches a friend made in max but desu the program goes over my head
I'm on linux now so max isn't an option. what's an incentive to start messing around in pure data?
I use windows and I feel sorry for mac users at the moment
I use ableton and Cubase and both of those daws have had problems with the new update
word filter I think t-b-h
mpc's are still more capable than 404's in terms of workflow
i traded my korg microsampler for one (thankfully i was able to get another microsampler this christmas that just passed) and it was a big step down in terms of workflow for sample editing and shit.
you can sample at a specified tempo, but not resample at one. so when you're resampling or sampling at a non-specified tempo it will display a whole number as the tempo but there is actually a decimal point you can't see, so loops that say they're the same tempo can go out of sync. you can't record a new sample while another sample is playing (no playing a synth or whatever over a sample and recording it onto a pad). you can only resample up to 4 samples at once, 2 if they're in stereo, and you can't resample a recorded pattern, only playing in real time. the start and endpoint knobs only do fine adjustments of like 100ms, other than that you have to play the sample through and hit the marker button to mark start and end points or exit and re-enter the start/end point menu to keep using the knobs to take off another 100ms. there's also no sampling across multiple pads or dividing an existing sample across multiple pads, so you would have to do what i just mentioned with a longer sample you recorded unless you were going to stop the audio on whatever you were sampling from and restart it every time you recorded a new sample (also if you were to do this, it forgets the tempo you specified for each new sample). other than that, the pitch and timeshifting just never really sounded that great to me
there you go, that's my whole anti-404 speech
Hey /prod/, is this decent?
I am brand new to the world of recording and audio software (and songwriting... and harmonizing...), but I am trying to make good music with what little knowledge and resources I have.
My Casio CZ-1 is arriving in the mail on Thursday
I am not sure what you should focus on
i try to structure my weekly routine on different thing per day because theres so much things to learn it can get overwhelming if you stress to much
You're not offending me, I could care less... It's an anonymous image board, lol.
> more people will notice u trust me
I could give two shits about getting noticed. Is this why you create music? That's sad, but I wish you luck
>Why use the TB EQ btw?
because its cheap as fuck, TB are practically giving it away if you buy their bundle. Plus its really good.
Why wouldn't you use it unless you own FabProQ?
Was waiting for someone to post a REAL music making environment. Looks wicked dude
Here's an ugly-ass PD sequencer I'm working on
Linux and PD is a match made in heaven, total open source freedom
Get pd-extended and start learning to make shit no other program can. VERY steep learning curve but it's so worth it. I'm just barely getting started but it's already more fun than the 10+ years I've spent making shit with ableton and the same old VSTs and samples.
here's my super basic sampling sequencer
so here's the deal, i have an electric guitar and an amp, and i'm trying to do some post-rock kinda of thing by myself. Problem is the only mic i have is my notebook's mic, and it's shitty AF, so it doesn'r matter if i'm busting my damn amp out with some heavy shit, my mic will only capture my pick's sound, and will turne all of my work into some lame shit. I'm using audacity and would like to know if there's any way to improve what i recorded by mixing it. didn't found any better thread to ask this. pls help me
buy one of those t.bone knockoff SM57 mics from thomann and a lexicon alpha interface.
there's literally no way to make a laptop microphone sound good.
unless maybe put your laptop in front of the guitar amp, but the pickup pattern of the mic will pick up all sorts.
There's a big difference in spatial depth in the attenuation of upper-mid frequencies compared to some of the pricier EQs like Waves API series. EQ8 can be very harsh on delicate audio like recorded vocals or acoustic instruments
it's been a while since I read up on the details behind this. EQ8 should not produce more phasing than other EQs, all EQs phase shift, that's what EQing is. the only ones that don't are linear-phase or minimum-phase EQs (fabfilterQ has a special mode for this) but that produces a lot of latency, it's something you have to live with and you mitigate it by EQing less rather than more
EQ8 is a bog standard general-purpose paragraphic EQ, no bells or whistles, rest assured no one went in to make a spectacular product specialized at anything. paragraphic EQs of this kind tend to be quite 2-dimensional which becomes obvious out when you throw several instances of it at anything, especially delicate audio. this isn't about math but what you actually hear, provided you've got the ears for it, when you process a full mix consisting of many different details
passive EQs and non-paragraphic ones (think fewer sliders) tend to be more transparent, create subtle and musical harmonic distortion, or better at general attenuation, even when doing the god-forbidden boost. EQ8 can be good at surgical removal, however a lot of inexperienced producers don't do that, they throw a rollercoaster-curve at everything which creates phasing and a generally poor overall sound image. does it feel like the lows become well-rounded and tonal, subdued parts are more distant, that highs are sweetened? no, it just feels like a thin piece of plywood's been hacked at with a butcher's knife
I used to have comparison soundfiles between EQ8 and other EQs at the exact same settings, which convinced quite a lot of people around these parts. can't be arsed to do that again since I don't use ableton to the same extent anymore but it's not hard to A/B yourself, try to do a blind test to be sure
it's still a good EQ in right doses but you should familiarize yourself with a wide variety of EQs and try to hear out which one is best for what job. and don't be afraid to spend a bit of dosh
Really nice guitar.
I really like the sound at 1 minute and 3 seconds.
Would love to hear a band cover this.
Reposting from the last thread https://clyp.it/cfww2024
Any tips for creating ambient music?
Very much appreciate it. I spent the last hour reading up on how EQs physically work on Synth Secrets (http://www.soundonsound.com/sos/allsynthsecrets.htm), which is an excellent resource to complement the post 5590 made.
Looking into EQs, will most likely buy one tonight.
Work with the on board eq until you fully understand how to use an eq before you spend money, the differences are more subtile than most people think. Experiment with a tiny bit of saturation after the eq, This is what makes the biggest difference for most eqs that are modeled after hardware eqs.
sorry for my bad english.
How much would you charge to find some machinery noises and menu bleeps for a video game? Per sound, about 30 of them. I won't be the recording much, if anything. I have next to zero experience with SFX and I've only done one soundtrack (for the same guys), but they asked me to do this and it sounds fun. The music's gonna be something like 70€ per minute probably.
How does my popping track sound
First song I am happy with
Need to grab a mic to record vocals though
I'm eyeing the Korg MS-20 and it looks neat af, but I think the lack of polyphony would sting. Any recs for a polyphonic synth in or below that price range?
Ideally I'd like to make really vintage (60s/70s) sounds, but a VA could probably fool me.
I really like it senpai, super interesting.
Mind if I attempt writing some bars to it? I probably won't end up with a full song but yeah
what's the difference between the electribe and the electribe sampler? seriously cannot make sense of it. the electribe has more waveforms, sure, but you can't load your own samples onto it? then why the fuck does it have an SD slot? can someone explain the diff?
pd-extended is just like vanilla except it contains an extra bunch of community-made externals (pre-made objects that perform a function to save time), nothing that will make or break your career but it can be useful to throw in a few of them to save time or follow a particular tutorial. the most useful ones are things like [knob] (which creates an ableton-style graphical knob you can connect to anything) and [freeverb] (a basic reverb unit so you don't have to make your own from scratch right away).
the only drawback is that a tiny fraction of these objects are not 64-bit compatible (some obscure ones), and extended slightly lags behind the latest updates to the core vanilla. it's a small price to pay for the breadth of extra stuff that will help out a beginner
other than that it's just like vanilla and 100% compatible with it, you'll be using mostly vanilla objects for the most part, and will soon enough be making objects of your own that no one else has
ok i'll have to make some corrections, pd-extended is currently unmaintained so it's stagnating a bit behind vanilla (0.43 vs 0.46)
you can just download vanilla and download the relevant packages you need into that, or get both and jump over to vanilla when you're ready
Need some tips on how to copy Prefuse 73 harder
Put some low end in that, I know it's a snippet but that seemed like the only thing it was lacking. Other than that, p gud
Try it first, i found it to be quite awkward to use and did not like the feeling of the pads. But maybe it is just right for you.
If you buy it, change the sensitivity of the pads (press the user-button) before you break your fingers
Reposting this from previous threads, looking for mixdown tips and such.
>how to get a better wall of sound
>programmed drums because drum mics are expensive
de-ess that shit mayne
lotsa shit happening in the high end that sounds annoying as fuck. put a EQ/go easy on whatever compression you have
can't comment in the music itself, other than it sounds a bit "generic"
I did and the general gist of it is what i wrote in the post, but it's not made clear by the korg website. also a lot of it is speculation from before firmware updates and official releases, so no, it's not actually the simplest case of LMGTFY otherwise i wouldn't ask such a dumb question. also personal input on the machines is always nice. fugg off.
this, DX7 is wank.
you cannot access sounds that aren't from ableton packs using push, one of the main reasons i sold it. at least, you need some fucking wonky ass work arounds to access alternative libraries, and it's just not worth having to hack your damn ass software. I have maschine's sound library from when i used that, but you cant access it from push if you add the maschine library to ableton.. the navigation is honestly really clunky for any kind of more interesting sound design. also you have to be a dummy to not get the push 2, it patches sooo many tiny shortcomings of the first push in terms of accessibility. that said, push jsut doesnt give you deep enough of control of ableton. it's a performance controller, not a production tool at the end of the day, unless if you are making pretty trite music.
>it's a performance controller, not a production tool at the end of the day, unless if you are making pretty trite music
this is true. It's great for Hip Hop though i guess.
Also you can not record in the arrangement view and just play an instrument at the same time. Which is why i will sell mine.
damn. i sold mine before the update after immense frustration.. that might make it worth considering again...
thanks for letting me know. thats pretty rad
Hey /prod/ first time here, been using Ableton for around 5 years, just bought a DX7, having a lot of fun with it, redpill me on its meme status, and give us some tips for making cool patches. :)
Actually mixed this on yamaha MSP3's, but they're secondhand and the high setting on them is super fucked, so I have to compensate pretty heavily to hear any highs. Probably should've done a few reference checks on different systems, but all in all it was more of a new gear demo, so I'm not super attached to it.
DX7 is a forgettable FM synth at this point and is outclassed by basically any FM softsynth or contemporary FM synth. if you think it needs extra texture you can just fry it with effects. the hype is unwarranted. i do appreciate the appeal of unusual workflows, and all digital hardware synths have their unique quirks that make them stand out, but compared to softsynths like FM8, the DX7 just really doesn't need to exist
Miami Bass artists used to use 808 kicks for basslines, usually tuned with the E-Mu SP-1200 sampler that was popular among those guys - info in here somewhere:
>not using 5 instances of iZotope Ozone 4 sandwiched between 2 iZotope Trashes and a free tape saturation plug on the end for "that loud, crunchy digital analog vibe"
do you even mix
just get one u fuckin retard
how important do you guys think De-essing is? on Vocals? on the whole track?
I think you might as well just leave the esses in, unless they're really harsh
well you gotta admit the DX7 has a meme status among synths
but afaik the meme is usually that it sounds cheesy and is hard to program (???)
I think you should use one first before criticizing it.
And please don't compare it to softsynths, those are a whole other world entirely
Trying to decide what kind of dance music I should focus on making. Lately really obsessed with Bambounou-esque techno and Tessela's crazy shit.
Just trying to figure out how I can make some house trax that are somewhat original. It's tuff. Curious to hear you guys' bleeps
personally I love FM8 sounds, makes sense for dream pop. Also look into the Korg M1 and Korg Wavestation, I use those as well for digital sounds. And for analog sounds, I've really been loving the U-he Diva
Thanks for the suggestions. I'll look into those. I'm trying to keep budget as high as $800 if need be...
Also, I'm a bit uneducated. FM8 is a keyboard, or....? I tried looking that up.
I feel so stupid. I was initially thinking something like a Yamaha MX61 was good, or whatever. I clearly don't know shit.
All I know is that I really dig and want to produce dream-pop sounds, and I want a good keyboard that will help me stay consistent with that.
hope everyone had a good new years.
can i get some critique on this WIP?
i threw in the vocal samples from busy child and dont know if they fit well or not. plus the chorus or something just seems a bit... off
>deep house but.. kinda bouncy
FM8 is a software synth from Native Instruments. Personally I'd just pirate some shit or spend the money on software, you don't need to buy hardware. But if you go that route, i mean, you can get dream pop sounds out of just about anything. Just depends how you use it.
But you'll have more options if you stick to software.
I'll take note of FM8. Thanks for the recommendation.
The reason why I want a keyboard is also to learn piano. I decided to opt for a 61-key so I can still keep it slightly portable if I need it live. I can always transpose for the other octave.
I can also just import the sequence I make into that synth though, right? I want a more on-hands experience with this so I can learn keyboard and also be able to play it on my own rather than tinkering around on my computer strictly.
Hm not sure, for bass I just use different stuff every time. Could be FM8 (I'm new to it though, but I like how it sounds), Diva, Korg mono/poly, Ableton's stock synths, etc.
Idk I'm not an expert but I don't think it matters too much what you use. But it depends what kind of music you're making too. Sometimes I'll just use a sine wave and do some shit to it for a sub bass. Or I'll just use pitched down toms.
Yeah for sure, get a midi keyboard. I have a 61-key Axiom Pro that i like a lot. Alesis is probably a decent choice too. Just plug into your computer and you have whatever softsynths you have on there.
Working with a computer is my preference, because I like to focus on songwriting and editing and all that stuff. It's just comfy for me to have everything on a screen in front of me. If you're gonna get really into writing and recording, I think the versatility of software and a midi keyboard would make sense.
Also consider getting maybe something from the Roland Boutique series, or something from Waldorf, and buy a 61key controller to use to control that
I'm want to see criticism on the quality the song is. I am primarily focused on making my sounds more lively, not the melody and notes..
Some of you may recognize the melody.
I also need advice, I want to make a Hardcore/Hardstyle super saw, but I'm limited to just making a normal sounding super saw on Harmor.
pic very related.
Don't get me wrong, I will primarily be working on a computer for the most part, but I am also trying to get myself acquainted with music theory as much as possible, so having the keyboard on hand is a very important thing for me at this point in time. But yeah, most definitely a midi keyboard.
I was looking at the Yamaha MX61 simply because it seems like a steal for what you get, but what are your thoughts?
The drums basically?
I'm stuck with the FL Studio samples because I don't know any other sample packs that I could get.
The reason why I said the supersaw is because I want to make a unique sounding one.
I really hate that word. Focus on making something good sounding before you make something unique because otherwise you're gonna get stuck.
The drums are part of why it isnt pumping.
The drums need to be sidechained to a bassline for it to pump.
If you can't find Nu Hardstyle or Nu Hardcore samples and don't want to spend hours on creating your own perfect one you can always switch to Hard Trance/Early Hardstyle because fuck those new kicks
That sequencer looks nice, very transparent.
currently working in weird effects for playing live with my guitar
I got a new toy today! I would have liked to do something more better with it but it's late and I don't like to make noise late.
I could already create Nu Hardcore kicks using Microtonic and Camelphat.
About side chaining, could I just use Gross Beat to sidechain the bass line?
yes you can use gross beat to sidechain it.
peak controller is also cool but depending on the tail of the kick gross beat is just easier.
but since i dont produce hardstyle or hardcore i dont care about fucking kick tails and use peak controller because its way cooler
made this the other day, What do you all think about?
It's mostly done with a microKorg and programmed beats on ableton.
The videos on Volca keys don't convince me desu. And I don't necessarily need it to be analogue if it sounds nice Are there no virtual analogue synths below 500?
Although, one thing I forgot to say is since the polyphony would be especially great for pads, more modulation options would be better.
I like it.
Go easy on the distortion though.
The kick has too many high frequencies imo.
Make the sub bounce more.
Dunno how to explain it.
The percussion hurt my soul.
Too much high end. And not just the perc.
Not gonna clyp this because I don't want it on my account puu (dot) sh (slash) mkkA9 (slash) 17acee9216 dot mp3
Protip: automate the filter frequency AND envelope.
Get any long 909 kick and distort it.
Bam, you got a basic hard kick.
Now fuck with it.
Check out LFO Tool by Xfer Records.
Or you could do a ghost kick and sidechain using the limiter.
I used to do that, but now I do my sidechaining manually with automation clips for some reason.
Nigger stole my pic.
Also, you don't normally sidechain hardstyle... At least not by much.
If you listen to hardstyle, then you can hear that the track is kinda "flat".
There's not really any pumping going on.
I guess hardcore is different.
Also interested in this.
In the past I've most just played with bpm, transposed it, reversed it and layed it on top of the original. Maybe some reverb, but I'm a scrublord so I would like to know more things you can do with this as well.
PD question here
I'm working on a virtual midi keyboard that's going to work like abletons, i.e playing the 12-tone scale via the keys A through J and switching octaves with Z and X. it all happens via a selector that takes the incoming ASCII key-value and triggers the corresponding frequency on the 12-tone scale
So far I've got the translation of keys to corresponding frequencies down, but I also want the ability to switch octaves via Z and X. I'm doing this by dividing or multiplying the output frequency number from the above selector by 2. The rightmost selector makes sure this operation triggers via Z and X, and outputs the correct value, but the problem is that it only happens once. The new value is correct for the whole octave no matter which key I strike, but I can't divide it again, or multiply it again, to get to yet another octave below or above.
Making a + 1 counter for a float, that continually adds, is easy enough but multiplying or dividing a float and continuing to do it in the same number box seems difficult. Or am I just being thick?
I have a MPD and Live 9. It works perfectly except for when I'm trying to switch banks when the drum rack is open.
Bank A and C are good, but B and D have an overlap to make it seem like instead of going up 4 spaces it only goes up 3 or something.
ive got a question for logic users:
whats the easiest way to throw in vocal chops/samples/one shots??
every time i want to use a small filler phrase before or after something i always have the hardest time. ill take an acapella and ill time stretch the acapella to match my BPM and then cut the phrase out and throw it on the last bar but it never fucking fits and i always have to make all these small adjustments and usually end up time stretching the vocal chop a lot more.
am i just retarded at sampling? should i be using exs24?
good ol' reverb/delay
double yr tracks and hard pan l/f
so on and so on
is there any software reverb that can do this kind of things?
everything related, sounds goat.
So i've used FL Studio for a few years now. Nothing serious, though. I have a KORG ESX-1 SD , but i want to switch to ableton, sell my KORG and buy something new. I thought about an Akai APC40 MK2. Does anyone have any experience with it? I'm currently learning Ableton, but i think an Akai will give me much more options than the KORG.
I also have a KORG nanoKontrol and i'm thinking about getting a Novation Launchkey and a small midi-keyboard.
What would you guys recommend as a MIDI-controller? Is the Ableton Push 2 worth its money?
I would reccomend keeping your KORG unless you're absolutely sick of it. The ESX-1 seems to be a sampler that comes with sounds and such, the APC 40 is just a midi controller that's best for controlling the session view in Ableton it greats don't me wrong, but it's not a stand alone sampler with it's own sounds like your KORG seems to be.
anyone here selling beats?
where the fuck do i post my shit to grab people's atention and sell it?
already tried facebook groups and all i get is replies with yo senpai baka fire beat can i get it for free?
I'm currently on an old lenovo n500. So far i worked with FL Studio and everything worked fine. now i want to work with Ableton 9.5. Will it work fine with a 2.00Ghz dual core cpu or do i need to upgrade?
what's a good laptop for music production in general? No macbook please, as they're too expensive for me.
Update, I think I found a more elegant solution here with a vertical radio slider. This allows easy transposition between octaves, and all values are correct regardless of octave.. The problem is I can't figure out how to gate it all so that only the selected value from the vradio gets through, and decides which of the outgoing signals to pick. There has to be a simple solution I'm not seeing here. Any ideas?
Any DAW will work no matter how shit the CPU is (Unless its ungodly shitt tier), You just have to learn to be patient and bounce your tracks to audio over and over to ensure the VSTS are not being used.
/prod/, I'm about to buy pic related (Yamaha MX61). Can anyone recommend a similar or better synth workstation to buy at a similar price point?
FINALLY GOT IT TO WORK!!! Went with midi notes instead of hz values and added some cheap subtraction, multiplication and then adding values from the key output and vradio. Feels like I've just discovered fire.
Hello /prod/, would you be interested in hearing my track I'm working on?
>house, disco, soul, Japanese sample-core
Please give feedback if you feel like it. Thank you!
shut the fuck up, nobody cares about your glorified VisualBasic
You're not going to be making any fucking music in any case. Just like every other PD nerd, you and the other PD nerd will jerk off together and release what sounds like my dick slapping your mom's ass and you'll both ohh and aaaah about how difficult it was to come up with the sound.
yes I mad
Actually I'm gonna answer myself. I think what I'd do is make a Tumblr, make it trendy as fuck, get follows from trendy tmblr cloud rap kids, and post your beats for sale on there.
Post the tracks along with a nice trendy visual edit, so people will want to reblog at least 4 the aesthetic. Reblogs on reblogs within the trendy tumblr world should equal some sells.
Shit....I'm gonna start doing this actually. Off to make some 'ambient trap'....I hope i make $$$
but c'mon man, how about containing your autism unless you have a specific question. See that lack of (You)'s? That's because nobody here gives a fuck about PD.
Or should I start dumping Ableton screencaps every time I figure something out?
this is not your blog.
go take your adderall and spend a week coding a PD module that makes a sine wave sound a fart then jerkoff with your nerd friends about how amazing "musicians" you are, sperglord
Thanks anons! My soundcloud is a mess right now so I'm just gonna get it together better before I post it. Here's a track I did a while ago that's in a similar style (way less close to finished though).
I like this, I like your sound design. Keep at it! I would like to hear this but with even more different sounds going on. What are your influences in this?
Don't focus on the selling bit for now, go for free/cheap and the shotgun effect. Post your shit to as many relevant places as you can (forums etc), put up a bandcamp page, make an album that you sell for VERY cheap and try to maximize the traffic you get in one week. Once you get on the weekly charts, traffic will increase and things will snowball from there. You can't be picky right now, try to engage local acts and take part in events, be creative. ANYTHING that increases the likelihood of people knowing you exist is a good idea.
and guess what? nobody gives a fuck
when I listen music, I don't give a fuck how hard it was to make. nobody cares
this is what you fucking PD nerds don't understand. That's why you're sperglords. You're basically writing a (more or less) gimped DAW from scratch right? You'll finish it, and like I said, you'll use it to make nothing but absolute trite wankery. You'll spend a fucking week trying to make a sinewave to your pleasing, and another month figuring out an arpeggiator. And just like 99.8% of PD projects out there, it will sound like shit
But congrats on spending all this time and effort building a virtual Fart Machine.
>sounds like my dick slapping your mom's ass
>makes a sine wave sound a fart
>virtual Fart Machine
lol are you literally 12? all your jokes are about memes and farts and sex with people's moms
If you find something cool out in Ableton, why not share it? There's been a lot of that going on, with the best types of channel setups etc. I remember about a year back we all shared a bunch of FM8 patches, it was a lot of fun. Hell at some point people even shared their own tuning systems for scala files or FM8. Anything's better than soundcloud spams or, I dunno, shitting on people for engaging the thread with actual creative work.
>See that lack of (You)'s?
I honestly couldn't care less.
>I like this, I like your sound design. Keep at it! I would like to hear this but with even more different sounds going on. What are your influences in this?
I don't know probably autechre, BOC, aphex twin or venetian snares but i didn't tried to replicate a particular sound so they are marginal influences
>>i shit on other people's creative endeavors because i'm insecure about my own and too emotionally stunted to properly process those feelings
you mean you calling anyone who isn't a sperglord "fl kid"?
/nerdcirclejerk/ is fucking cancer
You're right, but I also wanted to opt for a workstation so I can actually practice some piano (for music theory and such) aside from using the keyboard as a controller.
I would be saving significantly more if I just get a controller, but can I realistically practice piano with a controller through my computer?
is the mixing off? how is the work sound?
I wanted to also add that I will primarily be producing strictly through my DAW, but I'm also simultaneously trying to get myself acquainted more with music theory, and using a controller rather than a keyboard to learn/play piano is a bit ridiculous, isn't it?
Getting a Daft Punk vibe from this.
Tried my hand at this style a couple of years ago.
Maybe I should try again now that I'm bettetr at making music.
What songs did you sample?
Thanks mate. The sample is from this song: https://youtu.be/FwFIfaP0QQk
Since it's already a fairly dense song in terms of instrumentation, my total number of tracks ended up being fairly minimal. Most of what I did was drums and percussion stuff.
Good places to draw influence from. Are you planning to make a more "conventional" song structure like some of these guys, or do you wanna keep it really experimental and do more arhythmic/soundscape type stuff?
watching this GIF while this >>61517827 plays i another tab has so far been the best experience I have ever had in 23 years of life. I am not exaggerating. The sense of peacefulness and wonder I feel right now is incredible.
Just added percussive elements and brought it up to a more present-day level of volume and punchiness. It's more meant to make the track into a more uptempo DJ tool than to make it super original.
>Are fancy sound cards for your computer really significant for music production?
> It seems kind of overrated. What I missing out on if I don't have a dedicated sound card in my rig?
Low latency audio input
I'd always go with an external/audio interface tbqh tho
It starts to matter more once you get into mixing and mastering and you need to hear things in more detail. A lot of engineers that work in the industry will forgo all the outboard gear and work entirely "in the box" and just make sure the signal chain from their computer to their monitors is as high-quality as possible.
Oh okay, that makes sense. I would ultimately like to also learn to master my own work properly, so I guess I should keep this stuff in mind.
For sound cards, do you guys have any particular recommendations?
Or if you like external interfaces like >>61518517 mentioned?
Why would a business spend time developing a free update for old hardware when they're trying to sell you newer hardware? It's nice when companies do that kind of thing for their customers but it doesn't make them any money, and if they're a smaller company of just a couple of people they might not even have the time and resources to do such a thing.
Is pic related what you're talking about?
What makes an external one better than internal?
An external will allow you to route your audio out to monitors, as well as to route in external instruments. See how that one has a quarter inch headphone output and mic input? It likely has line outputs on the back as well to send audio to monitors (or other outboard gear).