>wtf there's no /prod/ thread
is there anything like pic related that I can use as a midi controller?
don't lie, you know you want to
DDR pad seems like its just asking to made into a midi controller
piano key layout is the most wrong layout for a controller of this nature
Does live performance on a real life instrument count as music production? I've been told by people that it doesn't but I can't help but laugh in their faces. I myself improvise on piano and other instruments for hours every day but I always get boo'd out of these threads for reasons unknown to me
>do I need a subwoofer?
nah bro. Unless the music you make is super bass heavy, and intended to be played back on systems with a big sub. If its just you listening to your own stereo mixes you literally can never beat the quality of headphones.
If you absolutely need speakers you want something with large drivers, 10" at least imho. because they will produce more natural low frequencies rather than mimic them by only sounding their upper overtone range and not the actual principal tones
Starting to record my music, and I'd like some reasonable/solid speakers for playing/mixing/etc/etc
>guitar on some tracks
>drum machine (might swap out for live drums if possible)
You probably will want a pa system. I personally use a pair of small-ish JBL EON powered speakers. You will NEVER get good keyboard, bass, and drum frequencies out of anything smaller than 10". even on my 10" pa system bass drums dont sound boomy enough, low piano keys don't either. it all sounds great on ~$80 headphones
mixing is best done with decent headphones. and checked afterwards on a variety of different speaker setups.
If you're going to buy speakers you'll need to buy acoustic treatment for your room as well. Might as well look up some decent headphone for now while you save for speakers and shit.
Keep writing bro! I'm going through something similar and it's horrible but every now and then i do make something that does not resemble shit and god what a feeling! Very fulfilling - makes me hate myself less.
If you're really struggling:
>Pick up a book on synthesis. Learn one synthesizer really well (sylenth1 is pretty easy).
>Read the Synth manual and understand what it can do.
>copying the song structure and sounds of your favourite song. Just remake it exactly.
>really analyse what it is about the structure and sounds that make this song good
>Start alternating between making your own songs from scratch and remaking songs
>Phase out remaking and just begin analyzing your own songs
One of the most important things is to FINISH heaps of songs, even if they aren't perfect. If you just practice making loops of good ideas, that's all you'll ever be good at. Turn those good ideas into shitty/mediocre songs and think about WHY they were bad. Work on it.
>One of the most important things is to FINISH heaps of songs
Not him, but I always start enthusiastically and and stop halfway through even if it sounds good.
Then I start something new.
Everyone I've ever spoken to about production feels the same. It gets better and better but you're always gonna feel that way about something at some point. Just cruise through it, make a different tune every day. I personally give myself one day per idea. If its not something i really want to work on the next day I leave it until I think of something. Forcing yourself to try and create something is a good way to burn out.
I remember when I used to feel this the most was when I first started out. I was really into drum & bass at the time and that was the only thing I ever tried to make. I eventually packed it up because it was too frustrating. Eventually I got back into production and now i just make whatever I want. Sometimes drag a random song into ableton and try and copy an element of it and all of a sudden its an idea. Other times I set a random bpm and just muck around.
>prepare samples for drum rack
>kinda have an idea
>make a synth to use on track
>spend an hour trying to flesh out idea, not quite sure where to begin
>get burnt out listening to the same loops for 30 minutes trying to get everything right
>stare idly and eventually go do something else
How do I stop myself from getting derailed. I'm horrible about finishing songs and I know I'm not the only one
Finish the idea with shitty sounds in as short as you can. Then go back and fiddle with everything as long as it takes once you have the basic layout.
Any keyboards with 88 weighted keys and MIDI support like from Yamaha or Kurzweil are good choices.
I wouldn't recommend an 88 weighted key keyboard if you just want synths.
I would just get a cheap midi controller with a good amount of keys, weighted is not ideal for synths, but you might want a little touch sensitivity.
He also said he wanted to learn piano.
Trust me, rutracker is a russian torrent site that goes beyond your pleb tier shit you find on tpb or mainstream sites like that. It has fucking everything, make an account and trust me, you'll be thanking me for all eternity.
Just get some solid headphones. E.g. AKG K702, Sennheiser whatever. Unless you're specifically trying to learn to mix music, you're better off just using headphones and taking your music to a studio if you ever want to release it commercially. Having monitors and shit is nice, but you also need to consider acoustic treatment for the room, and serious mixing takes a considerable amount of study and experience.
i know i sound like a real cunt but if you search through team AiR, assign, tracer etc you will see that the teams are becoming less and less willing to share their cracked software.
but you are aware of a very, very powerful site, dont share it with everyone anon
I assumed synth was his main focus with how he worded it.
If I was him I would buy a ~500 dollar 88 key keyboard, like a Yamaha or Privia series, and a nice 400 dollar or so synth.
Save the extra money for gear or to upgrade far down the line if you decide to stay with it.
A new piano player isn't going to be able to appreciate quality above that price range, I've had experts who enjoyed playing on keyboards in that range.
Thoughts on the blue yeti?
I want to record rippity raps and be miracle spiritual lyrical meme man
I have some grado sr60s that I bought like 2 years ago but they have a pretty weak bass, might pick up a more expensive model since I like how they sound and the look of them
wanted speakers to practice mixing and to enjoy listening to other music. Do you think it's just better to record everything and not mix it and just pay for someone to do it for me?
I'd always suggest using good speakers because when recording you want to monitor stuff, too in order to not fuck up. sending a tracking session to an engineer who instead of mixing it is busy fixing your shit won't really help because the 'shit in - shit out' rule applies
Are these worth the money? I can buy one locally for $4,500
What would mu recommend for a good keyboard for ableton? I make techno and house.
Getting speakers won't hurt, and by all means do your own mixes if you want, all I'm saying is don't expect to get 'professional' results at home, even if you invest a fair bit of money in room treatment and shit and a lot of work too.
In an ideal situation you would go into a studio to record and have a mix engineer do your mixes too. Do your thing at home, make the music you want to make, just be aware of the limitations before you drop a load of money on a set-up.
A good pair of reference headphones is ENOUGH for home use, in my opinion, and they're cheaper and you don't have to worry about acoustic treatment. Personally I'm using headphones primarily for my music right now, though I'm not doing much recording.
Tip: If you do go ahead with speakers but don't get any room treatment, do your mixes at lower volumes to reduce the effect of the room on the sound.
The best way to produce is to hear everything in your head before you try to make it. Hear the notes and the rhythms and then draw them on the screen or play them on the keyboard. Don't just mess around looking for happy accidents. This can work sometimes if you're feeling lazy, but the best way is the way I described.
Do sound design simultaneously, it's alright for the most part, but sometimes when you're feeling a bit off just mess around with sounds that you can maybe use in the future. That's also inspiring.
sheve posting before it started to the "the prequel trilogy of star wars is actually good" meme
HOL UP *smacks lips*
the worst memes from /tv/ are the ones that don't even last more than a month.
Personally I find ideas for tracks often come from experimenting with sound design. For example, I might open up a synth and make a cool bass timbre, which inspires a bassline, then I'll lay down a beat and make some more timbres or pick out some samples or whatever to fill things out.
It might be a good idea to know what SORT of sound you want to design before you open up your synth though - e.g. "I'm going to design a cool bass" rather than "I'm gonna fuck around and see what happens". The more specific you are, the faster it'll come together.
OFFICIAL /prod/ CENSUS
pick as many as you want but be honest and realistic
>inb4 /prod/ is actually /bleep/
make a noose so you can die, faggot.
Any thoughts on Ableton Push 2?
I feel like it's more of a really expensive toy just like its predecessor.
I tried it and had a lot of fun with it but I think I would end up just throwing it in the trash after not too long.
You would never stop using the Push as long as you're using Ableton.
It makes so much more sense than the APC/Launchpad integrations, from what I've seen. Is it worth the price difference? I don't know, I've never used ableton with other controllers.
>Does anyone ever buy gear irl?
Yep, mainly just through craigslist posts though.
>Got any tips to find stuff at pawnshops/boot sales/thrift stores?
Visit them often so that you'll have a better chance of finding something on the off-chance they get any music hardware in stock.
Checking often really can't be overstated, all the crazy deals I haven't had the money for are gone almost instantly and every crazy deal I have taken advantage of in the classifieds was posted that day/very recently
>2 days from NAMM
>all we know is the Korg Minilogue, Waldorf synths, and this pic
Really big year or really disappointing one prod?
Okay goys what are some recommended headphones? Also recommendations on a keyboard? Do I need velocity pads?
Is there a way to manipulate my synths via controller in ableton? I want to lay down some chords and change the settings while they play for cool sounds
I really wish people would stop calling this genre that.
This is real progressive house:
self producing /meta/ here. Why is my amp sim making my sound so muddy? any time i try something a little technical the sound gets lost in distortion. Ive tried turning the drive down but that doesnt really help, and it also makes it weaker too.
I'm using a
>highpass filter at 105 hz
>Lowpass filter at 18k hz
>EQ set to 70 hz off the low, 9600 hz off the high, and mids scooped at 1000k.
Oh, and I've had luck high-passing electric guitars up to maybe 200 and 300 and preserved a good tone that blended well with the bass elements, if that helps. It depends of course, for me, it was a fast heavy rock/metal sound.
"Mud" is the region around 400-500Hz.
It might be that you weren't conscious about your word choice and didn't actually mean mud though, but here's a nice guide to a lot of common instrument.
ye ur right i was just rly fucking blazed and lazy
if you're using ableton then push is going to perfectly accompany you in my opinion, but again ive never used one myself although i have witnessed some sick live jams from people just pressing buttons, the instrument itself is pretty capable
get some senheissers, you want "flat response" (meaning that the headphones will project the "true" spectrum of frequencies of the sound. for example, if your headphones have bass boost, then you will have a distorted perception of the mix of the bass in your tune) with as big a dynamic range as possible, you want them to be able to project as much of the frequency spectrum as possible, especially if you intend to create bass heavy music (dubstep dnb trap hiphop etc). very low and very high frequencies are more felt than heard but still add flavour to your sound
your productions will never sound "proper" from headphones because they are too close to your head and dont properly recreate how people are indulged in sound; for that you will need monitors, or at least somewhere you can "monitor" your sound.
anyone into their grime?
What would be the closest standalone piece of hardware to Ableton Live's Session View?
I'm looking for something that would have multiple channels/tracks that I could record multiple loops into and switch between the loops on each track live and play the different tracks simultaneously and mix them.
Like I said, basically exactly like a physical hardware version of Ableton's session view. I'm not sure if such a thing exists or not but I wanted to ask.
I guess this is the right place to ask: Is there a general resource for starting out with electronic production? Specifically synth programming and what all those options do, and what all those effects mean?
>ridiculously famous blog will premiere my track
I thought this day would never come
hold me /prod/
Anything that was able to do that kind of real-time warping to tempo would be as near to a computer as anything else anyway but as >>61872727 said, an MPC with hard disk recording is kinda what Ableton would have used as its metaphor to begin with, before they added all its other features.
Wouldn't be hard to build a box with a PC innards and a Lemur touchscreen (using the LiveControl 2 template maybe? Or the Shove template that emulates Push?) or a launchpad built in.
If it already existed we'd think of it as a hardware box, but remember that all this stuff still runs an OS of some sort and is still a computing device.
If i make a synth patch with high attack, a bit of decay and no release shouldn't it play like a piano, as in if you release the keys the sound immediately stops, and when you hold them down it still slowly decays?
Because i tried that and my synths still sound as long as i hold down the keys. What am i doing wrong?
>tfw you have like 20 pretty good songs written from back when you only played guitar and piano but you just can't translate them into a good sounding synth arrangement
>it feels like it lacks drive/energy.
I felt the same way as well.
The electric piano chords in the beginning sound very robotic. It might sound better if you cascade the notes in each chord a little bit instead of having them all play at the same exact time. Also might want to try overlaying some manual arpeggiating/soloing played with the same epiano over top it.
Also, the drum break about 3 minutes lacks impact/energy. It sounds to me like the section immediately before it has a tougher kick which the break lacks, making it sound weak by comparison.
I just bought me a pair of Mackie CR4. Are they any good?
Also, i'm in a pretty small room and the sound i get from my 5.1 system is pretty bad in it, at least if i'm sitting in front of my desk. Is there any way to position my desk better to get better sound?
Use synth patches that mimic the dynamics of a guitar and piano. Approximate the characteristics the best you can with the amplitude envelope and then work on making the rest of the patch conform loosely to the frequency range of the instruments you're trying to mimic. You don't have to try and recreate them completely with synthesis, but if you replicate those two characteristics your songs should translate a lot better to a synth.
That works, but how would I get stereo output through a single out?
Like the headphones in pic related. Or would those all be mono?
That's all you need to know then, you did some research and came to your own conclusion - that's good.
As for positioning them, it's the same with all small speakers - looking down from the top it's an equilateral triangle with the speakers at the base and you at the apex, from the side (height-wise) you'll get good results with the tweeters in line with your ears.
Avoid having the speakers positioned too close to a wall, especially if they're rear-ported, and avoid corner-placement too if you can.
If your room is square you have little choice over reflections from the back wall but if you have a room that's more oblong choose to set up so that you're facing the short wall when listening - the longer walls will be at your sides - this way early reflections are slightly less troublesome, only slightly though.
Anyone have experience with the ath-m40x's? I've been mixing for a year on cheap white 20$ sony cans that got me passable mixes when using reference tracks and such, they just broke and I'm wanting to get something better. I've heard that the m40x are flatter but the highs edge on sibilance and are less precise, but also that they're not that far from the m50x quality wise.
so i took your comment on the chin and decided that i'd put a sub in and generally just try to fill out the loop but then i started to come into some annoying phase issues and now im left with a sub sound that seems to disrupt the mix
could anyone comment on how i could get this sub bass to meet the mid bass and mix into eachother without the abruptness they have in clyp related
YOU SHALL NEVER TAKE MY KICKS PASSION
but srsly why would you suggest cutting the highs of the kick? i mean, lots of the harmonics (?) that give the kick its flavour exist higher up the spectrum
well, looks like their latest models are built to shit though
I want some feedback on this. It's just supposed to be a collection of random sounds for showing off what I can do. I want to make music for video games. Should I keep making these collections of sounds or make specific songs for possible scenarios? (boss battle, swimming, racing, etc.)
What do you think about the song? I use FL studio (Abelton was too confusing because I'm a pleb.) What should I work on? Idk if this belongs in /v/ or /vg/, but I need help marketing myself. Idk what sites to use? I don't want to have to rely on shameless self promotion.
i dont really follow?
are the different passes on the EQ going to cause phase disruptions?
even if they do, if they are inaudible to the mix does it even matter?
again, even if they do, can i not realign the phase the be central or rhythmic?
should i download all the extra additional shit for logic pro x? i just torrented it and im learning how to use it now and dont know if i should get all this shit. it would take 2 hours to download on my 50 ish Mb/s speed
i stopped fucking around and just made a bandpass for the kick but i'm really interested as to why it will cause an issue with phasing if i EQ a kick (or whatever) in the manner shown before
everytime you cut or boost you displace the phase of a waveform, i.e where it starts. with a transfer function like the pic you posted that'd be a lot of displacement. some people don't mind it though
sorry i dont mean to be annoying but im just plodding through trying to learn as fast as i can
i cut some shit out to improve the mix and its beginning to glue together quite smoothly
do you have any other comments to make?
desu cutting the kicks highs made quite an impact ty
should there be sub bass in/on my bass stabs?
for example; my sub bass is 49hz. should i EQ my bass stabs so that they slightly cross into the 49-50hz range or should the bands not interact?
>its pretty simplistic
the resampling has just begun
I suck at pick'n pluck foam. I have to buy more and not fuck it up this time >:[
Okay, so I decided to finally buy me some fucking JBL LSR305s (pic above), but my Steinburg UR22 soundcard (pic below) has phono L and R outs, not XLR outs (only ins)
I just wanna know which are the optimum cables to hook the monitors up from my sound card, considering the monitors don't have an unbalanced input socket (balanced/unbalanced still sorta confuses me)
Do I get 2x Male XLR to 1/4 inch stereo jack? (Tip/Ring/Sleeve to XLR)
Or just use 2 stereo 1/4 to 1/4 cables?
Either friend. Go TRS->TRS or TRS->XLR
They're both work exactly the same, both will be balanced and both will carry the same signal without loss or interference. I had to make the same choice with my monitors/monitor station/subwoofer back in the day, so I just mixed it up a little, some cables are XLR->TRS, some are TRS->TRS, i figured the variety would be good in case I need or want to use them for other things down the line.
>put a limiter on master buss
I do a lot of field recordings on my shitty zoom h2n fucking love it for portability, the MS stereo/surround function and the fact that it can easily fit in my pocket so I can take it /out/ with me.
>tfw I might engineer some recording sessions for Wiz Khalifa, Flo Rida and/or Nicki Minaj
does this mean I have to start listening to their music
>Don't just mess around looking for happy accidents
Ive been producing for 15 years. This is all I've ever done. I just open up my daw and fuck about with a few samples until I like what I hear and then start building a track around that...I have never visualised a track before and built from that idea
/prod/, looks like I can pick up these from a friend of a friend for about 700 NZD ( about 450 USD). Anyone got some?? I think I want to start playing shows and I am guessing this may be a starting point?
>Not putting drums in mono in 2016
>Not using parallel compression in 2016
The fucking kick is literally a flatline, kill me guys I wish i never fucking heard this. Literally just google "pultec eq trick" and go to google images or download / buy the fucking pultec plugin and your drums will knock, this is fucking dreadful.
I love the drums, they really make my head nod along.
They seem unprocessed though, maybe do a 6db cut on 500Hz to clean it up, among other things?
Otherwise, lots of good ideas here. I'd try to make it shorter to concentrate the cool. The intro for example is kind of boring and robotic. Have a melody along with the piano chords, or maybe just cut that section shorter, or both.
Is there some complete beginners guide? The mu-sic-production wiki is weird and explains little to nothing.
Lets say I want to make minimal techno, I have a computer with Ableton. Now what?
I don't know. I don't think so. I did see a guide on making eurobeat on some forum once. You could try googling for that. The most reliable way of learning is self-learning and your own analytical skills and actually caring enough to explore Youtube and instruction manuals on your own.
omg I love that noise on the sides, it feels as if I'm being tickled. You should make more music like this, it's an untapped spring.
The mix is lovely, but feels too muddy/boomy. I'd consider trying to clean up the low-end. That would do you mix justice.
tweaking my mix, any advice?
How long do you need to be producing before you're good enough to get a record deal?
How can I improve on this niggas
I seriously love it, but I feel it lacks some kind of balance across the frequency spectrum. Do you have something going on in all the frequncy areas? 500Hz, 1kHz and 2kHz? There are some really sharp sounds here and some really boomy/muddy ones, but I feel there's something lacking inbetween. I don't know what though, so take it with a grain of salt.
wrote some lyrics for this beat:
I'm a spiritual lyrical individual spiritual miracle lyrical individual spiritual miracle individual
Skippin' and flippin' and dippin' and skippin' and flippin' and dippin' and illest to killest the skill is the realest
I'm the realest of the realest
I'm bringin' real hip hop back don't you ever forget it
Fuck Lil Wayne and the government's corrupt
Fuck the government cause I don't give a fuck
I'm the realest in the game cause I'm underground
Fuck that mainstream shit cause I don't give a fuck
I'm a spiritual lyrical miracle lyrical spiritual illest of miracle lyricals flippin' and dippin'
Real hip hop, don't you ever forget it
It's that underground shit, it's the white boy that said it
Real hip hop, don't you ever forget it
It's that underground shit, it's the white boy that said it
i dont quite get this clash going on here
are you both agreeing that the bass *shouldnt* always be in mono?
because im sure it should, regardless of your memes; speakers have issues projecting low frequency wavelengths in stereo; or more - it is redundant because of the idea that low Hz are more of a sensation than a sound.
the interaction of low hz with the ear is a strange thing.
or am i missing something that someone could explain in their own words?
yeah, I said that 808s, kicks, and snares should be put mono, and are put mono by many top mixers, of course its everyone's choice, but this guy here is implying that there is some meme arrow with making 808s and kicks mono.
> it is redundant because of the idea that low Hz are more of a sensation than a sound.
yeah, correct me if I'm wrong, the ear doesn't even recognize where the sub frequencies are coming from. Idk that guy is just trying to bait or is just incredibly fucking stupid.
>spend 20 minutes on a beat
>the equivalent of working for 150/hr
Not that I do this a lot, but it adds up. Plus the beat the original guy posted wasn't that bad, there's a lot worse being sold
why do you think snares should be in mono?
i would personally give my snare a small stereo range, but it wouldnt be mono. could you tell me the reason why you do this, its interesting as how main song components interact with each other in different manners in different stereo amounts.
>doesnt even recognize where the sub frequencies are coming from
yeah exactly i will just assume the other guys was either retarded or acting, it doesnt matter which
>and are put mono by many top mixers
what does this mean?
50$ is worth my hassle mate that is some food and booze
sure, maybe it's just me, just doesn't seem progressive, I did that too in the past so I understand. It's just at some point you feel like your work is getting better and better and those people are still only willing to pay 50$ or in most cases, less.
next part of my analogue mixing diary:
also how fucking amazing is pic related?
seriously if I had the money I'd get like 10 more
>mfw I remember this guy made his own thread for feedback on his okay song
>could have spent that time getting better/doing something with his hobby but uses it to shit talk on an anonymous board
Great help in these threads!
>and are put mono by many top mixers
what I meant is that many top mixing engineers put their drums in mono (anthony kilhoffer, noah shebib, bob horn, you can see interviews with them or read on soundonsound.com and verify for yourself) so I believe there is a good reason for that (they say it's to not take up space from the rest of the music, and it seems like a valid reason)
that sounds cool, not my stuff, and I probably wouldn't even know what to tell you.
mane these niggas mane
better spend time on reddit with a bunch of circle jerking retards who down vote you to oblivion if you're saying something different / honest.
I don't see how that's a valid argument, and I've never used reddit so that goes over my head.
But if you feel like you're a crusader on a thread that will 404 eventually, then go for it
oh i see what you mean lol im fucking retarded
i dont not beleieve you im just interested in the mechanics behind the physics.
often my snares are 3/4 layered/EQ'd into eachother so the "snare" sound will often cover a large Eq range, so I can see how putting it into mono will stop conflict, seems like a nice piece of info to internalize; however, as I am making music where the drums are one of (if not the) prime feature, wont mono'izing my snare lead to a flat sound where there needs to be energy.
yeah drums are the prime feature for me too, and I always put them mono.
can you back your stuff up with actual reasoning and not
99% if not 100% of the stuff you listen to has drums in mono and they're not "lifeless" cause they're mono, if they're lifeless it's cause they're overcompressed and the dynamics are gone.
If you ever turn in your music to a professional mixing engineer he's going to turn them mono anyway so what's the point of this discussion, there is no reason for low frequencies to take up space being stereo - that's the point of this whole discussion.
most music related to the genres i produce dont mono their drums. think prodigy, pendulum, com truise. though sometimes they do mono certain elements of the drums, or even automate.
if your drums are completely mono, they are lifeless
and then if you turn it into someone who makes actual money making music for a living, he's probably going to make the whole thing wide as fuck no matter what stage of the process he's at
i find it hard to believe that top tier producers putting out highest quality (obviously dnb desu) music use their snares in mono when they are built of frequencies that are by no means bass.
Nobody's talking about putting ALL THE DRUMS IN MONO. Jesus fuck. Just the kick and the snare. And you know what, even if the kick and the snare's in mono, NOTHING stops ANYONE from putting stereo reverb on those, and guess what, that's how it's done 99% of the time. And those who do this, the 99% of the engineers in the world, have stereo cymbals and stereo extra percussion. We're talking about putting the KICK and the SNARE in mono, because it cleans up the mix so nicely you won't believe it. It doesn't sound lifeless or flat, it sounds BETTER.
KICK IN MONO
SNARE IN MONO
OVERHEADS IN STEREO
ROOM MIC IN STEREO
REVERB IN STEREO
Nobody's talking about putting EVERYTHING DRUMS in mono. Nobody. Now shut the fuck up.
just m/s split that shit, solo the side signal and listen for any snares there
in 95% of all cases the only thing you find there is diffuse (reverb) components of the signal there, because the attack-y part of the drums is normally (nearly) mono and panned in the center
this makes sense since there' still an impression of 'wideness' in most drum mixes since cymbals, drum fills and effect parts such as recorded room signal or artificial reverb are in stereo
but even on the stereo overhead signal of a drum recording you'll find the snare and kick to be highly correlated and in the center because that's how you want to set up your microphone distances so it won't drift to either side.
which is ok and natural because a drum surface is a relatively small sound source
SHOULD I BUY THIS DRUM MACHINE? I HEARD IT WAS A GOOD PURCHASE/CHOICE
I AM LEAVING TO GUITAR CENTER IN LIKE A HALF HOUR BECAUSE I AM ITCHING TO BUY SOMETHING
Yeah I see where you're coming from. I want to use hardware because I am mobile and often will need to take my gear with me when jamming or making new songs since I play with a friend who is a drummer (currently has no drum set) that switched to bass
we have been jamming with the korg volca beats but now I feel like it's time to "step it up" and get some meaningful work done
I think having just a laptop with your DAW of choice beats anything in terms of being mobile
yea I'm not reading that shit, there is some guy that wrote 10 pages about young thug being a musical genius, and he's actually serious, people can add reason to any type of shit they choose to.
yeah, i said lmao rofl I thought that's gonna let people know im sarcastic.
Hey man, I bought the TR-8 and I love it. I already used it at a couple gigs. Haters btfo
i just take shit i read in text literally under the assumption people are here to learn and share the same way i am
its not even farfetched for someone to have that opinion of dnb desu, people dont even know what their commenting on