No Hardsynth/Softsynth Flamewar Allowed Edition
>Pastebin - Links, books, videos, articles, tutorials and stuff
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>/prod/ wiki - still looking for contributors (wink, wink, WINK)
There's a severe lack of DAW descriptions in the wiki. If you're good with your tool of choice, consider writing a paragraph about it.
Remember to use clyp.it to post your tracks/WIP : posting a clyp.it is just providing sound for a question, posting a soundcloud link is making self-advertisement and the thread doesn't need that.
Remember to check other peoples' clyp.it links to keep the thread healthy.
I found this oldie sitting around, I'd forgotten about it. Lil' clavinet riff that never went nowhere.
Also this week I'm lusting over pic related.
Is there a reverb plugin or hardware device that gives you extremely detailed control over the sound? I find myself messing with parameter automation on Valhalla Room Verb all the time, and it never seems quite right.
are there any free vocalic effect compatible with ableton?
I've always found the Waves™ Renaissance Reverb and even their TruVerb plugins offer you lots of control. Back when I was teaching kiddos how to mix I used to draw a big diagram of a room, with length and distance dimensions, angles, wall and floor materials, etc. alone with a source/listener position, and have them design what the reverb *should* sound like if the space were real and the mics were at the "listener" position. 50% science, 50% art, very valuable exercise in understanding all the parameters of a detailed reverb
Also check out the wavearts plugins, their reverb is pretty cool beans too
who else /hype/ here
Thanks. Masterverb by Wavearts looks interesting. How does it sound?
it sounds really good imo. it takes awhile to get used to. when you're tweaking the setting i find that what your eyes are hearing doesn't match what your ears are hearing. the interface is a little weird at times. wavearts has like, 5 plugins and all their R&D goes into just those 5, so they're pretty freakin good
are you looking to write MIDI files just to be able to move your performances from program to program, or are you looking to write/print sheet music?
cubase, reason, cakewalk are all good for sequencing/recording/exporting/saving MIDI... logic and protools do it as well but they're way more audio heavy and it's overkill for just MIDI
If you don't need anything fantsy just find some little MIDI sequencer app online, shit's probably free or close
oh huh. well, then cubase or cakewalk will get you the general MIDI instruments that you'll translate to your doom maps. i haven't done this sort of thing in a long time though, but i used to use cakewalk for general MIDI
well with general MIDI the way it sounds depends entirely on your OS and/or your soundcard. if i took that MIDI file to another puter it would sound totally different. the instrumenttion would be the same (strings are strings, drums are drums, piano is piano, etc) but the sound engine is different so they'd have different quality. that was like 15 years ago too -__-
>Nice song, too.
thanks! it's become a classic that i'm still fond of
i'm pretty sure i don't have the MIDI anymore. i'd have to manually transcribe it by ear, which isn't whicked hard for something like this but that just ain't gon' happen
but thanks friend!
Is Pure Data worth learning? it seems so complex
Last thread I was asking about buying a new PC tower, dedicated to production, and monitors and where/how I should position them in relation to the room I will be using.
I currently have everything set up as in pic related but someone last thread said about "acoustic treatment" and after reading it about it i've discerned that
>the alcove my speakers would be in is bad
>my speakers should have a certain distance between them and the wall
Now due to the fact that I can't really change where I intend to set my shit up I was hoping someone could suggest some workarounds or comment on any ideas I have?
I was thinking if I brought my desk out away from the alcove a certain amount and get some stands for my monitors I could solve both problems, or is that just going to give a really weird image to the sound?
If I filled the alcove with something and then brought the desk out relative to it being filled, or would this create the cabinet speaker effect I came across in my travels?
appreciate any help
funky vibes, the reverb on the rim/snare is nice and fits the mix like glue but without it its quite empty.
the instruments all fit very nicely in the minimal sort of vibe ur going for and the jazzy bass guitar samples is niice, nice choice of sample/instrument
sounds like something for waking up with a hangover where u just wanna get snug and cosy
at 19 seconds the abrupt fade is pretty bad imo desu most of it is pretty bad but i just dont like the type of music so it makes it hard to comment upon however
the synthy ambient stab between 15-16seconds is way to loud/compressed, the whole bleeps and bloops thing sounds way to bright and high like if it were on loud speakers it would destroy ur ears
im guessing you were trying to have quiet drums (?) but i would say they are waaay too quiet
also too much reverb everywhere
if anyone has any help for my post here pls pipe up
this is what ive been working on the past few hours just roughly assembled, i know certain of the bass stabs are at the wrong volume right now but fuck it its 6am
reading some stuff about room acoustics and i came across this
>To solve the problem, pro studios often build their monitors directly into the wall, thus eliminating all rear reflections.
if I were to build my speakers INTO a sort of cabinet unit that is aligned with the other wall, would that stop the phasing issues created by monitors being too close to the wall?
Hey guys, I've been screwing around with a lot of free VSTs in FL Studio just for fun but haven't really done anything with it. However, a couple days ago a friend of mine showed me two albums, Winter by Dan Black and Fucked Up Friends by Tobacco.
I don't know why, but I fell in love with the drums on both of these albums and want to recreate that same dirty and gritty sound. However, I'm a little bit at a loss of how to do it. Every single drum plugin I've been grabbing just makes the beat sound too clean. Anybody happen to know how to do this?
how do i make this not sound like shit?
That grid looks pretty convenient, but I wasn't really that impressed with the sounds desu. I skipped around though, so maybe I missed something great.
So these fairs, with the hardware demonstrations and such. What are some good ones in Europe? I wanna get into hardware, but I bet if I get some 150€ thing I'll feel really constrained in twenty minutes. But if I'm gonna empty my bank account, I wanna try out a bunch of synths first.
Anyone been to one of those? Worth going?
Does anyone use console strip VSTs?
I kinda never saw the point of those. A lot of the options are built into the DAW or I've probably got other plugins that cover it better.
Question for anyone who is freelancing or otherwise employed in an audio producer and/or engineer position
How crucial would you say it is to understand how to operate Pro Tools?
The reason I ask is that my uni pushes avid products a lot and from what i've gathered, the professors all talk shit about pro tools. Should I concern myself with this product or stick to what I know?
tl;dr is pro tools really that important or can i just stick with ableton
What kind of audio interface is everyone running?
I've been using a toneport ux1 for the past 6 years or so, but its finally dying. Any safe bets that work well with Windows 7? This box I got know cracks, pop and makes all kind of weird noises.
I only need 2 inputs (for guitar/bass and one for mics) and having midi in/out is a must. Scarlett the way to go?
What's a good dynamic microphone for recording instruments somewhere around 100€?
I've heard the Shure SM57 is a good one, but i watched some video reviews and i'm not really sure
>Listen to interview with one of my favorite producers, expecting to learn something about his production techniques
>"music" journalist just asks questions like "were you bullied in high school" or "what was your environment like when you made the record" instead of actual questions about the production
Fuck music journalism. It's fucking cancer. Fuck you Pitchfork
what this person said
But whatever you do don't buy it off of ebay or anything, because since it's industry standard there's a lot of fake copies of it out there. I'm not even joking. So only buy it from a trusted retailer.
Not sure if I should take this to /g/ or here, but I'd like to talk about computer noise.
1)Is there such a thing as a silent laptop cooling pad? Intuitively it makes no sense to me, but I could really use one. I tried blowing the dust out, didn't help. I'm gonna reseat the fan and apply new thermal paste, but my hopes are low.
2)I've got Win7 on an SSD and I'd like to put an HDD into my optical drive bay, but I'm worried it'll run even when it's not needed, or that Win7 is gonna do a lot of automatic housekeeping on it when I don't expressly want anything.
How is this setup?
sennheiser hd 280 pro
Logic Pro x
M audio shit ass monitors
Well, I could start manually messing with the fan. Cool it way down, then turn off every process possible and set the max temperature as high as I dare while I record.
Sounds a bit risky though, and a hassle.
Otherwise I can turn the thing off and start recording on tape. I think I'd be into that anyway.
>tfw don't know what direction to take my album
Influenced by deadmau5s first album, the groove of techno, the clean and organic sounds of Jon Hopkins, MURA masa and cashmere cat, and the epic strings of movie scores.
Shit senpai. Advice?
How do I make sweeping background sounds to fill out my tracks?
that's a pretty big hassle, though
soffit mounting speakers needs a special type of speakers intended for it (external electronics, front porting) because you want to completely isolate them from any surroundings by putting them in a sand filled box sitting in your sand or rockwool filled wall
otherwise you're just making the walls vibrate uncontrollably
what type of controller do you need to map pic related?
ableton wont let me map it in the pitch/wheel
Depends what you plan working with?
If your client are mostly using live then there is little use learning pro tools, but desu most actual studios will be running pro tools as its pretty much the industry standard.
>How crucial would you say it is to understand how to operate Pro Tools?
extremely important, except for the classical field, there you want to know pyramix as well, but protools is a must
>the professors all talk shit about pro tools
everyone talks shit about it because it's a piece of shit and avid are assholes that just want to shove their shitty unreliable hardware down your throat as well and don't even get me started about the new subscription models
but meh, you NEED to know it because it's what's there
>can i just stick with ableton
no place will let you near a running session when you can not fluently as fuck operate (at least tape op) protools
Anyone here got the Ableton Push mk1? If i load a drum loop into simpler, slice it and then have it in a drumrack/on the fingerdrum pad section, how can i have 2 sounds on the same note in the step sequencer? It only lets me put one sound per note and if i try to put more then one, it plays either just one or nothing at all.
Does anyone here have any tips for lo-fi production?
Like when i record a basic synth from operator how do i make it sound really lo-fi? Is it even possible to do it without analog equipment?
pic related is my inspiration for that kind of sound
Listen to your favorite songs and try to copy the and study the drums and grooves on these.
You can't map the dot. Map X and Y on separate controls and then you'll be able to control the dot.
I don't think you can.
Use Redux and bitcrush it.
>Use Redux and bitcrush it.
But a lot of the sounds texture gets lost when you bitcrush shit. There's a lot of lo-fi music where synths and guitars still retain a lot of their texture, surely there must be another way?
Get a cassette tape portastudio on eBay. Overload the inputs to the point of distortion. Master to reel to reel or cassette. Use cheap guitar pedals in an FX loop. Play everything through a guitar amp turned to distortion.
Just a couple things I've tried
D16 has an incredible range of plug ins, they're torrentable
That's probably the most popular one (considering that most film music is shit anyway), but Kontakt libraries are for the most part not even close to the best ones, quality-wise. They do have some great stuff though.
You can't be serious. I mean, Omnisphere has some very nice textures but it looks like you haven't even scraped the surface of Kontakt Libraries.
Bitcrushing and/or record in shitty bitrate.
>bitcrushing =/= lo-fi
If you want a demonstration of what can be achieved with Omnisphere listen to Oneohtrix Point Never's latest album
He uses it for all his synths
I really want to buy it desu but 399€ is just a lot... I could buy a used hardware synths for some oldschool shit instead.
Can I still be successful if I just started playing music a year ago? I have no experience but I'm
Teaching myself piano and music theory.
If you have passion and a clear vision then sure, it's the only thing that matters, oh, and taste. A lot of producers nowadays aren't really musicians, they just have good taste. Work starting there.
There's literally 589345893 successful music producers who don't know how to play instruments. What kind of moutbreather tier retarded question is that?
I hate myself for even responding
Is there confirmation that he used Omnisphere for G.O.D? He did a rundown of all the tracks on Replica and a lot of them were omnisphere, and RP7 used presets, but I never heard anything about G.O.D.
I have this problem too. When I try to write natural drum parts, I'm headed straight for the uncanny valley.
So I thought I should dissect some MIDIs, but while I looked for them I remember how a bunch of libraries came with rex loops. So just now I've been looking through those and I definitely feel I've broken some important preconceptions about timing.
Like, I'm comfortable with swing since every other note is still on the grid, but every time I go off a bit, I feel like I have to get back on the grid within the next two notes at most. Just getting rid of this idea could be huge for me. Or on the other hand, there were some loops that sounded pretty cool and they were actually mostly on the grid so now I feel a bit more confident to judge when deviation is actually necessary.
Not learning a lot about velocity, though.
>You can't be serious. I mean, Omnisphere has some very nice textures but it looks like you haven't even scraped the surface of Kontakt Libraries.
I was referring to the orchestral libraries. I have little experience with the other stuff they include. I can see how that wasn't clear.
Hey man, relax, we've all asked that question at some point. "Can I make it?" You don't have to be an asshole about it.
Acoustic treatment is one thing, but like with everything, people make too much of it. Just relax, you'll be alright.
Even if you were, Kontakt's huuuuuuge array of orchestral libraries is the closest to the real thing you'll get.
I messed around with FL Studio for around 4 years or so now. Now i'd like to get more serious, sold my KORG ESX (the old one), got an Ableton Push 1 and switch over to Ableton completely.
Now the problem is, i have never made any serious music. I have no idead about how to produce a song and stuff like arranging and such basic stuff. How do i go on about learning all that shit?
I think you're worrying about it too much, you have to work with what you have and if you try your mixes on different systems you'll find obvious problems soon enough. You'll also adapt to your space. But I'm sure some acoustician would say you're doomed
Because "i just started, can i be successful?" is a retarded question that doesn't need to be asked
especially on an anonymous image board where noone knows you, about your adaptability, how fast you learn, your taste, ambition and what not
THERE'S NO REASON TO ASK SUCH A QUESTION
MIDIs are good, but they way I started out was by simply reading about the diferent drums on Wikipedia to understand each drum and cymbal's roles. Once you understand idiomatic writing, you have a better grasp of what you can do.
And check out Troy Wright's Plini covers on Youtube. He also has tabs and Plini's drum-writing is the most tasteful and sexy drum-writing I know of.
Omnisphere is the post-internet producer's VSTi of choice
Did Arca use Omnisphere for mutant?
I don't know even though he manipulates a lot of the sounds on this album it still sounds incredibly sterile to me. I love G.O.D so when i heard the first track off of Mutant i thought it would be right up my ally but it just bored me after a few tracks because it all sounds the same
>Even if you were, Kontakt's huuuuuuge array of orchestral libraries is the closest to the real thing you'll get.
Maybe at some point they were, but as a user of those libraries, I can easily see that stuff like EastWest, Spitfire and the Cines, along with some more specialized libraries, are better. Kontakt's libraries are huge though, and pretty damn consistent.
what about this as a setup?
yes i will have iso pads, ill also jack some stands from my dad or something, they wont be on the desk either way
ill do the math for the foam behind the monitors as they are rear ported (apparently ? lol) in an attempt to stop the omnidirectional (?) bass projection phasing effects.
i would also look to invest in bass traps when i get another bunch of funds
how would you suggest going about absorbing the reflection of the ceiling, the and the corner respectively?
i assume they would require different techniques?
ive been reading about acoustic treatment for hours and hours but there is a LOT of shilling and not exactly "misinformation" but there is a lot of unnecessary stuff for someone who isnt working at a professional level and there tends to be lots very broad information without much advise for specific scenarios and im apprehensive about fucking my shit up royally ugetme
There's this fucking tool by the guys who made T-Racks that like fixes room stuff but it's software. You kinda input your room and it alters the sound to get rid of the problems or some shit, I think it's called ARC or something, check it out.
girls love huge, fluffy absorbers
I'd go with basotect tiles (of maybe 50x50x10cm) since these are easy to glue to walls and ceilings and good enough to reduce first reflections on the right spots
ideally you could trap that empty corner with something like rockwool or even a scopus, but you can still add something at a later point after doing some measurements with the speakers in the room
It might sound dumb, but I've always wondered how effective those soundproofing asorbers things are.
REW and other room correction DSP is nice to get information about what you need to do to your room and to output an EQ that does like the last finishing touches to your low frequency range and such (by reducing your sweet spot to the size of a pinhead mostly) but it can't do magic
shes already trying her best to stop me spending my money but desu she can go fuck herself
raaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaz yo fuuccccck that
are there tiles that arnt...ykno.... £300... that would be apt for early reflections?
only simulates 4 walls
I'm trying to make some minimal gritty classic techno. Rate? Advice?
If you wanna spend the big bucks, you're not gonna find a much better reverb plugin than Altiverb. It's convolution and it has basically limitless different reverb samples (any new ones they make are free once you get the plugin, and you can download them within the plugin itself).
yeah basotect isn't the cheapest stuff, but amazing absorbtion/weight ratio
you can DIY wooden frames filled with rockwool or similar high density insulation stuff like I did for a bit less but these will be quite heavy and therefore not so easy to set up on a wall let alone a ceiling
Is it normal to suck incredibly bad at finger drumming at first or are the Axiom49's pads fucking horrible or what? Because I'm worse at this than I can explain. I thought maybe I had no rhythm all along and just never noticed until I recorded myself, but I tried tapping on the table like usual and I recorded it and it was cool. But the moment I touch the pads, I go retarded for some reason. The latency's short enough that I can't hear it, I know where all the notes are, I'm playing slow and easy, doesn't matter. I have no idea what's throwing me off so hard, but I'm all over the place.
Daily remind that strict adhesion to genres dampers creativity
don't get me wrong, I use REW a lot and at work we have a trinnov, which is really supposed to be magical but mostly it's turned off because the only thing you're noticing is the long ass latency and the weird things happening outside the sweet spot, which makes it useless when there's more than one person working in the room
Pads take adjustment to get used to, and you'll notice that even some of the most noteworthy pad players drift off time a little bit here and there. Since they don't really have any give to them it can be hard to know exactly how hard you wanna hit it to get the desired sound, and you just have to use the pads over and over until you get used to them.
i can bridge it but allow it i got bare reverb stuff desu i cba right now
I can get the 50x50 tiles for ~£13 a tile. If i have the funds left over afterwards is this going to be a useful investment?
Are these tiles going to be 5cm squared...?
Just use regular distortion plugins, and get a nice noise floor going (maybe sidechain it with some of the lower end instruments in the mix like the kick). Soundtoys has good ones like Decapitator and Radiator.
im just a massive retard
also very high
they were 500mm not 50 this makes a lot more sense
so if i am looking to use these to stop early reflections, what sort of thickness am i going to need to be affecting sort of ~40hz range?
also what distance from the wall should the rear monitor ports be in conjunction with this reflection foam?
>I can get the 50x50 tiles for ~£13 a tile
of what? rockwool? sounds like a good price
but make sure to frame that stuff and pack it in some molton or similar since you don't want it flying through the air
>Are these tiles going to be 5cm squared...?
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Get your shit together OP. It's not like people are fighting about who makes a new thread fastest, you can at least take the time to remove that shit
no thats not true from what ive been reading.
bass gets trapped in corners, yes, but initial early reflections can cause huge dips in room sound quality and are know to be a massive influencing factor in the low low end
Does anyone know how do get your kicks to sound like they're almost "breathing" ?
I'm specifically talking about this
I could just sample it but i'd really like to know how this works
room modes and standing waves are created from behind the monitor aswell when there isnt enough space between the wall and the monitor, these can apprently be addressed with specific thickness of foam placed between the wall and rear port.
>do you smoke paul?
yeah its some lovely stuff
because the wavelengths are LONG for example 100hz is 11.5ft long (or something like that) so to intercept the wave that is being reflected back from the wall with the waves that are being projected towards the listener, and then back from the reverb wall. if the gap between the minitors and the back wall is a multiple of 1/4 or 1/2 (?) which are on the antinodes and nodes respectively, then you will get direct phasing issues and dips in bass.
this happens with bass because of the omnidirectional nature of the freqencies.
of course they are, but it seems like you can't do a lot about them in that place, don't get me wrong, absorption behind your speakers is great thing and will help with the impression of a 'dead end' room side and to a part with the rear porting troubles as well, but to really absorb the low frequencies there you'd need to refer to the lambda/4 rule which means 1.7m thick porous absorption material on a wall to fully absorb energy at 50Hz
reducing the low frequency reverberation time in the corners is MUCH more efficient and just using the common 'wall control' filter thingys on the speakers to adjust for the low frequency exaggeration instead the way to go
>to really absorb the low frequencies
i just want to impact the potential phasing issues causes by the reverb
surely some amount/width of foam in correct multiples will create positive effects?
>tfw cant play the drum set for shit but excellent at finger drumming on ableton push
protip: set latency really low when recording these.
because of the included responses, these are recorded and prepared in a way that makes them really stand out
of course you can get similar results with other things and a bit of tweaking, but the quality of right out of the box altiverb makes it attractive for a lot of people. especially when working with multichannel formats it's amazing since all the impulses are recorded with a shitload of different microphone positions you can use to create surround reverbs
im 12 and wat is this
so... yes...? is your answer? because im not subjecting my wifey to anything dangerous so i can make some beats
probably head down the builders yard at some point and see if they have anything fitting
>are you equating smoking to mental illness or something?
>Correlations of mental disorders with drug use include cannabis, alcohol and caffeine. For psychosis and schizophrenia, usage of a number of drugs has been associated with development of the disorder, including cannabis, cocaine, and amphetamines. For bipolar disorder, stress (such as childhood adversity) is not a specific cause, but does place genetically and biologically vulnerable individuals at risk for a more severe course of illness. There has been debate regarding the relationship between usage of cannabis and bipolar disorder.
be nice to those cocks your anus
also cannabis is treatment for a host of ailments and can be used or abused the same way opiates and painkillers are. its up to the individual to respect themselves and their bodies.
but no dw better exist in absolutes and wikipedia references LOL grow up candyass
Finally I have the money to buy a MIDI controller. This would be my first music intrsument (came late into the game...), so I need help.
I've had my eye on the Launchkey for a while. A used MK1 costs on my country $210, but I may get lucky and be able to import a MK2 for $250. Both would be the 61 versions of it. My questions are:
1. Does it help much to have 61 keys? Because if I'm going to need them eventually, I'd rather have them now than buy a little controller and upgrade.
2. How many keys do performers typically use? I'm talking about pop/rock/electronic tradition rather than classical/Jazz.
3. Since 250 is my price limit, are there other MIDI controllers than can rival the capacity of the MK1/MK2? Consider that I'll be using Ableton.
4. Am I gonna be missing out if I end up getting the MK1? The differences with the newer model don't seem to amount to much other than RGB-colored pads (which I wonder how much help?)
You can get the Ableton Push MK1 for just a little over 250$ i guess. I got mine recently for 270€. I think it's pretty, especially as it's made for Ableton. I guess the MK2 would be even better, but it's a hell of a lot more expensive.
That said, i don't really have any comparison to other controllers like the Launchkey. I used a KORG Electribe before.
yeah man it's hard to beat a Nord, but that Korg has great ergonomics and looks the part too. i seems like it's programmable to just about the same level as a Nord but you gotta use the software app to go into that kind of detail which might be a little off-putting. still, would kill chinese babies to have one
you missed the point m8. it was an exercise in understanding, specifically, all the parameters of a reverb. "real" reverb isn't nearly as aesthetically pleasing, for music, as reverb generators. this is why altiverb concentrates on all the other ways to manipulate the reverb rather than just relying on a raw IR. now, if you're doing ADR/matching location ambience or something you really have to know this stuff. in a music mix fake reverbs (even if they're set to sound like an existing space) sound more appealing than the actual reverb does.
now if you're recording in a 500yr old historic concert hall, you won't be able to get away with adding too much rich swirly fake reverb, because people will shit kittens because of muh authenticity. but anyway, yes anon, I know.
>Paying an absurd amount of money for uncomfortable headphones that only emit one signal at a time
you'll only push the little 4" drivers into distortion, which is no big deal for listening purposes if you like it that way but won't make for any more accurate monitoring in the bass
They're my first pair of studio monitors ever and i still need to get used to them. Also i'm too poor to just get 8" monitors right now, but i'm definitely getting bigger and better ones if my wallet allows it.
You do it by changing the MIDI input note in the device chain - in pic related I changed the Simpler on the C#2 pad's input note to C2.
As soon as you do this you'll see that the pad that originally held one instance of Simpler now holds two and its label changes to "multi" - you'll also see that even though I changed the C#2 pad to C2 it's still showing as C#2 - that's because Ableton has moved both Simplers to the C2 pad and has created a new, empty, C#2 pad.
If your speakers lack bass response and you add more with EQ you'll have a bass-heavy mix on neutral speakers and an even less-balanced sound on speakers with tweaked bass response.
Think of it in a visual sense - if you're wearing blackout glasses it doesn't mean that it's dark for everyone else, it's only your perception of light/dark that is unreliable due to the glasses.
Hey guys, I'm trying to decide between Native Instrument's Maschine and Ableton Push. I use Ableton for composing so the push controller would be nice for the integration, but I'm also a huge fan of Ni, I use the Komplete plug ins. I'd just like to see if anyone here has used both and what are the advantages and disadvantages to each?
>every single soundcloud follower or like i get is a bot that disappears within a week
jesus FUCKING christ does this have to be so difficult
I hate everything about soundcloud honestly
everything sounds worse on there than youtube even
you will get your shit removed for no reason at all sometimes it doesn't even have to be a remix of a track
they just want you to buy soundcloud pro and it isn't even worth it
>only listen to albums or EPs
>/prod/ for 10 years
>try out a shitload of styles
>haven't made 3 songs that fit together
I'm starting to think I'll never really find my niche. Whenever I come up with something I haven't heard anyone do quite that way, I either make one song that captures it and I can't think of a way to expand it, or I try to expand it so many ways, one of them inevitably distracts me.
I went in planning to skip classical and jazz and bought a cheapish 49 key keyboard, but then I practised piano by playing mostly classical, and it was fun and I got so much more than I expected out of it. Then I got an instructor and I discovered a shitload of bad habits from my soft keyboard and I fell in love with the actual piano keys within two hours.
I still don't even listen to classical. I still wanna play techno. I should be fine if I can play a bass line and some pads, separately if needed, the keyboard has that amply covered, but I hate it. It feels like such a waste to half-ass an instrument.
Idk how it is on the minilogue, but on other synths I've used with a vca click you have to open up the attack a bit for it to go away and at that point you have a sound with a soft attack.
I'm somewhat of a beginniner with Fl Studio and currently, I have no midi. I'm thinking about starting off with the Akai Mk2 Mini. Is this a good decision? Or would you guys recommend something else?
acoustician and audiologyfag here. it's actually less than that. a healthy new ear can actually respond directly to about 6000 different frequencies, between ~20Hz and ~20kHz. However, our brains can interpret many more because frequencies that fall between our sensory hair cells activate the two cells at once which is usually decoded as a frequency somewher between the two. our brains also very quickly decode any harmonic series to contain the frequencies that we may not be able to hear. so yeah, our ears have a hearing resolution of about 3Hz but our brains make sense of the rest for us.
also, there's no need to be cheeky
I need some advice guys.
There's the Korg MS2000 and the MS-20mini. I like and I'm willing to buy one of the two but i don't know which one would benefit me in learning Synthesis. Which would you guys recommend?
So let's say i load a drum loop sample into an audio trakc in ableton and then slice the drums to new midi track. It then slices it into a drumrack, but with a default drumkit like the 606. With that i can play 2 sounds, let's say snare and kick, on the same note. For some reason, if i try that with said sliced drum loop sample, it doesn't let me play a snare and a kick at the time on the same note. Is there a workaround for this? Do i really need to slice the drum loops up myself and put them into drum racks? Sounds like a lot of unnecessary work.
I looked at the video and I'm literally drooling. This is just eerily close to what I need.
seems like it's comb filtering a little. which is an artifact of layering. your brain is telling you the sound is arriving at your ear twice. it's mono (possibly mono midi as well, idk) so that could be causing the problem... p'haps it was originally stereo and isn't sposta be in mono and it makes it sound a schit?
Get the minilogue. I asked the same question on le reddit and they said that the minilogue will have patch memory and presets, while the ms20mini won't.
AND the minilogue can play chords and pic related can only do one note at a time.
I have that weird "too huge to be good" feeling with this one. That's maybe because I'm too disappointed with Arturia
great soundscape man, The mixing is very clear and wide, I'm digging.
Working on this track
So I'm coming from a contemporary/experimental bend (noise music and contemporary classical for lack of better terms I guess) and have just seriously started doing the transition to using electronics more seriously in my composition. I mainly use MAX/MSP/ableton live for the projects I'm working on (besides the physical instruments I'm writing for) and I'm wondering if there's any merit to picking up more DAWs (Pro Tools specifically) for the productions that I'm doing. I'm just starting to get into using software/hardware synths, but most of the stuff I perform is done with live performers/live electronic manipulation etc. I guess the main question I'm asking is there any merit to getting more knowledge of Pro Tools for sessions to create content for live performance, or is ableton good enough for that purpose?
Another question I have (more specific) is that I'm having a problem with my computer finding the vsts I download regardless of what file I put them in, or where I have ableton search for said vsts, has anyone experienced this problem/know of why this could be happening?
IMO protools is only put to good use as a recording software. you can actually do lots of stuff with it and with additional software, some manual reading and try-and-error you will be able to do similar things to what performance oriented software like ableton does right out of the box, but your main problem will be to create a low enough latency environment that works stable enough for live performance which will include buying avid hardware and a HD licence.
so the answer is no
check that both your plugins and your DAW installations are matching 64 or 32 bit, since ableton doesn't have a bridge. reinstall everything in 64 bit if you can and use jbridge for old stuff that doesn't allow so
pd is a great, powerful program, with the caveat of its becoming very unwieldy when you make larger and larger patches. It also has one of the highest learning curves for any music making software, especially in the learning stages if you don't have someone helping you out while you work on it.
If you have a few bucks lying around (or are a student) I'd say go for MAX/MSP. Its easier to pick up, has a larger community working in it (to help with problems you could have), and working in it, I feel, creates a better quality of life when when you're not trying to sift/work through layers and layers of objects.
MAX is $400 without discount, and I think half off(?) if you're a student but when I switched over it really made working in the software a lot more fluid and fun.
I think Pro Tools, since it's the most used DAW by professionals, is a good choice if you consider working with other electronic musicians/professional studios etc It's also the best DAW for sound designing and recording
a good printer for sheet music
a finger print reader so no one can access your files but you
a couple of sd card readers, just so you always have one free when you need it
a floppy disk drive for maximum flexibility
>RAM to run all those VSTs at once without getting lag
>I suggest you buy an Alienware computer they have the most RAM out of any other computers out there
i do know that, in terms of musical notes and octaves what you're saying is absolutely true. but in terms of the hair cells in yo' cochlea it's about 3Hz. our perception of notes and octaves is logarithmic, but the physiology of our hearing cells is linear. don't know what to tell ya brah, only god almighty knows why he DESIGNED us like this
Oh fucking kek.
Alienware is a horrendous choice. Build your computer, get the proper RAM and processor you need. You probably won't be able to afford Xeon processors so stick with i7s, i5s at the bare minimum. 16 gigs of RAM for producing or nothing at all.
>16 gigs of RAM
Overkill in all aspects. If you can afford it, go for it, but I have never ever gone above 50% CPU usage on an ancient Phenom II X4 and 8 gigs of RAM. Running a shit load of effects on top of hardware
its called retardation
>Try running multiple instances of Kontakt
a SSD will be infinitely more important than a fucking Xeon or RAM memory if you are going to be using sample based shit
Again, 16 gigs of RAM won't do shit. The latest i7 will save you a few seconds of encoding and might run some VSTs smoother
The logarithmic nature of hearing resolution wasn't clear from what you'd said earlier, is all. It's a good question, why logarithmic, both in pitch and in volume? I think it's because it's the best way to have pretty good information about a very wide spectrum of information.
lots of ram kk
i was looking at the xeons, may just open up my price bracket for a better investment
overkill? for 40/50channel tracks each with their own reverb/compressor/limiter and izotope exciters and eq's?
yes my current set up finds kontakt libraries to be a real pain in the ass
>99% of all sample players load the used stuff in the ram. a big vsl patch with different articulations will take 20-ish GB of ram
loading samples on RAM is absolutely pants on head retarded when you can find a 120gb SSD for $99. you can tell kontakt to do the cache on a SSD instead of having to access the RAM, which is like the standard thing to do these days....
they usually stream from disk unless you set it to ram mode yourself is what I find
you should listen to this anon
because hes right its not that much money to spend and you get super performance loading your libraries from ssd
i dont really have any problem waiting, i have problems with having to freeze my audio channels frequently so as to not get pops and clicks when using high quality vsts such as sound toys and izotopes alloy, nectar etc.