Music Production Thread: Learn to Consolidate Your Tracks u Dummy

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>>52026331
Is audio technica 2020 any good for vocals
mainly hip hop type shit.
And some good plug ins for fl studio / ableton etc would be cool. If anyone could help me figure out what to use. FL studio kinda feels like the walmart of production software to me.

>>52026508

>Best Program-

There is no "best" DAW. They all have their strong points and limitations. It all depends on your workflow

Having said that, for Hip Hop, FLoops MIGHT be easier to work with than Ableton, thanks to the piano roll that'll allow you to make bars/beets fairly quick.

>Plug-ins-

It all depends on what sound you're looking for. Note: Do not fucking buy anything unless you're 1000% sure you need it. There are plenty of top quality free plugins out there.

>Best Mic- (probably getting A-T2020)

I don't record vocals

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Holy shit I upgraded to 3.0 finally and I'M IN LOVE, I LOVE YOU RENOISE. RENOISE YOU'RE SO FUCKING COOL.

>>52026508
If it's a USB microphone then it's rubbish.
If there's a version which uses XLR out then it's probably fine for amateur vocals.

>>52026331
i'm still pretty new at this

it feels like no matter what vst i use it still sounds artificial and i would appreciate some advice

sorry for the vague description

>>52028078
if you're trying to emulate real instruments, VSTs will always sound artificial

>>52028078
What synths are you using, and what sound are you trying to achieve?

>>52026331
>trigger my OCD by posting another project with 150 CTRL+V and no consolidation

huh? consolidate at the loop length, that way you can tell where it loops.

>>52028078
>it feels like no matter what vst i use it still sounds artificial and i would appreciate some advice

1. use some sampled sounds
2. try messing with eqing
3. try putting a compressor on the master fader and then slamming your stuff through that.

>>52028078
Assuming the sounds themselves aren't the issue (which they usually are):
Automation (changing the volume, cut, panning, fine pitch etc) of notes. this can help it sound less robotic.

try turning off the snap so that your notes dont stick to the bar. - the more organic they are the better, not quite on the beat (but still sounds right)
once again helps it sound more human and less robotic

Recording the notes in with a MIDI controller/keyboard
this adds variable velocities (volumes) to the notes and helps them sound more human.

getting better quality VSTs or recording real instruments is always the best option though.

Every track should have something organic to counteract the coldness of the DAW. Whether its vocals, samples, guitar or some other found sound / random instrument.

modestly successful electronic/r&b/pop producer and songwriter, have charted on billboard and iTunes AMA

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>>52028098
thanks but im not im just trying to emulate keyboards

>>52028110
pic related has everything ive used so far

i guess i would say i want this kind of sound https://www.youtube.com/watch?v=wIuBcb2T55Q

thanks

>>52028157
thanks ill try that

>>52028173
thats what i meant to say

everything sounds so robotic and it bores me, i sampled my guitar and its probably the best sound i've had so far so maybe ill continue sampling my real instruments

>Recording the notes in with a MIDI controller/keyboard
isnt that how youre supposed to do it?

thanks

>>52028287
y u Jbridge plugs that your DAW already sees?

>>52028303
a lot of my vsts werent showing up so i just used jbridge and linked it to my folder that has all my vsts regardless of 32 bit or 64 bit out of lazyness

>>52028287
>isnt that how youre supposed to do it?
thats how some people do it. I tend to work with keyboard and mouse from habit, but recently have turned off snap so that my notes dont stick to any lines, giving a bit more of an organic feel

>>52028287
>isnt that how youre supposed to do it?

no shoulds in music unless you're explicitly imitating a style or person

>>52028257
k? post your music.

>>52029904
>k? post your music.

don't want to out myself

>>52029904

but I've worked with a lot of big producers, like Diplo, Darkchild, Babyface. I can answer random questions if anyone cares.

>>52029919
>>52029934
um who cares? post your music. plenty of people have on here its not really a big deal. deadmau5 used to all the time

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>>52029919
>>52029934

Hi king shits it's me king fat sacks just writing to say hope all is well and hope you're having a happy holiday. - love stacks.

>ps. there can only be one.

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http://clyp.it/ybfhswh1

do you fags ever record sounds then export short clips to make drum samples?

the beat in this sketch comes from a 30 sec recording of some plastic trays being dragged along a shelf.

apart from that this track is just my Lowrey organ. added some low tuba in but decided against it. some kind of synth bass might be the next step. or woodwinds...

i have a tough time making anything that i make sound professional. the part of composing a song is okay, but when it comes to making it sound polished i always try and fall flat. anybody have any tips for tightening stuff up? type of stuff i'm making at the moment is garage and house music like Christian Loeffer

what's a good budget MIDI? I eventually am gonna get an MPD32 for live playing, but I really need a keyboard for at home

been thinking about this
http://www.amazon.com/Alesis-Q49-49-Key-Keyboard-Controller/dp/B0038YX3BS/ref=sr_1_7?ie=UTF8&qid=1418291834&sr=8-7&keywords=midi

>>52030618
I have a cheap 49 key M-Audio that's decent If you need a MIDI keyboard quick and light/portable

obviously not full size for keyswitch, but comes with octave buttons that let you play all the ranges, just not at the same time. pretty decent small MIDI keyboard.
That alesis has pretty much the same set up: keys, 3 or so buttons for octave, and 2 wheels, one for pitch, one for modulation. most of those 40 key keyboards should be around similar quality, just buy cheap, as its probably going to be a stop gap until you get an 88 key.

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>>52026331
A got someone's homemade distortion pedal and it's got gene wilder's face and it's dope as fuck. Been running all sorts of stuff through it, analogue effects are fun.

>>52030683
haha I love homemade and circuit bent stuff. my friend fucked around with an old Kustom amp and wound up getting a weird sine wave coming out of the distortion channel with a an LFO.

>>52027873
>not sharing
>tfw poor

>>52030811
lol niggah I ain't gibbing nobody Renoise 3.0, that shit is signed to my name.

However, if you check torrents I know for a fact 2.8 is floating about.

>>52030811
>>52031040

It's fucking cheap, the demo is almost fully functional and not time limited and it's developed by a very small team.
Don't be such an entitled dick.

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>>52031076
That too, it cost me under a hundred bucks and for you get, it's a fuckballs amazing price really.

>>52031085
for what you get*

>>52031040
Chill negro it was a joke. I don't even like trackers.

>>52031076
>be poor
>be told to spend money
tiptopkek

>>52031111
Sorry, didn't realise you have a victim complex.

>>52031111
I'm chill like a frozen banana, all I'm saying is if you want Renoise and you're cheap there's a 2.8 somewhere.

>>52031111
>doesn't like trackers
>not willing to invest money on something he feels passionate about
>gets snarky when told wrong
Quads are wasted on you.

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meanwhile on /b/...

>>52031232
Wow that guy got fucking ravaged.

>while walking to gym, begin humming randomly
>slowly develop an absolutely mindblowing piece with every instrument (including a full orchestra, choir, solo vocals, organ, piano, electric guitar and bass, drum set, a few traditional/ethnic instruments, synths, and electronic effects) interplay perfectly
>become convinced of its magnificence
>suddenly remember that there's no way I can get a full orchestra, or some of these instruments, or a full choir, and it won't sound as good without
>suddenly remember that I've always been crap at actually translating my ideas to sheet music
>suddenly remember that there's nothing I can actually do with the piece if I do make it, there's no album of material of similar quality to release it on, no film or video game to use it in the score, nothing
>become upset and it fades out of my memory
>now I'm sitting in front of the computer and trying to will even the tiniest fragment of it back into my memory

Should I just kill myself at this point? Nothing will ever sound as good as that did in my head.

>>52031296
welcome to being a composer. you have to believe in the piece and realize that once its on the page, anyone can play it for the next 100+ years, until the score is destroyed or human life ends.

and you get better and turning ideas into full pieces with every piece. it takes a lifetime to master.

>>52031319
Yeah, but the piece can't be on the page, because I can't remember anything about it. Is there some technique composers use to never forget an idea that pops into their head?

Best program/equipment to make harsh noise/ambient?

>>52031347
>harsh noise
sunvox
I'm not joking

>>52031353
I wouldn't know it was a joke anyway since I have made zero music and have zero experience with music-making software.

>>52031331
you just have to flesh it out manually once you get the main ideas down.

you're never going to capture every detail (depending on your musical memory) but you'll be able to capture more more quickly with practice. you want to be translating at least 1 idea a day from your head to the DAW/page.
more/less depending on inspiration

>>52028157

>try putting a compressor on the master fader and then slamming your stuff through that

bad advice, i doubt he even knows how to use a compressor tbh

>>52031331
just try to hum the most memorable parts and record it on your phone

>>52031385
might be a little awkward in public and i'll lose all the polyphony and stuff, but that's a good idea. I'll try that the next time I think of something

>>52031395
yeah, its not great, but its the best "technique" i know.

>>52031395
>i'll lose all the polyphony and stuff

God I hate this, no matter how hard I try to remember an idea I have, when I get home in time to start working on it, I'll inevitably forget how at least one of the polyphonic melodies should go and I'll be left with the nagging suspicion that my improvisation is worse than the original.

>>52031395
>muh polyphony

steady on, palestrina, I'm sure you can work out those secondary and tertiary lines with enough trial and error

>>52031331
try writing it down when it comes into your head

>>52031395
git
gud

there are mobile DAWs, if you get familiar enough with them you should be able to program the polyphonic lines with no effort on your phone

>>52026331
Is LMMS good for a DAW beginner?

>>52031908
Yeah, LMMS is just a clone of FL. Except for a few bugs and an uglier GUI, it's basically the same experience for free.

>>52030543

Have you bought your kontakt samples?

>>52032087
Anytime someone asks something like this I always think it's a huge fucking trap.

>>52032087

Nobody has around here

>>52032113

I understand why you could think that, but no, i just want to make orchestral pieces and i'm too poor ;_;

What's the best free daw? Please, rec me something.

>>52032141
Modplug.

>>52032152
I love trackers, thanks! :3

>>52032135

It was implied, but has everyone links for those samples?

>>52032135
I always suggest Sonatina Symphonic Orchestra to anyone who has literally no money but wants to start doing orchestral stuff. I have a lot of commercial libraries because composing is my day job, but I still use SSO regularly because it's just great.

https://soundcloud.com/ryunocore/sonatina-adventure

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>people in this thread using fl studio
you must be 18 to post on 4chan

>>52032207
Thanks, i will try it

>>52031232

All that superior workflow and expensive modular synths just to produce generic pleb "house" music

>>52032207
Different guy here. Does it work with Finale?

>>52032616
If it's past Finale 2010, yep. You'll probably need a Soundfont player VST with support for SFZ files, but those are free too.

>>52032650
Will this work?
http://www.dskmusic.com/dsk-sf2/

tech-illiterate here, no idea what I'm doing

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>mfw i just want to make wonky beats like
https://www.youtube.com/watch?v=nZChfltRUxM
>but they all come out like FL plugin bullshit

>>52032667

it should. give it a try

there are other free SF players out there if that one doesnt work

What are some good vst sequencers except bigseq2?

>>52032885

Sonicbytes ERA

>>52026637

Would you rec any certain free plugins?

>>52029934
How did you get to meet/work with those people?
Would you say you had a good amount of input when working with them?

>>52032818
Turned out I didn't even need it, Finale's Aria player seems to be able to import the sounds by itself (although the process is pretty tedious)

Looks like only some of the samples are useful to me, honestly. I don't like the sound of most of the strings and the chorus is equally bad or even worse to Finale's built-in Garritan sounds.

Currently experimenting with replacing tracks I did with Garritan with the Sonatina sounds.

>>52032802
That kind of music is ridiculously simple to make.

You can't expect to be able to make what you want if you don't understand what the fuck you're doing. Read the manual of whatever DAW you pick and read/watch tutorials on sampling, audio effects and sound design. If you think there's anything that will just make things happen out of the box with no effort or know-how, you'll remain ignorant and incompetent.

>>52033214
>That kind of music is ridiculously simple to make.
Second that. I can't hear any sense of composition in that track and the mixing/mastering isn't very impressive.

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>>52033214
>>52033340
well, OK, if it's simple then tell me how to do it.

>>52033361
Do it yourself you lazy piece of shit.

>>52033361
I gave you all the clues you needed on >>52033214
All that is left for you to do is read the manuals, watch tutorials and apply the knowledge to your DAW of choice. If you can't make that first step, you might as well quit now.

Anybody got any links to ableton live projects of famous songs? I'm not talking remakes, i'm talking like the straight up ableton project some dude like deadmau5 made. I think it'd help me a lot of i can just look at what they're doing instead of taking advice from you scrublords.

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>>52033392
you didn't tell me shit. you just said "it's easy go watch some videos or read the manual." how is that supposed to be helpful?

>>52033413
Yes, I do.

>>52028078
pick one VST and learn it inside and out. if you keep bouncing from one to another it's going to sound like shit each time.

>>52028157
don't listen to this guy. compression for effect is really only appropriate on drums. other wise it should only be used to achieve equal volume or to draw out certain frequencies in combination with eq

>>52031232
buttdecimated

>>52031319
carry ruled notebook

>>52031395
do u even species counterpoint

>>52033361
biggest part of it is knowing how to sample cleverly. always have your ears open for a sound you can use. if you hear something u like literally write down where, when, why, how you heard it, what it sounded like, record it on your phone right then and there if you can, then either try to find it on the internet or come back with a mic

>>52033413
literal cancer

>>52033426
just about enough for everyone who isn't a little bitch

>>52033413

ExACTly what I need as well!

>>52033434
Can I ask what an example of what you'd write down in your notebook would look like?

+ I agree with listening for sounds to use - usually if I'm listening to an album, I'll rate it as I go along, and keep note of which certain 'parts' I specifically like or think I could use

>>52033483
ok for instance i work at a retail store in a mall and routinely have to take the garbage to a trash compactor. i wrote down basically stuff like "throw box at compactor - kick drum" "compactor on, loud whine, good for drone" just things like that. enough to remind you of the context, you know? once you get an ear for sampling, little tidbits like that should be able to recall the whole sound to mind. it does for me at least (after doing this for about a year and a half)

>On FL Studio
>Using Presets
>Aiming to make Dubstep

I'm gonna piss all of you off.

>>52033551
whatever. you'll probably just give up in a few days.

>>52033426

>how is that supposed to be helpful?

aka PLS GUISE CAN YOU TELL ME EXACTLY HOW TO BE DEADMAUSE? HOLD MY HAND WHILE YOU'RE AT IT

>>52030572

>Christian Loeffer

Loeffler is a poor man's Pantha du Prince

>>52028078
Processing is the key my friend.
Sounds will rarely sound good from the get go in a DAW. Add reverb, eq, compression, render, add some more, bring back the original sound and layer it with that etc. etc.
Experiment.

guys, how do i stop making pleb EDM shit but still get $$$

>>52034119
make footwork and juke

>>52034119
make pleb orchestral shit and sell it for use in trailers and stuff

>>52034133
>>52034148
already tried these, i want to be able to express myself and make ambience & noise and shit but nobody listens to it

back to trap i guess :"(

>>52034167

>make ambience & noise and shit but nobody listens to it

Ambient and "noise" is what happens when you have a DAW, thousands worth of pirated software, and zero talent

>back to trap

Confirmed

>>52034167
You shouldn't care if people want to hear it, when you git gud people will eventually listen no matter what you make, in most cases. The problem probably isn't what you do but how you do it. If you have something you really want to do, I'd say stick to that and get better.

>>52034220
ouch :'(
maybe i just like that kind of music

also im sick of making this shit
https://soundcloud.com/sly-dogg/supraventricule
it's literally dubstep

>>52034222
yeah but i want to end up making this shit a career and there's just not enough people into the music i like

stop giving the retard attention
start talking about production

troll or stupid, it doesn't matter
no one here is his mom, learn to google or quit

>>52034253
post some of your noise and some of your wannabe stuff, i'll tell you what i think sounds better......................

>>52027873
but it's shit

>>52034278
posted a track here
>>52034253

this one is more noisy and more like what i want to make but its still so dance-y so i dunno
https://soundcloud.com/sly-dogg/croveplso

>>52034253

>yeah but i want to end up making this shit a career


HAHAHAHAHAHAHHAHAHAHAHA

*gasp*

HAHAHAHAHHAHAHAA

Ok ok, on a serious note, you have 2 choices

1) Sell out. Make the most bro house you can think of, "market" yourself by Djing/have shows at college bars/local bars, do this for years, have a 0.001% chance of ever "making it". And even if you do "make it" (as in, not Avicii-tier, but enough to make a living) expect to travel non stop, play at shitty places, and within 2 years, you will HATE your "job" and lose all the non-existen passion you had for it when you began. Oh and destroy your hearing in the process

OR

2) Stop being a whiny bitch, realize that music production (specially bleeps) is a long and hard process of years of experimentation, trial and error and self-discovery (cheesy, I know) until you find your sound. Also realize that even the big names in the bleeps scene don't make all their income through their music (Fucking Levon Vincent shovels snow in the winter for chrissake, and Andy Stott didn't quit his job as a car painter til his second album, and he was VERY famous by then).

As long as you have $$ in your eyes you ain't gonna make it. Or you might, but your chances of that are the same as winning the lottery. Or not, depending how much you grow up and how much love you have for it.

>>52034253
but anon dubstep is supposed to have bass lol

maybe stop mixing with a subwoofer

>>52034395
lol maybe stop having a shit sound system i mixed them with fucking memephones because i'm poor

>>52034389
not that anon but you're a fucking idiot.
Breaking into music isn't that difficult.
Just find a niche, don't be autistic and talk to people.

you will get big if you make music people haven't heard before. even mu. mu is fucking slowly at catching onto tonnes of small niche scenes.

>>52034421
>>52034369

I just looked at yr other soundcloud stuff. I don't like the music at all but I think you can produce and you shouldn't quit.

Sorry for being an ass in the post above but you have to realize, don't think or hope you'll make a living out of your music. Have a day job, keep producing, market yourself, network with people.

Just don't have any hope. None. Hope is for the fool. Make your music and work towards getting better and better, and if the chance comes, take it. Just don't produce music thinking "this will sell"

>>52034458

>Breaking into music isn't that difficult.

It isn't but you cannot make a living out of it unless you are at the top whatever niche. And even then, "niche" means a very small audience, years and years of hard work, and probably not income at all, since you'll be buying gear/software. If it was as easy as having a soundcloud, we wouldn't be having 250+ sndcloud threads. Very, very few people can make a living out of it

This is not some "idiot" shit. Like I said, Andy was still painting cars even after his album was hype as fuck.

Can he make it? if he is good and can market himself, yes. Can he make a living out it. 99.98% chance he won't.

Is it me or Reaper is really good? And at that ridiculous price too...

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>>52033526
this combined with the voice record app on jah smoartphone

also dont be afraid to rip samples from youtube to give ur tunes that vogue lo-fi sparkle

>>52034458
>expecting a niche demographic to support your cost of living
L O F L

>>52034564
I've been making music for just over a year and I've played in 2 countries other than my own and am able to charge quite a bit on booking fee for dj sets.

breaking into music isn't hard.

>>52034618

>I've been making music for just over a year and I've played in 2 countries other than my own and am able to charge quite a bit on booking fee for dj sets.

Good for you. I genuinely feel good you've been able to make it

That is not the norm though. Don't use your own success and JUST FOLLOW UR DREAMS as a fact. For every successful producer/DJ out there are dozens of (a lot of times, better) ones that failed.

I am not telling him to quit music. Quite the contrary. But stop making it sound like it's easy to make a living out of it. It's damn near impossible.

>>52034618

Also, what type of music do you mix?

>I've been making music for just over a year

And what do you produce?

Best daw for <$100?
Reaper?
Mulab?
Poduim?
Renoise? (not really a daw but still cool)

>>52034660
>It's damn near impossible.

stop saying this.
Honestly I don't know why you think it's impossible to live off of music.
90% of 'making it' through music is being sensible with networking.
Radio DJs are your best friend when starting out. If a radio DJ likes your shit (and follows you on twitter etc), then people will catch on.
I have half of the people they fantasise about on bleep following me on twitter just through grinding & convincing a couple just coming into mainstream people to follow me and the rest of the followed suit.

social media is the best thing for breaking into a scene, that and having another profession like design, artwork, whatever.

Is there any way to tone down the percussion on the default piano plugins in Cubase 5? Lowering the velocity only makes it quieter but it never gets rid of it. Also, is there any way to give notes a normal-sounding decay other than making them long as balls? It seems like anything shorter than 4 seconds cuts off way too sharply and doesn't get to fade out like it would in real life unless I lower the velocity to AIDS% and make it super quiet.

I tried using Pianissimo but it's really autistic and it doesn't play anything below C1 WHAT?

>>52034673
as you'd expect with a niche scene it hasn't got a set genre name yet.
my biggest influences are dance mania records & runway/ballroom house.
You could call it what ballroom is now, but even then that's a wide spectrum and i'm not particularly in that set scene.

there's too many people thinking they can break into the extremely stubborn techno & house scene. the sound has been around for 30 years, it's very difficult to make something original and worthwhile under them genre tags.

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>>52034721

You've been "making" music for ~1 year, got lucky and now you know the business? And you're telling some kid from Oregon that with enough "social media" and twitter, he can make a living out of making ambient and noise?

Why do I have the feeling you're some fool who got lucky, but know fuck all about bleeps and music production?

Prove me wrong and post your soundcloud. I'm dying to hear your music, since you're a wunderkind who made it after a year.

>>52034764
lots of my friends have made it through the exact same way.

you think knowing about 'bleeps' and music production means you make good music?

>>52034788

>lots of my friends have made it through the exact same way.

By having fools' luck? Yes I know a few too who've "made it". By making it, I mean having a few hundred pressings on some small label and then being dropped after they got sick of it, or the trend they were riding died out. But they "made it" for 1-2 years

I think our definitions of "making it" are pretty different.

>you think knowing about 'bleeps' and music production means you make good music?

Not necessarily, yet I can bet my left testicle that someone who's been doing it for 1 year is either lying out of their ass, or just some disposable tool that will be dropped after the next trend comes about.

And you still think a kid in Oregon can make a living out of noise and ambient.

like I said, soundcloud

anyone here have an mpc or octatrack?
thinking of buying either one of these (octatrack is probably too expensive tho) to make glitch/idm/experimental stuff.
so, is an mpc 1000 a good choice if i'm tired of ableton live for now?

>>52034764
lol, m8, the kid probably 'makes' trap tunes or summat by sticking construction kits together. better yet, he prob pays someone like me to make his tunes for him. these muh social media producers, the people who book them and those who go see them all operate on trendwave garbage with social media 'statistics' (read: lies) feeding a vicious cycle which ends up with scenes that die rapidly leaving behind a wake of has been 'producers' and promoters who couldn't adapt quickly enough to whatever new trendwave bullshit the punters now consume.

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i hope it fits
and hell this is probably not even the plae to post this kind of thing but hell i have two bars written on one track that i'm about to got write out more of

>>52034949
best part is the bass part felt the need to transpose itself down a step

>>52034937
>i've been producing for a year
>half that time ive spent spamming my facebook page
nice.

>>52034937

Exactly.

He's partly right on the fact that under the right circumstances, you can get your name out there (right promotion, right sound, right place, right trend) without a lot of work. But a steady income? Good luck with that. And unless he is some wunderkind, you are still a faggot soundcloud tier producer after 1 years at the studio.

Just wait til his luck runs out by next summer

hey guys, did i overdo the sidechaining on this?

https://soundcloud.com/aaron_beckman/the-pineapple-news

>>52032208
You know Hudson Mohawke uses FL Studio and does ok for himself?

Did anyone take lessons when It came to making music?

>>52035527
Point is why use FL Studio when there are more expensive and batter programs out there?

Creativity aint cheap

>>52035615
>better
Such as, and why? You're making a big claim here. I'd like to hear your reasoning to why certain DAWs are better than FL Studio.

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"production"
http://clyp.it/5kyzy5yb

>>52035615
yeah that's cool but like just how some people can spend thousands on an outfit and look like walking garbage other people can spend thousands on the best hardware and software and sound like complete shit. what matters is the not so much the software, but the end user.

>>52035649
Me too. Expensive definitely doesn't mean better. Successful records have been made in Renoise too.

I've never used FL but it seems to be a perfectly capable DAW.
Music is primarily made out of ideas and work, what you use to realise the work is relatively unimportant.

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>>52035734

>dat fucking messy AF interface

ugh. how can people work in this environment?

>>52035112
Maybe he has connections? Maybe he has a buddy who works at a radio station/record label or something, and that's why he finds it so easy?

Being a success in music is mostly about networking/selling yourself. A marginally talented producer who can sell himself will be more successful than a talented producer that doesn't network, and grind on social media, and the like. Promoting yourself is crucial. No matter how good your music is, if you're not putting it out there, you won't succeed.

>>52035853

Even though I've been trying to figure out Ableton for the past year, I'm attracted to FL because it's the only one with an interface that looks even reMOTEly navigable. What do you use/think looks better?

>>52035853
Exactly. It's even worse if you work with live audio. Recording is a hassle, and so much more convenient on other DAWs. Even the famous piano roll isn't that great. I found it cumbersome, and it always zooms way in automatically, wasting time.

>>52035903

>Even though I've been trying to figure out Ableton for the past year, I'm attracted to FL because it's the only one with an interface that looks even reMOTEly navigable

Weird, the exact opposite happened to me. I was able to lay down a simple track on Ableton after ~2 hours of reading the manual/watching tutorials, and I spent 3 months trying to understand the clusterfuck that FLoops is to me.

Diff strokes etc

>>52031377
>bad advice, i doubt he even knows how to use a compressor tbh

learn by doing

>>52033434
>don't listen to this guy. compression for effect is really only appropriate on drums. other wise it should only be used to achieve equal volume or to draw out certain frequencies in combination with eq

that's silly. compression as an effect is a large part of the sound of modern music. often, bass and vocals get compressed on the way in during recording.

you can't intellectualize this stuff and expect to get a feel for it. best thing you can do with any production tool is to go in and tweak all the knobs and see what the fuck it really does. if you can't hear what it does, turn it up and mash it until you do.

then you turn it back down and use it in a track.

the other thing about using compression is that almost all mixers mix to compression. pensado uses a chain of limiters each taking less than -3db off the top, marroquin slams everything to the master on his SSL.

watch pensado's place. so much of modern production is mixing it's silly. making your drums bang is about 95% of people liking your music.

>>52035895

well that's the whole point, no one is saying it's impossible, but to suggest its all EASY BRAH U JUST GOTTA TWEET/FACEBOOK AND YOU'LL BE MAKING CASH IN NO TIME WITH YOUR NOISE "MUSIC" it's laughable and extremely naive

>>52035903

how the hell can you say FLoops interface is "remotely navigable" when compared to this??

>>52026331

>>52036014

Jeez, that is weird. I've watched plenty of those tut's, too. I don't have very much beyond the stock sounds, so that could factor in a bit. FL's Pattern thing seems like it would make the beat-based things I'd like to make a bit easier to get down quickly.

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>>52036116
honestly m8 they're just two different tools for two different kinds of people.
if i looked at that screenshot right now and you asked my what any of those things do or mean i would NOT be able to tell you.
they're just two different ways to achieve the same thing and the sooner you realize this the happier you are likely to be around here.

>>52034949
Guitar pro 6?

Post a preview of the sound m8, i am fucking slow at reading sheet music.

>>52036130

>FL's Pattern thing seems like it would make the beat-based things I'd like to make a bit easier to get down quickly

IMHO this is literally the only advantage FLoops has over Ableton, and even then, with Ableton it might involve an extra step or two, or simply, get a third party sequencer. Or even better, IIRC correctly there's a guy who programmed an instrument/rack on Ableton to behave like FLoops piano roll. He sells the preset.

Other than that, I just can't into FLoops

>>52036116

....alright, fair. Because I've been using it for a while, I do know my way around it. + that all black looks soooo nice

>>52036205
Ahh, good idea with that sequencer, actually. Didn't even cross my mind, thanks!

>>52036116
Not him but i'm perfectly fine with fl studio interface while lost whenever i try to use ableton.

>>52036246
>>52036170

Fair enough, I never said Ableton was better, I just don't understand how can people think this clusterfuck >>52035734 looks easier to navigate than OP's pic.

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>>52036303
i guess i'm just used to it?
i dunno i've been riding on FL studio since like 2008.
it's gotten a lot easier to do things since then but all the basic concepts are still the same and they kinda come as second nature to me.
but then again i guess that's how you are with ableton, or how someone else might be with logic or so on and so forth.

would you guys use a compressor on the master to raise the volume?

Since there isn't any performance boost I know of from using other DAWs I stick with FL Studio.
I've also been using FL Studio since like 2003 or 2004.
When I finally "grew up" I decided to become "legal" and buy a DAW like 10 years later.
Oh man I know. Money into software? Fuck I'm lame.
I expected to change since this was time to get serious.
Nope, FL Studio won after the research.
For me personally. Had I been use to something else maybe that something else would of been chosen.

My only performance gripe with FL Studio is the 16-channel midi limit buuut there is work arounds.
And besides at that point it really wouldn't matter what DAW I was running it would become a bogged down sack of crap after extended the MIDI that far.
But it still gripes me.

the interface doesn't really bother me that much but i'm use to it.

>>52036601
only in the mastering stage, dont do this while mixing i'd say

>>52035895
hey i'm back, i'm surprised how butt hurt you lot are. all my connections were made through twitter really. I hate soundcloud so i'm not going to post that. I don't make trap. soundcloud producers are dire.

biggest mistake people make is choosing to make one genre. you can make 'noise/ambient' if it's not actually noise or ambient because think how many solidly noise/ambient unsold records there are because they are just noise and ambient. nobody cares about new artists in noise and ambient unless you're making something original.

this board is full of piss boring noise/ambient in-the-box software producers, and it's also the reason why some of you think that it's impossible to ever make it because most of the people who post on here are too busy talking about their music than making it (yeah i know im doing that right now but i'm making a tune at the same time)

>>52036872
to maybe prove you that i'm not chatting shit my ep that came out in March was rated 9/10 by Mixmag. I have a release out in February and (although it's unlikely unless I pull of some mad shit) I'm under talks with an R&S A&R.

>>52036601
>would you guys use a compressor on the master to raise the volume?
>>52036700
>only in the mastering stage, dont do this while mixing i'd say

lol

yes, the way producers work is to temp "master" stuff themselves. mixers do this too. then when you actually send stuff to mixing or mastering engineers you stem things out and/or take your shitty mastering plugin off the master bus.

the reason?

because your shit will sound very quiet and shitty if you don't, and people are usually listening to demo versions of things before they're done. that's part of the process too, to hear how things are "probably going to sound" after you mix or master them.

nobody has patience for "wait until it's mixed bro!"

>>52036916

Not him but we woud like to have a name / a track or whatever.

>>52032207

From wherever i dl the files, once the .exe extracted from the .sfz i got an error message telling me the file is corrupted.

What am i doing wrong /mu/ ;_; ?

>>52036601
I make tunes with a mastering plugin on the master just so I don't cry at how shit it sounds before the actual proper master.

though once you get mixing down properly towards the end I'd take all that off and mix everything down to around -5db head room. then bounce & master externally.

>>52036953

He's lying.

He started producing and one year later he's in talk with R&S

>>52037090
I used to make music in school but it was pretty bad. By producing this year I mean producing properly, like actually trying hard and not having it as a little hobby to do between fapping all day

>>52037090
Yeah, i guessed it

>>52036700
thats what i was thinking, i just don't want to use the default maximus preset or slap a soundgoodizer on the master (which i have done before)
>>52036943
from videos i have seen , it just looks like mastering engineers just mix your song some more, as well as making it loud. i figure i could get as good as them after a couple years. its not hard to learn how sound behaves.
>>52037060
i thought of getting some sort of mastering plugin, but i feel like alot of them boost unwanted freq, which i then have to take out if i don't like them

>>52037090
>He started producing and one year later he's in talk with R&S

some people get lucky dude. disclosure hasn't been producing forever

>>52037155
well you'll want to get rid of the unwanted frequencies anyway, it's better to temp master something to see the flaws in ur mix so you can go and fix it

Anybody else here record straight rock and roll music? If so, do any of you use DAWs like Ableton or FL Studio?
I have both of those DAWs but neither feels like the right thing to approach for the type of work I do for clients etc. Just wondering if anyone has experience doing it that way.

Also, the new Izotope Ozone 6 has allowed me to take some of my old tracks and "remaster" them to sound pretty legit in comparison to commercial releases. I'd recommend it to everyone. Definitely gotta be careful and delicate with it, but it made me sound like someone capable of mastering.

>>52037192
that sounds logical. what mastering plugin do you recommend? (preferably free)

>>52037210
You can use DAWs for audio too. I record guitars and all that too in Ableton. You can do stuff besides bleep bloops.

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Hey, I don't know if this is the best place to ask, but I'm looking to buy my first setup once I've saved enough. I know nothing about music production. I just want a way to record myself singing and playing guitar and to be able to put it on the internet.

I've researched home recording a little bit, and some people say you need an audio interface like this one:
>http://www.amazon.com/dp/B005OZE9SA/ref=wl_it_dp_o_pC_nS_ttl?_encoding=UTF8&colid=2YGUD4XPPD2LN&coliid=I1CA509KR6197N&psc=1

As for mic, I don't really know what I should think about getting other than that most people recommend Shure. I just want a mic for home recording; I won't be using it for performing. I've seen mics sold in pawn shops or used in music stores, and I think that might be a good idea since I'm just starting out. But I can't help but feel apprehensive about buying used. I'm at a loss in this decision.

I don't think I could afford 2 mics, so I guess I would have to sing over my guitar track. I'm guessing that's where the audio software part comes in too. Other than that I figure I'd just download Audacity and try to figure that out, and that I'm good from there. And that's all I'm really aware of in terms of starting out. Any advice is appreciated.

>>52037155
>i figure i could get as good as them after a couple years. its not hard to learn how sound behaves

this is a little foolish for a few reasons.

the technical side of mastering, if you're not some cocksucker with a plugin, involves a lot of understanding how various pieces of gear influence the spectrum. there's no shortcut- a lot of mastering engineers are profound gearheads who know their incredibly expensive and rare analog boxes down to the material in their diodes

the even more critical side of mastering is an evolution of your ear- you have to be able to hear frequency range to the third of an octave or so, and then to have a sensory continuity to where you remember what everything genre-specific sounds like.

mastering engineers have to have the best ears of everyone, better than mixers.

>>52037155
>>52037272

if you ever do a proper release with a label, they'll never have you do the mastering yourself.

>>52037252
>DAWs
Obviously m8. No need to be condescending. I own 5 different DAWs but Logic seems to be the one with the best set up for me when it comes to recording punk rock bands or whoever else comes my way to do demos.

I am talking about those who don't do much of any bleep bloops (which I do, but not much), and how they feel about FL Studio or Ableton for doing a full project in that type of style. I have a shitload of 3rd party plug ins, so it does kinda even them all out in that type of way. However, I LOVE Reason 8 but it's lack of compatibility with 64bit 3rd party plug ins is generally a deal breaker when it comes to putting down something serious.

>>52037272
Not to mention Analog to Digital summing mixers. Those are crucial in mastering and most average producers or mixing engineers have those.

I think many of us could use programs like Ozone 6 to take a finished track and help the EQ out, maximize the volume while still trying to keep it from being over-compressed. From what I understand, the summing mixer is the real difference.

>>52037258
Check out Sennheiser mics.

>>52037395
Most average producers and mixers DON'T have those *
sorry

>>52037155
>thats what i was thinking, i just don't want to use the default maximus preset or slap a soundgoodizer on the master (which i have done before)

The challenge for me is to make it sound as good and balanced as possible before the mastering stage. That way you learn to mix properly. If you always have a compressor or limiter on there you won't learn how to level things out properly without it. It should sound good in the mixing stage already. If you mix with a compressor on the master it may sound very shitty and unbalanced without it.

I recommend re-mixing your tracks a couple of times during making the track, because while you add and remove sounds the mix can get unbalanced. I just put all the faders down and level em in one by one a couple of times during the process. It is often very refresing, especially if you've changed a lot.

>>52037395
>Not to mention Analog to Digital summing mixers.
I've never seen any actual evidence to support the whole summing hysteria thing. There's nothing wrong with the way DAWs add numbers together. I think it's a big meme among people with questionable technical understanding. Having experience in the studio doesn't mean that your perception is infallible or that you actually know how things work.

>>52037504
They have a large impact on overall maximization from my experience. They are considered pretty crucial at this point aren't they? I don't wanna argue with you, I'm just interested in why you'd put them down.

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Started fiddling around even more distorted kicks and FXs.
[warning]loud and energetic[/warning]
http://clyp.it/ltxxbj5o

you guys have any tips for mixing this track: http://clyp.it/c0ctipt0

I'm thinking it sounds a bit muddy, maybe it's the kick, I don't know.

>>52030543
I wanna hear that shit

>>52037541
>I'm just interested in why you'd put them down.
Because I've only ever seen hand-wavey bullshit and dubious testimonials and not hard evidence, and I can't think of any plausible mechanism for why they would do anything useful at all.

>>52037597
sounds like EQing could fix that.
just filter out some frequencies that sound wrong/muddy to you

http://clyp.it/fhc1lzqe

here is an old old track i recorded back 3 years ago before i had much high end stuff or high end plug ins. i took the final mix and used Ozone 6 to do this. Please give me your feedback....Didn't wanna include the original version cause I didn't want everyone to lose interest.

>>52037210
I do metal and rock on FL all the time.

i have been in this phase for a couple of days now where i am wary about using eq, unless its on shit like hihats, what were producers doing before eq?

>>52038120
lol

>>52038120
Blunt had me like....

Good question though.

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>>52038120
>>52038184
lol again.

Basic eq has been around more than 100 years.

>>52038285
and before that?

>>52038338
recording and producers didn't exist before that

>>52038338
Before that there was no audio recording.
EQ technology came about along with telecommunication.

Early recording were made as in that picture where all players would play at the same time into a horn which was attached to a stylus which cut the master disc.

Instruments which produce higher sound pressure levels were placed further away from the mic.

>>52032207
>>52032650
On the topic of Finale and DAWs, is it possible to work back and forth between the two programs? My uni professor only accepts Finale files (to see the score), but I'm much more creative and easier to composer for me in Live.

>>52038155
>>52038184
>>52038285
well think about an orchestra, they have a jizzload of instruments, and they work with the same spectrum of sound we work with, and even if they didn't know it their instruments all played in their own frequencies allowing room for other instruments and it sounds divine. so it stands to reason that you could do the same with synths. unless you have a patch that has crazy harmonics

>>52038426
You might want to just brush up on your finale skills. Anybody can throw something together in a DAW.

>>52038400
thats fucking cool

>>52038455
Okay, not sure what that's has to do with recording and EQ.

If you played a bunch of synths each with their own amp, into an auditorium, it would sound vastly different than the same synths recorded directly and played back over two speakers.

>>52038400
>>52038471

*I meant horn not mic by the way. Jet lagged.

>>52038455
Don't really get what you're saying?

>>52038510
Yeah. I'd love to experiment with this. Have like 50 electronic sound sources going into 50 Minirigs.

>>52038510
>If you played a bunch of synths each with their own amp, into an auditorium, it would sound vastly different than the same synths recorded directly and played back over two speakers.
It's not so hard to simulate (more or less) with good quality reverberation.

>>52037060
what mastering plugin?

>>52038576
It really, really is.

You can do an impression of it but not come close to the real thing with a stereo setup.

>>52038576
There's more going on than just reverb, also, you're missing the point.

>>52037060
Bad idea to do this.

Just turn up your speakers so that it sounds loud and focus on getting a good mix.

>>52038510
>eq
you could theoretically play an ensemble of synths and get them to gel together without an eq, if you were to tune each synth to a specific frequency range.

>>52038706
Yes, you very well could. But the orchestra comparison makes no sense in the context of recorded music. The whole point of EQ is to adjust for playback over speakers.

>>52038706
Tuning them to a specific frequency range requires eq if you're using subtractive synthesis.

Subtractive synthesis = generating harmonically rich (commonly saw or pulse) waves and filtering (a type of eq) them to the desired timbre.

>>52038755
initially i wasn't talking about recording but you're right.

>>52038627
>There's more going on than just reverb
No there's not. The main difference is that each source has its own unique location. To simulate that, you'd need to use something with multiple inputs. Convolution would work fine, if you have the right set of impulse responses, or a reverberator with multiple inputs and really good early reflection patterns for each input.

>>52038755
That's ignorance talking. The orchestra comparison works perfectly because orchestras are spatially organized in order to keep all the instruments properly audible, both regarding distance from the public and from each other. Much like panning, EQ and gain staging in mixing.

>>52038849
It's not nearly as rigorous or precise as you're imagining. The spatial arrangement of an orchestra doesn't offer nearly as much control as you have in recorded audio.

>>52038837
Again, missing the point.

And again, it's not just about reverb, no matter how complex of a reverb you use. It's about sound coming from a number of sources compared to just two. You can talk about simulation and approximation and the power of computation all you want, it doesn't change the fact that it's not comparable.

>>52038837
Due to the differing positions of each sound source there will be different acoustic obstacles effecting the sound of each in the same space, also the position of the sound source will effect the level resonances within the space, also stereo systems (including headphones) do a really bad job of sound coming from behind, above and below. Even the best binaural recordings aren't entirely convincing.

>>52038998
>Even the best binaural recordings aren't entirely convincing.
They would be if you kept your head as still as a mic boom, and had mics instead of ears.

EQ (the kind you're thinking of) wasn't used until the late 60s
at least not panametric. there were bigger things to worry about than fixing the top end of a kick drum when recording. and course there was no if not many electronic music that needed eq (course subtractive synthesis is different)

>>52039043
erm...?

>>52038996
>It's about sound coming from a number of sources compared to just two.
But I mentioned that already. And convolution would still work fine, if you have the right set of impulse responses, as I already said.

>>52038998
If you're comparing it to a recording of an orchestra, you face the same exact problem.

>Even the best binaural recordings aren't entirely convincing.
Binaural recordings are misguided from the start because each person has a unique head-related transfer function; this can be done better by recording with a microphone array and playing back with a loudspeaker array, ambisonics or wave field synthesis or whatever.

reverb on a kick? every fucking day

>>52039106
And I mentioned that you could talk about apprixmimation an simulation all you want, but that doesn't make it the same thing. I've used plenty of convolution reverb, but I'm not fooling myself into believing that it can replicate the effect of sound coming from multiple sources accurately.

>>52039106
I'm not comparing it so recording an orchestra.
I'm comparing it to actually being there.

You've basically conceded that it can't be done with reverb (or anything else in the world of stereo).

I'm yet to hear ambisonics or wave field but will be working on a project next year that will employ one or the other and look forward to experimenting.

>>52033413
So, anybody?

>>52039173
>I've used plenty of convolution reverb, but I'm not fooling myself into believing that it can replicate the effect of sound coming from multiple sources accurately.
You need multiple impulse responses for that. And convolution really isn't an "approximation". Given the source location, mic placement, etc. it exactly reproduces the original system (omitting nonlinearities and time variation, which shouldn't be significant). It's the same as playing the input signal from the speaker and recording from the microphone used to measure the impulse response in the first place. It's exactly like using an acoustic echo chamber.

>>52039242
bump, i would love this.

>>52039209
>You've basically conceded that it can't be done with reverb (or anything else in the world of stereo).
Reverb doesn't mean stereo. Stereo is a shitty form of reproduction.

>>52039242
I've got the Logic project file of The Fear by Lilly Allen somewhere.

>>52039242
Why would you call us the scrublords when you're the lord of all scrubs? Better yet, why woul we help you if you say that shit? Best of all, why on earth would somebody famous give out the original project file for a hit song?

Volumes of stupid.

>>52039279
Indeed it is but...
...how do you listen to your music?

would anyone be interested in hearing a horribly pretentious/shitty thing i made in protools for a class

>>52039242
>>52039257
fl comes with projects people have made, i may not like the sounds but it sure has taught me stuff. just search the web for ableton projects people have made, but not from youtube tutorials because those guys usually suck

>>52039280
Nigga i don't want that shit.

>>52039308
No, you've not really sold it.

>>52039293
welcome to the chans.

When will I be able to pira- buy FL 12?!

>>52039293
Um because they do all the time? Ever heard of remixing?

>>52039333
it has a lot of pick scratching sounds lol

>>52039253
>it exactly reproduces the original system
Hahaha, you actually believe this?
>It's exactly like using an acoustic echo chamber.
Hey, at least you got something right. However, it is still nothing like listening to an orchestra perform live. It's more akin to listening to recordings of orchestra members played through the same reverb.

>>52032087
Yeah I did buy most of them.

>>52032207
I used SSO before I upgraded. passable free orchestral sounds.

This is all SSO, from about 2 years ago:
http://clyp.it/y2yrfsbn

>>52035601
I studied composition at university... included music tech papers focused on DAWs and recording.

>>52036601
only with great caution. I'd prefer bringing up the levels of all the tracks, and using a compressor on the master as more of a clipping limiter.

compressor on the master should be subtle or things are going to sound... very compressed.

>>52037210
I've used FL to record rock/metal/stoner sludge. It works very well with recording live instruments and/or dropping in samples
for example:
https://soundcloud.com/psllbof/diving-accident-from-100-ways-to-die-1

>>52037621
which shit did you want to hear anon? the 30 second clip of plastic scraping that i created the beats from? ok:
http://clyp.it/vk2x0whn
just recorded it on my phone at work when I noticed the sound as I pulled out some tray.

>>52038426
I tend to write in a DAW, then import the MIDI file into Sibelius/Finale.
MIDI files allow you to go between most programs. you can export from one, and import into another.

>>52038576
Recordings can never match the experience of sitting in the same space as an instrument or orchestra or band. It just can't be done. You can get close, and fool most people, but the experience will always be different.

>>52038849
I find the orchestral layout kind of muffled. woodwind behind all the strings makes them less bright imo. would love to see woodwind swap places with strings. probably not going to happen though.

>>52039374
it looks stupid.

how do i into mastering tracks? seriously though. i just have no real idea where to start

>>52039416
what about very little compression and a bit of gain?

>>52039452
I'm ok with that. In fact I have done that once of twice on very quiet tracks that I'm not too worried about the end quality.

>>52039374
I was gonna buy FL11 but I'l stick with 10 for a bit more

>>52039280

That would actually be greatly appreciated. Some good-ass pop right there

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>>52039422
No it doesn't! The Fruity sampler hasn't been updated since like 1992 and the mixer update is fucking glorious. You don't know how long I've wanted better way to group tracks in my mixer.

It's a shame FL is programmed in some archaic programming language because it is the best DAW out there.

>>52039476
it doesn't have those pattern blocks, if you're one of those guys that use those

>>52039476
>buy
Once you buy any version of Fl you get all future updates for free.

>>52039488
you don't use slicex or edison? and yea the mixer does get abit cumbersome , like if i want to group a whole bunch of tracks to some kind of overall eq, and then i want one of those to go to another track i usually have to make another eq

>>52039425
all you can do is mix it correctly.

mastering is best left to the mastering engineers who have masters degrees in audio engineering.
usually the producer sends off their finished mix to some german company who efficiently spots any digital clipping or errors and sends the mix back for even the most minor clip.
Once you get the mix right, they use their audio magic to maximize your tracks so they pop on radio and stereos.

don't worry about mastering, worry about mixing.

think about frequencies. one bassy thing is going to drown out another, so pay careful attention to which bassy thing you want the listener to hear, and maybe trim some bass off anything that shouldn't have frequencies down there (like crash or snare or hi hat)
the less interference in the mix the better.
(be careful though, many sounds have low or high freq parts that are integral to their shape - like high end in a kick)

just practice, use your ears, try to copy your favorite mixes.

>>52039503
There's a template called blocks(file>new template>other>blocks)that pretty much operates the same way legacy blocks did.

Legacy blocks were a useless redundancy and I'm glad they got rid of it.

>>52039585
>Kraut Space Magic
Knew it.

>>52028257
Best way to get started recording yourself?