Should I buy this cause I have a $75 gift card edition.
>Pastebin - Links, books, videos, articles, tutorials and stuff
>/prod/ wiki - still looking for contributors (wink, wink, WINK)
i just realized i'm trapped in mixing hell. my bedroom has basically an entire wall of just windows, bookcases / shelves in every corner making placement of any kind of treatment padding basically tetris. i'm mixing on a pair of RPM3 monitors with sony mdr-v55 headphones.
what the FUCK do i DO? what is my priority here? better monitors, better headphones, monitor isolation pads, bass traps, or fucking helium? HELP
i think that some vibration and sound deadening is a meme.
a lot of producers are now posting their work in progress videos (cellphone video of their project playing on a daw) and by the looks of some of their studio spaces they dont seem to give a fuck about it.
I got these and plenty of other CDs
I have a desktop DAW at home, I just need a cheap interface for my macbook air for the days where I have long spares so I can tinker.
You can buy 12" squares of acoustic foam, so you can at least minimise reflections from the areas that are uncovered.
Or build yourself some panels that you can put in front of the shelves/windows/etc. whilst you're recording and then you can pack then away afterwards
So the guy who pretty much ignored me when I tried buying his Virus TI, cash, put up the listing for it again $100 cheaper because he didn't manage to sell it yet.
Get bent, bitch nigga. That's what you get for having poor work ethics.
(full) bookshelves are actually not too bad in terms of absorption of low / low-mid frequencies.
just make sure your speakers are correctly set up (on stands behind the desk, equilateral triangle, with a bit of distance to the back wall) and maybe slap some porous absorbers (not the shitty thin or pyramid-y foam stuff - actual basotect or similar with a thickness of 10-15 cm) at the ceiling above your listening position to get rid of that first reflection as well and some on parallel walls and surfaces so there's no more flutter echoes (just walk around and clap to check).
Doing all that makes your room already better than 90% of all home studio spaces
Production newfag here, can anyone help me out?
I've taken a recording on my analog synth (JU 06, whatever) and I want to cut just a bit out of it to sample and loop over and over.
However when I come to do so I get all these clicks in the beginning; and when I clean them up, the loop of what I'm playing sounds really stuttered and jarring.
Can anyone help me out? Using Slicex+Edison in FL btw
I don't know these sampling tools too well but try cutting at a slightly different position (ideally you want to cut directly at a zero-crossing of the waveform) if the fades keep fucking up
this is only partially /prod/ related but it looks like i might be moving back in with my mom due to recent family issues and so i figured id also use it as a chance to just dive head first into music and be typical a 'still-lives-at-home-with-mom-thinking-he's-gonna-be-famous' loser. and so ive been trying to find some part time second shift jobs to apply for but all im finding is shit.
anyone in the same boat/can give me some recommendations?
Can I get some feedback please?
>Audio-Technica AT2020, AT2020USB+ and AT2020USBi
Is the only difference USB support?
What's the difference between + and i?
Also, is this mic good for recording samples (snapping with fingers, clapping, chimes, guitar etc), vocals and just using as a mic for Skype calls etc?
If you're using all of the line-ins on your audio interface then go for a mic with an USB connection.
If not, go for the regular one.
And yes, it's very good for recording.
A lot of YouTubers use it and I've used it for guitar and vocals.
It's the best in its price point.
Image-Line's end of year sale ends tomorrow or the day after tomorrow (it's not really clear).
Their all plugins bundle is €681.94
I've been using a pirated version of FL 11, and I'd like to go legit.
The thing is, there's a lot of shit it comes with that I don't need.
>Morphine Factory Addition (128 Presets)
>Poizone Controlled Substance (128 presets)
>Sawer Factory Addition (128 Presets)
>Toxic Biohazard Addon (128 Presets)
>Daniel Stawczyks Soundset (128 presets)
>The L.Bergman Electro Soundset (128 presets)
That's €338,39 of shit that I won't use.
If I buy the producer edition or the signature bundle and add plugins that I need, I'd get closer to the price of the all plugins bundle.
no you should never buy that
i owned that abomination and threw it away within one week
on that note, looking for rappers for this track:
Guys I have the following, what do I need to add?
>composer cloud subscription
>shit 32 midi keyboard
>m audio studio monitors
>Behringer UM2 Audio Interface
>mixing secrets for small studio book
I have a hodge podge of different shit. I was thinking of getting a full keyboard, akai pad controller, and a new pair of headphones. Any advice on how to improve my setup?
Do you want real gear or are you fine with software?
To be honest beats headphones are shit so maybe consider getting better ones? Your studio monitors are fine though so I really don't know what to do.
Save up for an Elektron imo
well your shit is clipping on my speakers even with the volume low so you kind of brick walled that bitch.
overall I like it even if its a bit short, i feel the progression could be fleshed out more in the sense that it moves a bit too quickly
>It's maybe a little bit overdriven too much, I'm experimenting with the new filter modes in ableton and driving them really hard. Sounds so nice but it's easy to overdo it
just keep a spectrum open to see any overpowering frequencies your monitors might not be playing
I would like a simpler set up preferably, Its been an evolution as I've become more interested in music production. Also I bought a maschine like a dummy and realized its shit all at actually making music. the daw is terrible. thankfully I sold that son bitch
>I would like a simpler set up preferably, Its been an evolution as I've become more interested in music production.
me too, when I got into this I bought a fuckton of gear and now I've reduced to only my Elektron Analog Keys which is also a dope midi keyboard.
I honestly couldn't recommend it more, you get that analog sound with none of the bullshit of "dumb" analog gear- (you get USB audio, a good editor on Ableton, a dope sequencer)
Sounds pretty and nice on the ears. I could listen to the first part for hours.
What could I add to this without making it too crowded?
Ignore retarded ad libs I added them in as a joke.
>You don't need a bunch of gear when you first start out producing music.
>You don't need a bunch of gear at any point in your producing.
This couldn't be further from the truth for the majority of genres.
OP here, I ended up purchasing the DAC. I am also using MuLab as my "away from main studio" studio.
Its pretty neat and works well for tinkering with song ideas and making VST patches.
I was so tired of shit samples. I had to commit
I'll try it out thanks friend
>tfw want to buy so many things but don't know where to start
preferably real gear. I'm better with hands on things. I know beats are shit now, I got the with my computer like a fag and used them
because I really hate maschines work flow. the software is terrible and I want to avoid it at all costs
I figured the more quality gear I have the easier it will be to create music, to a certain point that is.
I always find limitations are the best way to stimulate creativity. I made a lot more music when all I had was just a few channels worth of samples. Now I've got sample packs, VST FX and soft synths coming out my ass and it's just overwhelming.
I mainly got it for the pianos as it's hard finding good quality ones that don't sound like a single sample that's just pitched up and down. It's a lot richer than that. I love the Hollywood strings as well, can get some really expressive arrangements with it.
I want to use the choir pack more but wish the word generator was a little more intuitive tho. But gonna keep on till I get it working right
You're good already bro, you don't need a pad controller if you already have the mashine. Get some good headphones like Senheiser 288's or Audio Technica MTH50x. You can get a full keyboard but only factoring in that you have an interest in learning piano and need more than 32 keys.
Also make sure that keyboard has midi support, but isn't a midi controller alone.
Believe me Anon, a cheap interface is more of an impediment than a help, in some cases you might be better off by just plugging your headphones directly into your computer. The last thing you want to skimp on is your converters, and we could all use a deeper well to draw from
With respect to the other Anon, USB mics don't give you a lot of control over the analog to digital conversion, an XLR mic into an interface with a preamp will almost always sound better
is clyp.it slow as hell for you guys as well? I need to wait 30 seconds or so to buffer a 10 sec sample
is there somewhere else where I can upload my music (not soundcloud, derp) in higher quality than vocaroo?
>after using the Renoise demo for 50 hours you get a nag screen every hour
Welp, I guess it's time to buy it.
You don't really need much, gear purchasing is more about what you want, and that can be a risky thing. I've had boatloads of gear but sold most of it because I work better under constraints.
If you play instruments you'd want an audio interface so you can record audio to your computer. Other than that you should be pretty set for the next couple of years, don't get in over your head with rash purchases
What else do you think you'll need in the future? FAQs:
>Will I (at some point) need to record guitars?
>Will I (at some point) need to record live drums, percussion, pianos or other traditional instruments like brass or woodwinds?
>Will I (at some point) need to record vocals?
>Do I do my own mixing, on speakers or headphones that possibly give me a false impression of the actual sound's frequency content?
Buy things that meet your needs when you recognize them, until then you have all you need.
and i knew you did because of how you described the issue.
all maximus really does is seperate out certain frequencies then apply time synced matched FX to other frequencies. then compresses the hell out of it
>the magic knob in soundgoodizer
you can do this manually to better effect, by putting 1 maximus on each group, but not channel, the point is to glue your sounds together and make them sound uniform.
a big mistake people make is using different reverbs sizes, like god damn, did the pianist play in a cathedral and the rest of the band was in the loo?
also memes aside, the piano itself is a reverberation chamber, it's sound is then reverberated again in the auditorium. The point is, I don't see why you wouldn't use different reverb sizes when it comes to sound design?
in groups though. a percussion kit shouldnt have 4 different reverb sizes on the same kit.
if you're doing it intentionally thats one thing, but having 6 echos on the delay for the high hats at 120 bpm then have 7 delays at 124, gets under my skin.
Yeah, i can understand if you're not using it intentionally it will just clutter up the mix.
On delay i completely agree, unless you are making some complex textures with different delays, it will just sound like shit and out of rhythm.
On that note, does anyone know a good stereo delay plugin? I want to get the same delay Lopatin used in Eccojams (heavy panning, mixes well, isn't muddy...)
>I figured the more quality gear I have the easier it will be to create music, to a certain point that is.
This is a mistake to make. Guys become obsessed with new gear and don't actually get good at making music, production. Just letting you all know its an issue.
I will try this out. While you're here, is running everything through one compressor and sidechaining it a bad idea for mixing? Like, it compresses everything doesn't it, even when there's no gain reduction? Or is that just a sacrifice you have to make for sidechain compression
you can side chain with out compression, it just adds that "VOOM" kinda sounds when you want it.
also, thats a bad idea for mixing, we never put blanket effects on the master, we build groups with busses and route them properly.
the method i constantly recommend is the binary 6.
bass- 1 instrument
lows- 2 instrument
mid lows- 4 instrument
mids- 8 instrument
mid highs- 16 sounds and FX
highs- 32 sounds and FX
keeps your song easy and light, also the 32 looks daunting, but its not when you consider that you stacked 6 samples to make 1 snare sound.
i can and will gladly answer any and all questions.
FL studio has a very good try before you buy program, and at 100$ for the full software, there's no reason not to buy it if you do enjoy it.
i will say this, all cracked version of FL studio that come with a keygen, are fake, imageline doesnt use a keygen reg system, they put those out as a honey pot to catch major artists pirating, you can use it just fine, just dont release music with a stolen copy, they will know.
Reaper is pretty much the best DAW at this stage. It has features even software costing thousands of dollars doesn't. People complain about its workflow but fail to realize it's completely customizeable. Trust me, I've tried them all and Reaper wipes the floor with them.
Jesus christ man. You can mix on apple earbuds if you want to.
It's only mastering where any of that matters.
Stop trying to be "le producer" and focus more on the songwriting and arrangement, bro.
(I know, I'm projecting, but your post triggered me)
you've installed them all?
i would have taken you for your word, but i mean you've used them all, so surely you know that no one daw is better than any others?
thats any daw sadly.
How do I figure out how many inputs/outputs I need when buying an audio interface?
are you in a band or solo?
anticipate the number of instruments you would want to record at once, then double that.
some instruments CANT be recorded in tandem, like drums and vocals, unless you have a proper studio. So if you're in a 6 piece band, you would want 12 ins and outs.
If you are recording Drums, you need a number of specialized mics.
let me know some more details and i would be glad to help you.
On my own, I'm getting into ableton/push because I get bored of simple loop stations and running back and forth between the drum kit. I've got a keyboard and I'll probably want to get another midi controller or two.
With the band, there the guitar, bass, and 3 mics. I probably won't be miking drums in the near future. I'm anticipating a midi controller or two making it's way into the band also.
Do you think 8 would be safe?
Is there any justification for springing for an interface with a thunderbolt connection?
This is gonna be a long one, but i really need advice on this.
So i just sold my old KORG ESX on ebay for 430€. I felt like it didn't have the functinons that i needed/it was limited in it's functions. I used FL Studio for several years now, but now i want to change to Ableton and i also want some hardware to play with. I'm torn between the Ableton Push, the Akai APC40 and the NI Maschine.
As far as i've read the Push and APC are both excellent for Ableton and especially for live play, while the Maschine is also a good sequencer and more for the studio. I wanna play mostly live and i want it to be intuitive.
Also i'd like to buy some other stuff, but i don't know if i'd really need like a Novation Launchpad if i already have one of the other controllers.
>tl;dr change from FL Studio to Ableton; which controller to get and what to get with it.
My push 2 shows up tomorrow, so unfortunately, I can't speak from experience.
I got the push because I felt like the integration is a lot tighter, I could more easily control more parameter, the workflow made more sense, and I have money to burn.
I'm sadly too poor to get the Push 2 and i can get a Push 1 for as low as 250€. Do i need any other controllers if i have a Push? Like i have a KORG nanoKontrol here, but a Launchpad looks nice and i thought about getting at least a 25-Key MIDI-keyboard to play some simple melodies or do i not need that stuff?
I'm currently on an old lenovo n500 with a relatively shitty onboard soundcard. I wanna get an external soundcard, but i don't know which one to get. I have the Teufel Concept E Magnum 5.1 Power Edition. Is it good enough for producing? Do i even need an external soundcard with it?
I also wanna get some studio monitors soon, so which soundcard would you guys recommend right now?
>mfw chopping up break samples but they dont fit the pads and bass you had in mind
The midi usually comes in extremely handy on its own
Also breaks and drill and bass are so much fun to make in ableton. Just chopping away at these samples makes me so happy. I wish I had a 303 clone
>tfw a melody finally starts to come together
>yfw now you must decide on which synth for said melody
FUCK I LIKE THEM ALL
>start working on track
>wow this is pretty good
>continue working on track
>wow this is great
>continue working on track
>wow this is shit
rest your hears
some painter told me that the true artist knows when to stop
Feels good senpai.
Feels bad senpai.
I finally did it though.
Now to figure out how to move all of my projecs and sample packs from my pirated FL11 to FL12 without having everything fuck itself over.
Just keep the same folder paths?
>"boy this sure sounds like shit"
>drop in ping pong delay
FUAAAARK WARP SPEED
this is my first time making a beat without a tutorial video to my side. took me like 30 minutes to make and ive been producing for like a week at most. how dis? its hip hop
new day, new mix
what do you think?
also the el8x is the greatest compressor known to mankind
I rarely get to 'really' produce, normally I just track, edit and mix as done with this band.
the singer wrote the songs and the band did the arrangements, we only tweaked them a little during the recording session and added some small parts like the double tracked backing vocals at the end and changes in the voicings and such.
I'm totally satisfied with how it turned out musically, since these guys are all jazz students and know what they're doing. super smooth and easy to work with
you think you've got it bad m8
i'm currently composing an entire album's worth of material that's meant to be played only on synthesizers. once i'm finished with the composing stage and move onto recording is when i'll be experiencing what you are multiplied times a million.
i can already tell making all the synth patches and then deciding which to use for what part is going to severely fuck my shit up.
yo /prod/, i need a new midi keyboard for cheap. whats my best option? i have $150 to spend
please help anons
It depends. If they're getting angry because you use your wages to buy stuff the function of which they don't understand, tell them it's your money and this is what you enjoy spending it on.
If, however, you have no job and are waiting to find employment in the recording industry, your aspirations may seem a little head-in-the-clouds to most people - jobs in this business, while being a little more nepotistic and less about equal-opportunities than others, are still jobs - start applying for them.
The post of a multi million-dollar producer is not always luck but it might as well be if you look at the ratio of the successful to the less-so, even then most of them still started at the bottom - entry-level jobs, internships are what you'll need to gain experience regardless of ability and knowledge.
Prove you're trying to get something and the pressure from your parents will lessen.
yes I have been looking for internships I have no problem with being somebodies little cumslut, and work my way up from there. I get no response from anyone I email and I don't know how to find any near my area that I can just knock and ask in person (I think going in person has more value then writing an email)
I'd agree with that too, if you can do well face to face you can influence someone's decision in your favour much more than in anything written.
I live near Glasgow in the UK - at the time I was looking for work there were studios near where I was but they were very closed shops and I had to go to London to get any work at all - it's just the way of it, you might have to go where the concentration of jobs in your field is higher. This has the advantage of demonstrating your commitment.
I might add that, even in London, my first job wasn't in a recording studio but in a rehearsal space - basically lugging amps and drumkits from band storage areas to their rehearsal room and doing basic setting up - it gets your name known and you make friends and as I said that's how you get jobs in this realm.
yes I'm looking for pretty much anything that has to do with music because you can make connections like today I went into an audio duplication office to see if they had any positions but they didn't
it acts as an external audio card with inputs and outputs. doesn't handle any CPU
Whoops, that's the new PD compressor I'm working on. it's starting to sound pretty good, especially on drums with the 64 sample size peak reaction. Instead of some haphazardly connected objects, the bulk of the compression is handled by the expression y=((x - t) / r) + t, which is pretty widely used for most DSP compressors. The REF or "reference point" is an experimental fader that changes how the threshold relates to the actual processing. Still trying to figure out how to implement soft knee, a lot of math involved...
Yes you can use Maschine as a controller. I have and do. The software is also really good but you just need to read the fucking manual to understand how it works. I actually think the software is really intuitive and works really well. So much so that I pretty much use it as my main daw now.
I haven't posted anything here in a while, most because I haven't produced in a while, because I haven't had a computer for nearly a month. So that was fun.
But now I have a computer again and I know what that means! Reinstalling everything and getting back into the DAW! Yay! So, here is what I've been doing since my ability to produce has returned:
Too "happy" for hip hop imo.
Beefier bass and maybe less crash cymbals.
I really like the song. Feels like it'd fit really well in a movie.
I want to at least be somewhat legit in my life.
And I can afford it, so why not.
Funky. I like it.
Introduce a little bit more automation.
Listen to some deep house and analyz the compression/mastering and try to mimix that.
So freaking awesome.
I want it, but I'm not ready to spend money on analog synths just yet.
Sounds like VN intro/title music.
Lower the volume of the piano. It's way too loud.
Don't know if this is really the right thread for this but what the hell. I'm performing (rapping) live soon and I will need a program on my macbook that I eq the mic and be able to play over the instrumentals. Does anyone know of a program?
Great start, but better with a lo pass filter tied into the amp envelope so it can also control decay and release time; low filter gives a nice pluck sound, turning up the filter opens the sound up to a big epic synth
this is perfectly fine, just adjust the buffer size to be a little more on the safe side because you really don't want to blast the people with dropout crackles at gig volume.
I use ableton for live shows (as a multitrack playback and for send and insert effects at the foh, pic related) because it's stable as fuck and the stock plugins are really low latency. To that I add some fabfilter, soundtoys and waves with low enough latency and for shows I don't have the extra recording pic with me I often route a couple of stems right back to the ableton machine and record them at the same time, even on that shitty ultrabook I feel safe doing all that, because that's how stable it is
>tfw already have NI Massive but can't stop buying patches, presets, samples and chord progressions
shit what do I do guys?
they still aren't bad even then though, you dont need to re-invent the wheel every time you need a synth bass
sure, why wouldn't it? people are overly focused on synthesis as a form of sound design imo
wouldn't almost anything besides a physical instrument be a form of synthesis by that logic?
>how do I into synth design?
I really think this should be on the OP copypasta. Not that people would read it then.
>you dont need to re-invent the wheel every time you need a synth bass
Knowing how to use synths well means being able to alter presets if they're close to what you want but not quite there yet. So even someone who uses presets would benefit from learning.
>buying chord progressions
you can't make this shit up
Speaking of massive, what are some good hardware options for it? Will any midi keyboard do?
Sand it with some heavy grit first, wipe it down, then sand it with some fine 320-400 grit paper.
Then rub in some linseed oil, this takes some elbow grease, so be patient. Once that's all done, buff it all down.
>is this a meme genre yet?
I didn't even had deep house in mind when I started this but it sounds better when it's a little slower than 128 bpm and I had no idea what else to call it
>modern DAWs have more functions than an airplane
>yet still don't support xenharmonic tuning systems
>bringing up this issue in forums yields irrational scorn
>"just code it yourself you fucking special snowflake"
Is this some kind of Stockholm syndrome?
I have a question that I feel like you muhfuckas can help me out with.
Alright so I moved into a new apartment and have my studio set up in a room off to the side, but I was wondering about getting some sort of standalone sampler (maybe an MPC?) in the living room. Something that doesn't require my desktop pc that's in the other room. Is this possible? I have a record player and some basic speaker I could put in the living room too. I just want to fuck around and chop samples without a PC while I watch movies and play video games in the living room. Is this possible, and what kind of gear would I need to pull something like this off?
I mean we are at a point in time where if you wanted this kind of thing you could go about figuring it out and setting it up yourself. Most people are fine with the western tuning system, and that's where they're comfortable.
>Sometimes you gotta do shit yourself basically.
>I have heard every possible combination of western scales as well as atonal music and now must move on to making music that sounds like shitty world music.
Pro tip: many keyboards that are sold in the Middle East have special tuning cards. Look into it you fucking faggot
As other have said, techno is more about grooves but it also tends to use more percussion layers, building them up, then dropping them out as other perc layers come in. It's more rhythmic than house
An Ipad? I'll keep it in mind...
I guess you're right, but all I want to do is chop samples from records, get a few melodies and such and then burn them to a disk or something that I can take with me for next time on the PC at the DAW. I'm not sure if MPCs or any kind of analogue gear was good for this kind of thing.
As much as I hate to get an Ipad your probably right I like the setup this dude >>61740051 proposed, but I don't wanna get the wrong gear. I'm gonna sit down and do a bit of research on this when I get the chance. I don't want an Ipad, but if I have to I will.
Thanks for the help guys.
You could've learn some basic theory and scales and saved yourself some money my dude. I do hip hop too and you can't use that shit as an excuse. I can see buying samples (kek) but chord progressions? Really?
That's extremely labor intensive.
The reality is that people resort to composing in _Excel_ because no DAW steps up with proper support.
Any critiques and advice for this? Going for a "suns gone dim/this is not the end" type of sound mixed with yellow swans.
>vocals are mostly test I can't sing for shit and random lyrics
>Don't know if the drums sound right
>Can't tell if lower end is too loud or soft, using shitty headphones
>hit play button on my new atonal masterpiece
>big pie chart pops up
commercial DAWs are limited as hell, you can't really use them for xenharmonic tuning systems or anything that's fun. best/simplest way to do it is data flow languages like Max/Msp or PD
Someone make a Vaporwave album in Excel '95 on Windows ME
Is it extremely labour intensive though? You'd only have to do it as many notes you're using per voice. You could do it. But you'd rather just complain here / show off / shitpost.
I'm just starting out and asked around about this. It seems like it's hardly a requirement but can help with your workflow. I ended up buying one because I didn't want to only draw notes
As I learn and get better I'll probably upgrade and get something nicer, maybe a drumpad or something. I'm not sure
>tfw my push 2 is getting delivered today
>can't get any work done because I keep looking for the fedex guy
I thought you were smarter than this. You could export 100 c4s to wav files and then fine tune each to c4=1 cent, nest one =2 cents etc. Do the same for c#4...
Then you'd have 1200 notes per octave
Some guy disagreeing with you doesn't mean he's defending some corporation.
One of these days you're going to have to realize you're still the only guy who wants xenharmonic tuning as a standard daw feature. Even if you had it, I'm sure there's some other useless experimental feature you'd complain about that hasn't been implemented.
They're both 4 on the floor, but techno has a shit ton of percussion layers and percussive grooves, house has a bit more simplistic percussion and a focus on groovy basslines, chords or melody.
Why should they though? They adapt the software to a generalized crowd and won't bother with exotic stuff that people manage to do outside of it anyway. At any rate it's more fun to make it yourself
But you seem to be the type who prefers to wallow in pretend elitism and whine about features in mass-consumer products, so I'm very sorry you have to go through this, my heart goes out to you
Yeah, I'm whining about features I don't want that you need that my DAW has.
boo fucking hoo
Here's the thing, I don't mind using commercial synths or sample libraries or ROMplers, but when it comes to the synth itself, my autism bomb explodes and I HAVE to make everything myself, using presets makes me feel dirty. I think that's the case with a lot of other producers desu.
>not torrenting it
Don't do it. Use presets then put an effect on them or take something off them. No listener is going to say, 'wow that's a completely original synth tone, that's amazing.'
If you're anti-preset you're wasting time and probably will never finish anything
This is equally about as bullshit as not touching presets with a 6 inch pole
Plenty of people do notice unique tones, but it's not about the fucking "listeners", it's about you and the creative process
If you don't make anything yourself you're not going to discover new methods, new sounds, hell perhaps even new genres
You 're not listening to me. This is something for me, and obviously if you want to make your own sound, you cannot rely on presets, you obviously have to learn synthesis. I've done about 50 full tracks using original synthesis so it's invalid as well.
Also, making a sound from scratch takes from 1 to 10 minutes, it's not like it wasted 4 hours, except when I'm fucking around on purpose with shit, which is equally entertaining and useful.
>No listener is going to say, 'wow, that's a completely original synth tone, that's amazing.'
Even people who have no idea about making music commend him on his unique sound design.
>If you don't make anything yourself you're not going to discover new methods, new sounds, hell perhaps even new genres
this is what i mean by people being overly focused on synthesis as a form of sound design.
He got that from effects
My point is its very difficult to get a good synth tone and you can spend way too long trying to find it without success. Ok good for you guys if that's where you're at and you enjoy making your own. Most sound like shit anyway, lets face it, and that's why I'd rather find a close to good / naturalish one in a preset than think I'm selling out if I don't create it from scratch.
most presets suck ass, don't fit in a certain mix/tempo etc
FM8's for instance don't even begin to scratch the surface of how powerful that synth is
I wasn't talking just about synthesis there, but I'm not following you here, what do you mean? that people neglect other forms of sound design in favor of knob twiddling in their typical VST?
>My point is its very difficult to get a good synth tone
>and you can spend way too long trying to find it without success
>lets face it, and that's why I'd rather find a close to good / naturalish one in a preset than think I'm selling out if I don't create it from scratch.
And that's your choice but why complain about the people that do chose to make their own patches from scratch?
>He got that from effects.
Man you really have no idea what you're talking about do you? It's a mixture of complex FM synthesis / wavetable synthesis on Massive and complex effects and EQ automations.
What about it?
i was under the impression that you were talking about synthesis and equating using synth presets to never doing anything yourself or discovering things. you are kinda doing that thing that people always do in this conversation where you start talking about using only presets when the conversation was just about using presets.
synthesis doesn't just come to everybody like all you guys saying you can make whatever sound you need in minutes, shit still seems unintuitive as hell for me and i'm 5 years into producing. i get much better results designing sounds with sampling and effects and find it infinitely more enjoyable and nobody ever talks about that kind of sound design, it's always synth presets vs programming your own patches
>nobody ever talks about that kind of sound design
Because people aren't comparing synthesis to sampling
In fact resampling your own patches after recording them is a core part of using synths in anything
Fair enough, you have a point actually. I didn't really start to get comfortable with synthesis until about 10 years in. And signal processing is a very vast and deep field that often gets overlooked here. I'm personally a fanatic of using compression in creative ways and am starting to code my own compressors for this purpose
I don't think using presets are bad if they fit the sound, I don't like using presets because I mostly think they sound bad and don't sit right in my dumb mixes, not because i'm worried some other wanker is using the same sound
at any rate, it's usually a better bet to start with a preset and adjust when you're learning a new synth
there are plenty of interesting things in processing, like FFT, that barely gets mentioned at all in here
>Because people aren't comparing synthesis to sampling
that's the point. people say "sound design" or "making your own sounds" and the conversation is instantly about synth patches
I was speaking strictly towards additive and subtractive synthesis but granular synthesis is pretty much sampling
That's because that's what it is? Are you disappointed people don't talk about sampling and effects more or something?
I was just commenting that the dude was saying presets are easier to use where if you know the very basics of additive or subractive synthesis you can easily make patches that more fit what you need instead of having to use presets with effects
>mfw DAWs have no option for xenrhythms
you'd have to use some equation that behaves fractally or spirally. lorenz system might be in line with what you're looking for
if you want to you can probably just throw a mandelbrot expression in there and let things run wild
if you want the quadratic effect you can duplicate each sequence and then combine them to simulate the complex plane, or use logarithms. plenty of fun to be had
from what i've heard most people put some constraints to avoid things going way out of orbit since that's just turns into unlistenable trash or inaudible frequencies. you can probably do this with a scale or tuning system that has the preferences you want.
markov chains are just a good starting point for generative composition
Thanks! I will look into Lorenz systems.
So far I played a bit with IFS but found them to be too limited for melodies. IFS might be much better for rhythms.
Markov I used a lot when playing with generated text, but not music yet. Will consider.
Yeah it doesn't strictly mean synthesis but synthesis is still definitely sound design. I mean people were never saying that synthesis is the only way you can do sound design just that you don't learn anything useful from just using preset patches
Don't get me wrong I'd love if people did talk about more types of sound design because it's interesting. What do you want people to talk about instead of synthesis?
effecting and resampling, particularly with non-musical sounds, is something i find really fun and interesting that /prod/ rarely discusses. i've made a lot more sounds that way than i have with synths
Ok great. You've got me interested. Lets hear some sounds and I'll try to guess how you made them or give some insight and we can discuss your technique
I've been in quite a rut lately so maybe this is what I need