Post what you're looking for in feedback. Be specific if possible. GIVE feedback to GET feedback.
Post WIP's on Clyp.it or Vocaroo
DO NOT link to Soundclouds, Bandcamp, or YouTube etc- there are dedicated threads for posting them and anything resembling self promotion will result in bad feedback.
Stop letting /prod/ die when I sleep wtf We need more bump anons, and we’ll organize a schedule
Tyler Anderson
Pls
Luis Wood
Best new piece of gear you acquired or pirated, can be synth of fx, but last thing that really brought something awesome to your music. Go!
Andrew Williams
was messing with guitar rig after some dude shared a bunch of tips yesterday and then realized you can automate vsts with an lfo in max. ended up just making a 100 gecs cover.
fabfilter collection. think i was just put off by the name for ages but they make some damn good filters
Asher Reyes
this is actually pretty old software, but nobody ever talks about it which surprises me. Melodyne is pure magic.
Jack Williams
damn you really forgot the title huh
PIGMENTS is pretty fuckin sick the only thing is it's a giant fucking cpu hog, it's basically on dedicated fx and UniqueToPigments type sounds, which kind of sucks but it's definitely worth having for some crazy shit
sounds like sound effects from half life. like some alien bastard that needs to be shot
Jaxon Rodriguez
maybe I should just drop music and try to make a living doing sound for video games hmmm
Michael Reed
I just recently got a midi controller its a nektar IMPACT LX25+ best 120 buck i spent. It makes it easier and more natural when I add dynamics to my songs
Jeremiah Thomas
Suppose that I'm recording a clip in ableton, is there a singe button that stops the recording of the clip (any clip) and plays it back? When playing live I have no problem triggering the recording of a clip because I have them quantized to a bar so I can press the record button of the clip in advance, but when it comes to stopping the recording I have troubles because often I play the keyboard with both hands until the very last 16th note of the bar, and I don't have the time or precision to hit the button assigned to the midi controller for the specific clip I'm recording. So if this universal-stop-recording-button existed I would like to map it to a pedal
Grayson Myers
Dammn that looks nice
Unrelated what studio headphones you guys recommend? I don't want to spend a fortune but the "studio headphones" I bought on sale for $30 one time were absolute trash
Gabriel Roberts
I had a pair of Pioneer HDJ-500 they range in price for as low s $80 in some places but usually go for $100, very sturdy pretty good sound for the price. I treated mine like shit and they still lasted me for about 4 years before they broke.
Eli Cook
Nice. Is that "vocalness" added intentionally (formant filters, vocoding, etc.) or it's a byproduct of something else?
Dominic Rodriguez
>"vocalness" honestly I couldn't tell you if I wanted to. this is massive so there are no formant filters, and I want to say it's the comb but honestly it sounds very similar even without it and it's barely doing anything, just a slight resonance. This was honestly just a happy accident, I started this patch with the intention of making a metallic snare lmao
Samuel White
>honestly honestly honestly HONEST I SWEAR fuck I cannot type right now. I'm on some grindcore shit atm, can't think
Jacob Watson
Cool. Would it be possible to hear a more clean version or the harshness is an integral part of the sound?
Joshua Stewart
There's that room of 10 m2 in the basement of the house I could use as a studio. As the owner, I could and would have to diy almost everything I want; power, LAN, insulation, ...
Basically, i need inspiration, ideas, ... :If you were in this situation, what would you do with a budget of about 2-3000 bucks? It's not about the hard- and software (there's already a PC with Ableton, a keyboard and some other stuff) but about the room itself.
Aaron Hughes
I fucking despise mastering
Kayden Sanders
>integral part yeah, there's no "tighter" version of this sound yet. there is a slight amount of tube distortion to compress it a bit but the harshness you're referring to might just be low kbps
Colton Hill
How do you place studio monitors when you have three yuge screens on your desk? Pic related is how I have it currently (blue oval is my head, red is the tops of the studio monitors which are on a windowsill behind the desk) and everything sounds like it's biased to the right until I stand above and my head clears the left screen.
Would it be okay to get monitor stands and put the monitors above head level?
can someone give tips on how to clean vocal samples
William Thomas
eq nigga
Caleb Johnson
>the mix is finally right yes! fuck music1
Henry Wilson
im trying but im prob retard.
James Thomas
i gave up a triple monitor set up to make more room for speakers.
have a dual, vertically mounted set up now (one monitor above the other) and truth be told, it's less than ideal. it's better than just having a single screen, but the neck strain is definitely a factor.
if you can do a set up like pic-related (screens 2 and 3 only, but a little less tilt on screen 3), it would probably work better than just going straight up.
most of my third-screen use cases are just covered by having an ultrabook on my desk instead.
don't use the vertical display, just use the 2 horizontal displays. center them and put speakers to left and right.
studio monitors have a small sweet-spot and should be placed the same distance apart as each one is from your head.
and assuming there is a bass port on the back of the monitors they also need to have a good amount of open space behind them. so a window is not a good spot and ideally the windows are covered to reduce reflections.
Parker Cruz
small narrow cuts for subtraction, shelfs for addition.
Brandon Clark
no.
Blake Ortiz
>"and remember to subscribe if you liked these quick tips on how to eq LIKE A PRO!" XDDDD
This is really fun. I think would be cool if you made the guitar sound more varied. I was digging it all along, but on the part where the guitar timbre seemed to breathe a bit more and open up for a few seconds, I felt a relief, like noticing a bit of a bother on the sound before going on and on. Perhaps if you used a bit more of an electronic approach, and brought in delays or reverbs with a creative intent to generate new sections for some parts? Thought that could be really cool. If you were willing to post stems on some of that stuff, pretty sure some cool ideas could cook up here.
What do you guys do to get motivated? I listen to listen to music that I've never really listen to or don't like that much. So for me as a fan of people like deadmau5 I'll go listen to some metal or something to expand my palette.
Brody Long
I give into my depression and internal pain
Luis Walker
drink coffee
Kayden Gutierrez
why wouldn't the music you like motivate you
Blake Thomas
Behringer is based
Carter James
Overall they vibe together really well. Composition is cool and slick, even though dreams could be a lot more dynamic and introduce a bit less predictable breaks or fills here and there. Drum processing is pretty problematic though, and even sound choice should be reviewed. The two main weaknesses are: - they don't gel together at all. So at the very least your drum bus processing should be way more involved. To be honest it barely sounds like you processed them together, they don't come off as a coherent kit, which, like I said seems to have started with sound choice. - they are very sterile and static, not changing over time almost at all. Having filter variations, making your velocity affect other elements of articulation, things like that either at the source or as post-processing would make a world of difference.
If you fixed that, and you made the pad sound less intrusive in the second section, where it gets really muddy and omnipresent, I think you'd have a much cooler song. But the atmosphere is nice, engaging and evolving. I just feel like you were paying too much attention to the big picture of what you wanted to achieve, without really crafting your sounds one by one to get there. Details matter a lot more than you seem to think. Would love to hear it improved, as the song and ideas do make an impression.
Adrian Long
People like to talk shit about Behringer, but I've owned tons of their gear. Everything from microphones, to guitar pedals, to bass amps. Their gear has never done me wrong or crapped out on me. Granted, I baby all my gear and take really good care of it. Never had a single Behringer product go bad on me.
Samuel Edwards
>So for me as a fan of people like deadmau5 I take a lot of motivation for the fact that I'm not a homo, you definitely should try that.
Carson Morales
rofl based
Nicholas Hernandez
Because I can like a song and not be into that genre. Take this for example youtube.com/watch?v=SBjQ9tuuTJQ I'm not that big into "real" music. I only listen to people like Deadmau5, Porter Robinson, Daft Punk, Odesza etc. So I might listen to a a genre I don;t really like and really study the production of the song and like how the recorded the drums or how well the guitars are mixed and then go and look up how people mix guitars, learn something new and then apply it to mixes I make. Yeah I get it haha let's all hate deadmau5. You can't deny that his mixes are always really clean though.
Carter Parker
fuckin kikes crying and being offended by everything as per usual
Jose Peterson
Yea, ive been getting alot of feedback on th drums, and i definitely will work on that. Ill definitely burry the pad. My problem is usually trying to make the whole song at once, when i should take everything a step at a time. Thanks for your input, i definitely appreciate it. Im still in the learning process so I hope to get better in time
Colton Turner
post your trap beats
Nicholas Smith
It's a big handicap, honestly. It's noticeable that you have a musical ear and all, and you think your songs with good queues in mind. Just seems like you didn't apply your ears at drumming nearly enough. Maybe try listening attentively to some drum solos, hear the dynamics, variations, how things are always changing all over. How the sound of percussive instruments is formed with the clear difference between the transient and the rest, and how that relationship is kind of dancing around. More transient coming through on one hit, then a bit less, then a lot less, then in your face again. Maybe try doing some sessions where you do nothing but drum loops for at least a couple of hours. Program something, listen for a while, put on some details, listen again. Then think about how to make your drums interesting by themselves, without anything else, for say 16 bars at first, then 32. Just a few ideas, but you get the gist. Basically, if you plan to use drums at all in your music, drums have to become a part of your life, and as it is just seems like they haven't yet. Which is totally cool if you're just learning, just saying it because it seems like focusing on this now could step up your game big time.
William Fisher
>his mixes are always really clean You wish you could say the same about your fag mouth, too bad it's all stuffed with cum and aids from listening to that gay cancer.
Juan Atkins said he always made either the entire drum section of his songs first, or all the rest, and only added them together at the end. Because if you can't make one or the other sound interesting on their own, they can't possibly be too great when put together.
Brandon Ortiz
Thanks man, i will definitely work on my drums. I was already thinking to myself that i wont even start making the music until i lay down the entire drums with detail. Ill be listening to beats all day long and focus on the drums. im confident i can overcome this handicap.
Sebastian Russell
sound design or look for music to get inspired by sometimes it's just depression but usually my "unmotivated" state is really just me not having something to be excited about in that exact moment
>the part where the guitar timbre seemed to breathe a bit more and open up for a few seconds the pitch slide?
mmmmm that's a maybe, i'm going to see about recording some more guitar parts before committing one way or the other, thanks though
FUCK I thought I had something going on and then heard this. Sick but I hate that kick and the "hey" sample also fuck you, gecs are the shit
Zachary Lewis
the kick is a pretty standard metal sounding kick. Ludwig kick drum with a clicky trigger. Punches through the mix and also slaps if you've got subs
also >gecs are shit ftfy
Hunter Cruz
>pretty standard metal sounding kick I know and I hate that sound in metal, but it just sounds a little over the top.
Thomas Garcia
>im confident i can overcome this handicap. No doubt, it just takes listening more intently to them, and then researching some techniques about how to make those things happen. Maybe take a look on Michael Hewitt's books, search them on libgen. He explains the basics pretty well, and there are also many videos with cool ideas on how to make your drums colourful.
Connor Smith
i didn't used to like triggered kicks either. But try mixing a metal song WITHOUT triggered kicks. It's been done, but it's hard as fuck to get a kick to punch through the mix, sound present, and not sound like a dry thumpy fart. Triggered kicks grew on me. Even when I don't trigger my kicks, I still EQ them to sound snappy on the high end like a trigger does.
Michael Cruz
b u m p : (
Carter James
How do people make these uptempo jungle-ish remixes of songs like Goreshit's "Fine Night"? youtube.com/watch?v=wNShCHNCfUM Do they just EQ the shit out of the original track and then add drum loops and some synth parts on top? How should I approach something like this?
Nathan Gray
will having sex make my chord progressions better?
Luis Nelson
you retards don't know how to type /prod/ into the fucking subject line so my top filters don't work now.
Wyatt White
If you have vanilla sex you get one tried and tested progression per sex. Masturbating gives you really good progressions but many people might not share your taste in music.
>Masturbating gives you really good progressions but many people might not share your taste in music.
unironically that was one of the first things I took notice of when I found out about sewerslvt, like that dudes very clearly a porn addict, and that's why I identify with the music :^)
Nathaniel Rogers
lurk and learn to read you dumb bitch
Joseph Ross
>sewerslvt pls tell me how he does those remixes. I've been reading and listening and it seems like options are finding an instrument version or section and then phase cancel that shit later on to isolate vocals or whatever. Another is if vocals are centered and everything else is panned, you can do shit to catch just the centered sounds. What am I missing?
Jack Fisher
download izotope rx7 and use it to isolate the vocals. works surprisingly well most of the time
Evan Moore
ATH-M50x
Christopher Campbell
oh are you the goreshit guy? honestly I don't know. rx7 like the other guy said, and spleeter/online versions are another option.
Hudson Baker
Thank you. rx7 version 7.01 should be good enough, yeah? Is spleeter the machine learning thing? I was around when that was brought up a week or two ago. I should have known but I forgot the name.
Christopher Powell
tell me which daw to pirate right now
Owen Green
>the machine learning thing? yes. ime it can sound pretty decent in a busier mix but I wouldn't count on it to work any miracles you know
Gavin Perry
For sure. I like it dirty ;) What kind of music do you want to make?
either way i appreciate the help yesterday. still struggling to get the acoustic to sound good with guitar rig but my shitty electric was actually appealing to use for the first time in like a year. the gecs are fine. if you ignore the overblown hype they have a couple catchy songs and a relatively original sound. plenty to dislike about them so not going to die on a cross about it. just needed project to try new toys in and like that song
Liam Evans
id like to make video game orchestral and all types
bonobo in general has insane drums in part bc he uses a lot of interesting noises for example pinging a drumstick against the disgusting coffee cup on your desk and pitch shifting it as a oneshot
acoustical treatment for sure. expensive gear isn't worth shit if you're in a shitty room. see if you can calculate standing waves and hang up heavy drapes at that location, will result in a much tighter low end. absorption panels are also handy given that the room is quite small
Levi Walker
I want to get back into producing after trying it many years ago but never taking it that seriously. I got an old copy of protools mp from ~2010, wondering what DAW I should move to? It'd be great if I could carry over some of my sessions and templates Vast majority of what I'll be doing is MIDI as a longtime keys player (I'm also learning electric guitar atm)
Music I made in the past was primarily acoustic feel (in spite of being MIDI), orchestral or kinda 'cinematic' at times, for example: vocaroo.com/RABiSy8GQZ3 vocaroo.com/n3bxfdiNnsZ vocaroo.com/axGnPucPvDQ they're pretty jank with many rookie mistakes but hey, I never said I was good at it (and these were made years ago)
So what would be the best route to go for the kind of music I make? What DAW/plugins should I look into? I'm also after a new keyboard, might go for some MIDI controller to save a bit of cash though (must be at least 61 key as I play a lot of piano stuff, would also like at least 8 pads), so recommendations there would be appreciated too. Sorry for the long post
Cut the part of the song you want to sample in a way that it loops seamless, then match the bpm of your project to match the sample, it can be a tedious process but practice and you will get it.
i just started learning any music stuff at all casually within the past yr so im pretty wack still. obviously the fast paced drum thing (the good part) is a loop i just grabbed of looperman
Jordan Evans
Whats the hottest plugin right now?
Dylan Williams
Equalizer.
Angel Murphy
Soundgoodizer
Adrian Gray
i bought a shure sm58 and a umc22 and the input volume is so low that i have to increase the gain significantly just to be able to hear it and when i can get good volume out of it there's a persistant hissing in every recording? is the umc22 just that shitty or am i fucking up somehow?
Grayson Allen
Does anyone here use guitar VSTs? I have no hands or time to actually learn guitar so I've resorted to using plugins, stumbled upon one called heavier7strings by some chink company and so far it feels p good. Any other options I should consider?
Jaxson Mitchell
The one you know how to use, have understood all the features, how they respond and interact with each other, and have experienced and played around with it enough to know how it responds to different aspects of sound, and if you can't tell that by ear about each function and what they do, checked on the manual and tried to understand or at least have a distinct idea about what will happen when you turn each knob, before you do it, so that every action you make has an intention and a goal.
Lincoln Scott
orange tree and ample sound are supposed to be decent. i have an orange tree acoustic library somewhere which i needed in a pinch. i play guitar so not really used anything extensively.
James Jenkins
oh and: >I have no hands you should have a doctor look at that for you.
Joseph Allen
He doesn't mean literally you fucking retard. He's probably missing part of the forearm too at the very least, not just his hands.
vst3 fixes are welcome. meh @ the rest it. it's minor.
i just wish ableton index would stop eating up one of my physical cores for a good 3 minutes every time i start the program.
Cooper Gomez
do you guys start off with a key when making melodies and chords?
Evan Cook
I start with a string because I only have a guitar but if I had a keyboard I would.
Thomas Lewis
Anyone please?
Jacob Martin
have you considered just using the ableton looper instead?
Matthew Roberts
is there is a /prod/ discord or alternative ?
Andrew Green
Your local bath house bug-chasing community
Ryder Reyes
there is no such thing
David Walker
Hmm so you mean you searched really hard for it, so you could affirm so clearly it's not there? May I ask what was your so keen interest in it, perhaps?
Easton Roberts
Guys I'm too retarded to record my keyboard via usb midi (using audacity or reaper), please help an user out. My pc doesn't even recognize the usb input
Jack Williams
>my keyboard >my pc Like anyone could figure what is going on there without knowing the specs to figure why one is not communicating with the other. Go check drivers for your specific device, and google if anyone else had the same problem, if your OS version is even supported. Or just post your version of Windows, your PC specs and the model of your keyboard and pray that some user will either have the same problem or be enough of a nanny to do your googling for you.
Ryder Wright
whats a good sample editor?
Thomas Edwards
depends on the song but typically I stick between D and F# when it comes to selecting a key. key really only matters if you're mixing for the club (or any specific setting) or you're recording a particular instrument (i.e. violin has more opportunities to produce resonance in D major than F major, and it's easier to play fast passages when open strings are available)
Daniel Russell
The instrument, user
Caleb Butler
Yes, and each instrument has a driver for the usb to communicate with the computer, and all those drives are different, so the reasons for the failure to connect is entirely dependent on the driver. Do you think USB is what, magical rays that emanate from one device to the other? There's a protocol dictating how those will communicate, and it's unique to each device. So without knowing the brand and model of his keyboard INSTRUMENT, there's no way to even theorize why his computer is not recognizing it.
Charles Howard
for
Lincoln Scott
Yes, but looper is so limited. I want to be able to record several sets of clips that play well together, and alternate between sets, not have just one loop. The best I could do out of looper was recording the its audio into clips, that way I had the recording flexibility of the looper and the playback flexibility of clips. But there was one major problem, each time I had to let the whole content of the looper play one more time after I recorded it (to be stored inside the clip) and this doubles the time of every performance and makes it much more boring than it needs to be
Kevin Morales
bump
Mason Torres
ableton in general, kontakt
Connor Sullivan
What exactly are return tracks used for? By default my Ableton has a delay and a reverb track next to the master. Are these just used in case you want to bundle up several tracks under the same effect with the same settings so you don't have to copy the same effect into each track or do they have any other special properties? Also what's a Bus ch*nnel and how is it different from a return track? Also is there any need to send everything at the end to the Master track or is that something i don't need to bother with since everything you have is played back through the master ch*nnel anyways (as far as i can tell)?
Literally had to censor ch*nnel because this site thinks it's spam. Good job Hiro
clyp.it/yuczko1c I was originally trying to go for more of a house feel but it kind of morphed into ambience is it boring? the vocals are fine but some autotune would really make it pop
How can I make this easier to add vocals over besides EQing it
Lincoln Roberts
>the vocals are fine but some autotune would really make it pop Thank you. Yeah a little autotune would make it unironically sound better (the guy wasn't even singing with a beat), but also less funny.
>clyp.it/yuczko1c I think those vocal chords are nice but don't fit with the rest (especially the main rhythmic sound). I'd say take them out and use them somewhere else.
Daniel Powell
bump
Angel Jones
>samples tuned to sharp notes
FUCKING WHY? WHO PICKS SHARP KEYS ALL THE TIME???
Thomas Mitchell
it literally makes zero difference. what's the problem? if a sample is C# and you need a G you have to transpose it. if a sample is B and you need a G you also have to transpose it. Same shit.
Pls rate this Dungeon Synth I wrote. Also how do I get rid of the "pop" clipping sound between beats of the timpani? I am using a WAV sample I found online, in LMMS, if that matters.
Also where do people post dungeon synth? Should I make a bandcamp? Should I make (another) soundcloud? Or should I try to put it on sotify somehow?
have you never tried tuning anything with an ambiguous fundamental?
it's a small thing but i'd prefer if there were half as many wrong notes that samples might come in- pretty much nobody goes out of their way to use sharp keys by default, it seems like one of those things like providing loops that don't actually loop just to slightly fuck with people like bro why????
I just needed to bump, it's not a huge deal
Justin Adams
1. that timpani gets really old really fast 2. literally all your synths move pitch at the same time for almost the entire track which makes it sound painfully robotic and undynamic. I'd give this composition a 3/10 even though that sounds harsh.
James Nelson
sounds really great, nice work. something does seem off about the harmonics on the tail of the timpani sample, like its modulating at the wrong speed. maybe filter it out, or find a different timpani sample?
Carson Turner
GuitarRig guy here. I never use GR for acoustic. You won't get a very good sound. Use a vintage styled compressor plugin, pultec tube eq plugin, and a small bit of plate or room reverb. You can throw in a light chorus effect before the reverb If you wanna get fancy
Brody Flores
I would recommend Reaper because it's lightweight and has a notation view if you're into that... Pirate kontakt libraries for your sounds. I don't know anything about midi controller keyboards with pads. Sorry. I would like to bump this question. I think you're right, but I'm not sure either. That's pretty fucked that you can't say channel after bus and master.
Xavier Price
Would I be able to use my samsung tablet as a USB host so I could connect my MIDI controller to mu Neutron? Would there be too much latency and be unusable?
Parker Foster
EVERYTHING WAS SHIT TODAY I need to redeem it... accomplish something......... FUCKKKKKKKKKKK
>re these just used in case you want to bundle up several tracks under the same effect with the same settings that is bussing, or grouping in ableton. > Good job Hiro necessary
essentially sends and returns, (returns are sometimes called auxiliary tracks) *add* to the already existing signal. A buss is basically a track that you route everything else through, so if you mute that track, you're muting everything that's running through it, you compress everything together, you low pass everything together and so on. This is useful if you have multiple tracks that you want to "glue" together, like maybe double tracked guitars, pads, whatever.
Jaxon Rodriguez
Thank you, Yui. Could you say that a bus is like a return/aux track with multiple sends going into it?
Luis Richardson
I don't know anyone by that name :3
Not quite. If you mute a return, everything that's routed through there will still be audible, but if you mute a bus, everything is silenced.
If you think about the term "master bus" it's basically the same thing, just before the master lol, and you can think of returns as basically adding another track that's just taking sounds from elsewhere.
Juan Scott
>If you mute a return, everything that's routed through there will still be audible What if you are using your return to get 100% wet effected sound so you muted the send going into it? Does that make it a bus?
Here we go again, can i get feedback guys. I hope im not getting annoying clyp.it/auhfhvv0
Elijah Harris
>Does that make it a bus? nope, still a return track.
Your daw should have an option for returns to take tracks in pre fader, so even if you pull the faders down on every track, those tracks will be silenced but the return will play as if everything was set to 0db.
(I don't think it'll apply to you but) As far as I know, ableton is the only daw that will start fucking up and doing things counter intuitively with muted channels still being audible through returns once you start bussing or using racks.
Gabriel Sanders
>even if you pull the faders down on every track, those tracks will be silenced but the return will play as if everything was set to 0db. Neat. Thank you. I've been using trackers and haven't had to deal with a mixer yet. I'll be sure to read the manual.
Easton Hughes
I recorded some ok sounding demos in Logic. What are some tricks to "upgrade" them to more professional sounding songs?
Jackson James
practice + patience
Zachary Morales
I'll give you the best advice that my mentors gave me when I was just getting into recording/producing.
Get your input sound as PERFECT as it can be, don't "fix it in post" >recording guitar/bass? NEW strings (every fucking time), good pickups (unless you own a high end guitar, you're gonna wanna replace them with aftermarket pups), good 1/4" cable (mogami or monster), plus a cleanly played and well-rehearsed performance
>recording drums? NEW heads top and bottom, learn to TUNE your heads properly, decent mics, good xlr cables
>recording vocals? good mic (sm7b is the best bang for your buck. you won't find a better mic until you get into the $1000 range), plus a well rehearsed, well practiced performance
learn to play to a METRONOME
Learning and employing these simple principles will make your songs sound 80% better right away. One of the guys that mentored me could get such good drum sounds BEFORE any plugins or post-production. All he'd need to add is very slight compression here and there, tiny amounts of EQ'ing, and minute amounts of reverb and it sounded studio quality every time.
Robert Bell
The key of middle C as we heard in one of the recent threads.
Angel Brooks
What's the worst plugin in your opinion? For me it's Fruity Limiter. It's just so fucking bad.
Caleb Young
everything waves and native instruments I just don't like them
Daniel Thompson
I took (relative to me) large doses of amphetamines to "help with my productivity" and I ended up doing a 30 hour awake/12 hour sleep cycle for a week.
For the first 5 days all I did was listen to music and felt suprisingly calm considering I suffer from anxiety.
The last 2 days were me realizing that the entire skin off one of my legs had been peeled off, was bleeding profusely and covered in bruises. At first I thought I had leukemia and took more amphetamines to aid in self-diagnosing through the internet.
Then that kept me awake for 40 hours and I thought that it was 5G, then I spent hours reading about JFK/CIA/9/11/government millimetre wave weapons and I set up a dynamount shotgun mic pair that was rotating on robotic mounts at opposite lateral phases and another single one that I could point at a specific location, also used a bunch of other mics and polar patterns and ran through an audio restoration noise reduction plugin chain and I was trying to transpose the millimetre wave weapon's signal using different realtime pitchshifters down into the audio range so I could analyze it and I did find a sine/triangle-ish wave that was sweeping between 3-4khz that I thought was the spooks and I ended up blasting a loopback recording of it from a large JBL PA speaker out of my window in the direction it came from and got shouted at by my neighbors.
But mostly I sat there for hours and could hear people eating potato chips, brushing their teeth, jacking off etc with the mic/noise reduction setup.
I ended up discovering that amphetamines make you psychotic if you take too much and stay awake too long and that the cuts were caused by parasomnic scratching in my sleep, my leg has healed now that I put on shinpads and gloves as I slept and stopped tweaking. So the lesson here is just drink coffee or water.
Nicholas Thompson
I hate waves plugins with a passion. NI seems alright. Although I've only ever used Massive so I haven't really had a good taste of what NI is like.
Henry Gomez
post sample(s)
Cooper Stewart
is that you burial
John Kelly
kind of a weird question, too many answers ableton limiter and eq3 are the only plugins I don't regularly use
>native instruments worst is not the same as just not liking tho
>amphetamines make you psychotic if you take too much and stay awake too long I still romanticize my days of being an addict and doing a lot of drugs and being 10x more degenerate than I am now, but honestly getting clean and just abstaining was the single best thing I ever did for my productivity.... obviously not everybody's the same but to me it's just having less problems to deal with and being able to stay more consistent
...? boom-bap-ish kicks are the most annoying drum to tune, usually there isn't a clear fundamental because of the recording quality or whatever
Adrian Myers
just wanted to hear what sample you're complaining about that's all
Ayden Walker
I was just making a bitch post to bump, it was just a random kick... and very easy to tune
I trashed that song 10 minutes later so I have no idea which it was specifically
Benjamin Evans
I just downloaded the free Tracktion7 daw to bring my music production from 0 to 100 :)
Hudson Wright
I was told by a counter-terrorism audio forensics specialist that their department is prohibited from using Waves plugins because it contains a Pegasus spyware backdoor that is sold to organized crime groups, the very subjects they are trying to investigate the activities of i.e. b.mb threats, ransom calls, weapons deals, drug deals, cash transfers.
They train them to recognize by ear different plugins and software like timestretch algos, pitch-shifters and vocoders and as soon as they identify what the software is they can unscramble the voice very quickly. Apparently most scrambling is very unsophisticated, usually just one vocoder preset from a common plugin, they said the standard way was they would download a free plugin like TAL Vocoder or use cheap live voice FX units from Roland/TC and the conspirator on the other side would have a preset to unscramble it. But the audio forensics people could tell by ear what it was, had some way of watermarking quirks in each bit of software/hardware and their locations and activities were given away very quickly.
I was surprised to hear that people still did voice scrambling, I would have thought it would all be PGP these days.
Ryder Parker
Cute post, but this is easily debunked by the ability to stack plugins and... not using presets, making that guessing game impossible
Lol @ “audio forensics”
Jaxson Torres
yea I know but its just how I feel about them
Ayden Lee
no but waves are faggots they have sent undercover people to studios that used cracked waves software and then sued them
David Moore
If you've got a studio, then you're doing it for business, and if you're doing it for business, then you should be making money, in which case, you should fuckin' pay for the plugins that help you do your job and make you money.
Jordan Howard
umm sweaty, cute attempt to debunk my post Multiple Times
Audio Forensics is a real thing at the FBI and Scotland Yard. It's not for unscrambling military communications which is basically impossible but for smaller fish in organized crime.
The guessing game is not "impossible" and I asked them about weird custom stacks of plugins and manual settings and they said they are trained to reverse-engineer the order of the chain, they have a software filter of artifact signatures to narrow down machines/VSTs, deduce what the signal path is with S/N ratios and phase cancelling etc and they just have to go to the vocoder guy/girl or the pitch-shifter expert to 'safe-crack' what is being used and if the signature scan is accurate, sometimes they call upon the coder dude to write a new program and so on.
All they have to do is get it legible enough to have multiple people listen and transcribe it and compare their transcripts and if they match closely then that counts as a successful unscramble.
The reason they don't use Waves is because the Pegasus software infects every USB/dongle/wifi thing it comes into contact with and alerts criminals who paid for access to the backdoor, like a police scanner, that they're being watched and who they're being watched by which ruins the element of surprise.
They can only use Waves on an airgapped computer with the USB ports removed and no Wi-Fi when they identify the voice scrambler as a waves plugin.
You can go on the FBI/NSA/Scotland Yard websites if you want, look up keywords and site: xyz, because they give some more up-to-date information there but I won't because I'd rather not click that shit.
If you're arguing that this isn't a thing and I'm doing some qboomer LARP you must be very young and having a gamer moment, I wasn't saying it to be cool. I was saying it to add credibility to the warning that if you have Waves plugins that shit contaminates your phone if you plug it in to your Waves-addled computer or even the Wi-Fi that computer is connected to, spreads the Pegasus backdoor to all your WhatsApp contacts, scrapes their cloud backups, infects their computers, IoT devices and propagates like the plague and it's not "Mossad" or ClA or NSA, who are definitely sketch af, but anyone from turkish drug gangs to russian mafia.
Any suggestions for a different timpani? I'll try to give the synth progression some variation. Do you think that would make it better or are there other problems?
Daniel Anderson
i dont think u need a new one. try using it more sparingly. find other percussive instruments to supplement it and replace it at parts
Parker Cook
The lead designer and brain behind the most advanced stealth-bomber we know of, the B-2 Spirit, Noshir Gowadia, sold the sensitive details of how it evades radar, how it flies inbetween gaps of Russian/Chinese early warning pickets and completely shat on the capability of his own design, to get money from China/Pakistan etc so he could buy fancy cars, pay off gambling debts and spend his ill-gotten gains on hookers and blow.
You can't trust people. Even geniuses who make excellent products. Some Tel-Avivian working on the Pegasus software, which was sketchy enough to begin with, copied it and made versions where the lsraelis can't have it phone home and deactivate its usage by all manner of criminals and shady people.
Yes, even the pirated version has the Pegasus spyware. It's not that there's much chance you will have your financial details stolen or email accounts stolen, but it's that you will be spreading malware unwittingly and helping some very bad dudes, including human trafficking of the worst kind.
1. When you sit down and start a project are you trying to achieve a certain feeling or sound or just start and see where it goes?
2. What would you say the range is for your projects? Do you go where ever the road takes you for that day or do you make decisions that keep you within a certain genre?
Alexander Myers
Please tell me what will make this song more interest and critics on the producing vocaroo.com/hLLwFsp3jy4
Is this a Microfreak and Drumbrute ran through a Tascam with some bounces/overdubs? Or is it some sort of Arturia VST doing that autopanning like the Prophet VS or Synclavier going through a tape sim VST?
Carter Hill
yo can anyone tell me what's happening with my silent recording?
I play guitar so I've got a Laney IRT Studio with USB I/O going into my computer directly. I'm using traction 7 (poor boy) with a compressor some chours/delay and a cabIR thing. I can't record shit since it keeps doing this weird volume swelling white noise. I don't know if anyone has experience with this sort of stuff but it's killing the vibe RN.
This recording is coming straight from the system sounds. If I look at Traction in the volume mixer it is definitely the culprit of this white noise.
I think it may happen more frequently when I play but around the 4 second mark you hear the noise in there. I can't seem to find anything out by searching.
Aaron Lopez
Lol ill take it as a compliment
Nolan Robinson
Actually its the tomcat and a Yamaha pss 140 through a pockrock through a equilizer over dubbed on the Tascam.
just use a virtual machine on an air-gapped computer
Isaiah Reed
The levels are all out of whack, sounds like you've taken a guitar pro tab and converted it to midi and then slapped some preset instruments onto each midi pattern
Sounds like you put trillian or scarbee or something on the bass midi, addictive drums on the drum track and it didn't even convert properly because it uses tab instead of MIDI keys and you have random crashes and toms that sounds like they're meant to be open hi-hats. Sounds like you've smashed the room mic channel and it just sounds amateur and dumb.
Are you using fake sampled guitar kontakt packs? The clean guitar panned left is way too loud, the bass has mud around 150hz, drums are just squashed and there's no space for anything. You can't just have the bass play the same note as the guitar in a lower register without those overtones clashing. Sounds like you used some sort of auto-theory harmonic progression generator with some weird arbitrary filler notes/chord changes. Is that right-panned guitar playing chords which sounds super robotic some fake guitar plugin too with alternate strumming? Is it fake strat on the left, fake overdriven telecaster chords on the right?
By god the drum programming is fuckin stupid, tell me you just exported a midi file from guitar pro and the addictive drum plugin played the wrong drums and you were just lazy and left it - tell me you didn't actually program that in and think it was good.
Chase Gutierrez
I wasn't too far off though was I? >Hardware drum machine >Hardware keys >Overdubbed on tascam
Wyatt Richardson
>If you're arguing that this isn't a thing I didn't ever say that..? Everybody has seen that shit in a movie at least once lol
The joke was playing off the running /prod/ gag about how top tier producers have secret software available that enables them to create sounds that no one else can- in this case I was implying that this audio forensic technology would be able to make stealing other peoples' sounds and techniques a trivial matter
Ryder Reed
yea i usually just aimlessly fuck around in my daw but when i have an actual vision of what i want to create the songs come end up being better on average
Asher Ramirez
Virtual Machines are compromised, Oracle is beholden to the ClA. All the distros are compromised too, open source doesn't mean shit, the nerd cybersec autism means nothing if they don't know the politics behind the companies that make the software.
They think because a company makes open source software, pays generic lip service to how they fight for privacy and signs/verifies their own downloads that means it's full stealth. The spooks don't even need to break encryption because of all the amendments to the Stored Communications Act. All those retards who write articles in tech/privacy/crypto sites/blogs still say that a spy has to phone up a FISA department who then phones a judge who has to sign a document then fax it back to the spy which is a bunch of bullshit.
Those spies are not guys in suits in a big data center with the boss looking over their shoulder. All that shit is a LARP, The Intercept is a honeypot, Snowden is a dangle. The cyber-spies are Weinstein's and Epstein's cronies who have offices in Hollywood, so when they want to harass/threaten Harvey's victims they'll have the packets go through a Canadian Azure cloud storage server in a bank, then a Swiss one, then an Irish one, then back to Connecticut Microsoft, or Amazon or whatever company matches the OS (Red Hat if you use certain linux distros for example) and then back to Hollywood.
Joseph Nguyen
>I would recommend Reaper because it's lightweight and has a notation view if you're into that... thank you, as it happens I just downloaded Reaper last night to take a look at, found out it supports skins/keymaps for protools which is great. Will need more time to use it and gotta get some instrument vsts but this could work.
Liam Ward
god damn i'm fucking impressed with myself right now
Carter Foster
if everything is compromised then why should i give a shit
I c. Making a scrambled convo legible is not the same as getting the SECRET WEAPON JUSTICE SOUND.
That autist isn't wrong though, there is a secret to the Cross album. They didn't mix/engineer it themselves. It wasn't Mr. Oizo or SebAstian or any bullshit like that.
There is no joke a secret society of ghost-writing/producing/mastering for music based in the UK that is based in London, Surrey and Manchester. This was set up during the Cold War as the US/UK "Soft Power" intelligence unit, The Beatles and many others were ghostwritten by this unit. A secret counterpart to Radio Free Europe/Radio Liberty, it is still active today which is why the Brits still punch above their weight in the charts - it's not because they're geniuses and Americans are fat fookin yanks, it's because the unit lost its funding after 1991, severed its American ties to the Laurel Canyon unit then it was converted into a UK-French system of ghost-xing and NDAs. The recruitment stations were renamed "Access to Music" but the ghostwriting network is just names of people. Let's call it "Access".
It stems from Enlightment-era Bavarian illuminati Musicians and their attempts to decode the geometry/mathematics behind what makes music tick. That's why Daft Punk have all the masonic symbology in their PR. It doesn't mean they're "deep state", but their parents connections got them connected to the UK/France soft-power arts network.
Nilesh Patel, the Mastering Engineer from The Exchange was Daft Punk & Ed Banger's connection to "Access" and he died in 2011.
Hudson Green
Is digital worse than physical for music production? Does it matter? I did this just in fl Studio youtube.com/watch?v=fwjTH9lNsfc
This is ridiculous but desu it doesn't sound that far fetched, pop "puppets" are an open secret lol idg why you're writing this shit as if it were some Yas Forums conspiracy though
It now only makes that sound when I have Tracktion open
Henry Barnes
Here's some audio coming off my phone mic from it being held up to my headphones. It's a wonk way to capture audio but nothing else seems to be working.
Daft Punk's Thomas Bangalter's father was already part of the Cold War soft-power transatlantic unit(s). Before the robot shtick they still protected their anonymity, not for mystique (see pic related for them demystifying how they made their Homework demos before Access mixed and mastered the stems) but to divert attention away from their family backgrounds and connections to the military and intelligence in France.
The DP sound informed European dance music in the late 90s and throughout the 2000s, then Justice, who are full Milli-Vanilli characters with rich parents the brought them Access through knowing industry people who knew Nilesh Patel, made the EDM and Brostep sound of the late 2000s-2010s.
In the late 2010s, Diplo's circle came in as the biggest player in influencing the sound of electronic music and pop. His Access came through M.I.A., whose family has deep ties to British royalty and she was manufactured into an alt-pop sensation even though she was in her mid-thirties because of the clout her family had.
Because of the implementation of LUFS and "perceived loudness" penalties (secret algo that lowers overall peak volume based on psychoacoustic properties, not disclosed so artists cannot skirt around it unless they are part of Access) and the indicators for streaming royalties, the spamdexing, the payola, the bureacracy this made Diplo/Major Lazer's style of really fucking annoying looped vocal sample gliding hooks (Pon de Floor, then smash hit "Lean On" w/ MØ established the retarded sound) become the main style of the Access network.
The reason why the billboard charts are so heavily full of reggaeton rhythms, orgasmy whisper singing, stacatto sounds from mumble rap, short decay bass, like Larry Heard "Feel It" plucks/"lately" bass like in Azalea's Fancy, Dry claps supersede big snares is because those skirt the streaming LUFS penalties and make it louder on Youtube/spotify/itunes.
>yamaha psr 73 "toy keyboard" >fender telecaster >fender japanese bass >my shitty voice
based aggie pic. it depends on what you make of it. some songs of mine I would only do if I had a real spring reverb amp, a real piano, and a real drumkit with a miking job. Others I could only see myself making in my DAW. Also I really enjoyed your song. It was a really cool listening experience, I see myself coming back to it.
Im a bad singer myself but I advice you improve your pitch a little bit, you have nice ideas and a cool boyish voice. Music sounds good but things are p quiet and sorta just there.
Go to 1:30:30, the content is blocked from embedding on Yas Forums so you won't get the time cueing.
Luke Cooper
this is actually good, makes me want to rap over it
Kayden Carter
seriously? I was just telling my friend how I can't imagine rapping over any of my own beats, and I like a lot of the stuff I've made recently but for some reason I don't feel like I can rap over any of them, even the ones I would like to rap over.
Jaxon Thompson
why is no self promotion allowed? what if i make my own thread?
Camden Reyes
fucking bitter janny
Tyler Cook
The main reason is the faggots who makes these generals think they're better than soundcloud spammers (they're not). Secondly, >self-promoting on 4channel. Thirdly, these threads are really just quasi-friend simulators for bedroom hobbyists.
Juan Turner
like necroing an old thread, i dont really see the harm unless it's just spam. Maybe not in a thread like this but if you made your own thread then sure. I dont think there's enough creators on here to where it would be a problem.
Jack Fisher
There's already a thread for advertising your soundcloud you retards
Gabriel Powell
there's like 4 sc/bc/self-promo threads going on Yas Forums at any one time, mane. go post in one of those.
on a serious note though, why are people even posting those threads? like what conceivable benefit do you think you're going to get by posting your music on a mongolian basket weaving forum?
David Lee
literally every place online that allows promo becomes a dead dumping ground, what are you talking about man lol.shit's just going to get deleted
>better than soundcloud spammers scum
the reason is just mitigate spam and link dropping, there's a dedicated place for that. The only people who don't get why that's a rule must be internet casuals, it's really not that hard to understand if you take anymore than a cursory glance at this board or have witnessed promo graveyards on any forum
Leo Johnson
sometimes if people are drunk enough and feeling conversational they will click your shit
Lucas Sanchez
yea. i don't know how to rap though
Daniel Watson
>conceivable benefit eventually you could have a couple hundred followers if you follow them too, and have a false sense of getting somewhere with your music that you're most likely promoting prematurely
some people just want to be heard by anyone man, some sign that they're not wasting their time
Carter Allen
>i don't know how to rap Seeing what passes as rap you should be fine.
John Williams
damn
Carson Rodriguez
I lowered a thrash metal song with heavy vocal doubling to -4 pitch. What can I do to massage some of the warble out? Are there any Audacity presets that can do it, besides "high quality stretching" during the pitch-shifting step, which I already did?
sounds very preset/ virtual instrument-ish, voice isn't that bad just a little too like speaking.
you have a decent idea of structure, just work on your sound selection
Luke Walker
Guessing: I hear that start bit as a recorder/sequencer that punches in/out and it has the sound of boxes where you adjust quantizing after the fact like the SP-404. But the SP-404 is awkward to make those repeating drum rhythms so I'm going to guess it's an MPC type thing that also sequences midi notes from a keyboard.
Perhaps a Roland/Yamaha soundfont making the acoustic pluck sound, synth sound panned right maybe from same YG/soundfount machine, but it sounds like old 12-bit or 8-bit crust at certain points, maybe the right panned one is a casio SK or VL. I'm guessing the drums are some sort of old budget BOSS dr rhythm machine.
All sequenced by the MPC pad/midi thing into an old multitrack mixer.
Luke Torres
steal the Secret Weapons plugin from Epstein's airgapped computer
>essentially sends and returns, (returns are sometimes called auxiliary tracks) *add* to the already existing signal. not quite sure what that means >A buss is basically a track that you route everything else through, so if you mute that track, you're muting everything that's running through it, you compress everything together, you low pass everything together and so on. This is useful if you have multiple tracks that you want to "glue" together, like maybe double tracked guitars, pads, whatever. So it is used if you want to apply the same effect to multiple things? But is it functionally different to a normal track in any way or is it just a label you put on the track because of what you use it for?
Brody Wood
not that dude, but i'll refer back to your original question here:
>What exactly are return tracks used for? By default my Ableton has a delay and a reverb track next to the master. Are these just used in case you want to bundle up several tracks under the same effect with the same settings so you don't have to copy the same effect into each track or do they have any other special properties?
it's common to think of returns the way you've referred to them and reverbs and delays are the thing that most people think of when they think of returns. you slap one of those effects on the return channel, turn the dry/wet to wet 100%.
so yes, a common use case is to 'send' a bunch of tracks to the same reverb 'return' to give them a common sense of space. the benefit of having the reverb on a return (as opposed to grouping the tracks together and just slapping the reverb on the group and dialling back the dry/wet) is that you can control the amount you're feeding into the reverb on a per-track level, independently of their level in the mix. additionally, because your reverb is now on its own channel, you can filter it, compress it, distort etc without affecting the dry signals. basically your reverb is then running 'parallel' to the original audio signal.
and therein is how should think of return channels - as parallel processes that run alongside the original signal. you can run distorted signals in parallel, hyper-compressed signals in parallel etc etc and set the level of the parallel signal as needed.
now you're probably thinking 'well, doesn't a dry/wet knob do the same thing?' and you would be mostly right; it's basically the same thing (unless you're doing the thing with multiple effects on your return channel). in practice, however, dry/wet knobs can often just 'feel' worse but that might just be the boomer in me.
Jacob Wilson
>bus(s)es so in ableton if you have 2 tracks, and you group them together, you'll notice that their output changes - from the master, to the group. the group is thus acting as a bus. there's nothing more really happening - the audio is just being summed together at the bus before going to the master. you may do this because you want to eq/compress/distort etc the bussed channels together or you may do it just because it looks a bit more organised. usually, throwing a bunch of things together and doing things like compressing them will help 'glue' them together.
you can also just create a new audio track and manually change the output of the tracks you want grouped together to the new audio track and set its monitor to 'in'
>Also is there any need to send everything at the end to the Master track everything eventually needs to hit the master or you don't hear it. it doesn't necessarily have to hit the master directly - e.g. it goes to a bus and then the bus takes it to the master. but eventually, if you're hearing it, it somehow found its way to the master.
Josiah Jackson
oh and i'm just going to mention that returns can exist as pre-fader or post-fader. i'm not going to type out what that means or why you'd want to use one or the other, unless someone asks.
Luis Martin
thanks for typing all that out but i must be retarded because i'm still not quite sure what the difference between a bus and a return track is then. they can both be used to bundle tracks together and put effects on them, the only difference i can think of right now (but i might be wrong) is that on a return track you can choose how much of the signal you want to send to the return whereas a bus just bundles them.
that being said, if i had a dry audio signal with no effects on it and i sent 50% of it to a return track, what change would there be? what's 50% wet of a dry audio signal? just volume?
god this is embarrassing, maybe i should go read a book.
Jason Ward
so you don't want to use returns as a 'bundling' mechanism.
>what change would there be? just volume? yes. by default an audio track will go to the master. if you put it into a group it will go to the group then to the master. if you 'bus' it to a different track (bus-track), it'll go to the bus-track and then to the master if you 'send' it to a return it will still go to the master, but a copy of the signal will start getting fed into the return. the return will then go to the master in addition to the original signal.
>PIGMENTS is pretty fuckin sick I've been wanting to try that for months, and was pretty sure it was going to be amazing. But finally downloaded yesterday, and even with such high expectations, I was quite surprised to hear it. Obviously I didn't dive deep into the engines yet, but I pretty much figured the functions by eye and can't wait to explore all that. But just playing around with presets, I actually liked them and started having musical ideas. And I literally never use presets, on any other synth, everything I do being self-designed. Was checking them just to get a feel for the synth and in less than an hour playing around, I got an idea for a section of a track I was working on before, and a whole new idea for another track. Don't want to make statements now that could seem uninformed once I learn it more, but for real, just the fact that I wanted to make music from its presets coupled with what I already understood and saw of the functions and possibilities, this is very likely to become my favorite synth ever.
Some nice plants, mellow lighting,coffee machine, fridge for beer, comfy desk and seat, 2 big monitors (displays) decent computer and some really nice headphones.
Jason Lee
Sausage fattener obvs
Matthew Green
>Is digital worse than physical for music production? Does it matter? It does matter, a lot. Not in the sense people think though, it's not like one is good and the other is bad. They're both great. It matters in the sense that you'll achieve different things which. If you want a generic answer, is that digital is ultimately better. It means a thousand times more possibilities. But that doesn't mean everything, and if you use only digital there may be things you want to do that aren't really possible. If you will miss them or not is entirely dependent on your sound. I use strictly digital, and don't miss anything. My music is strictly electronic, and if I want it to sound like analog gear, I know how to make that happen. But if I wanted to make it sound like real world instruments, then there are solutions but they're obviously not the same as having the real instruments. So in terms of quality of sound, there is no better or worse. The best music you can make is by knowing what you're using perfectly. In terms of what you can do. Well, if you want to program a few notes on a synth, have it heavily modulated by a bunch of parameters, then fed into a huge chain of drastic fx, each one creating new textures, parts of your song, to be edited, cut, put together - it'd take having a studio the size of a whole floor with a fortune in gear inside. But can be done in one computer with only Ableton. But, on the other hand, if you want to have realistic snare roles with completely real world dynamics, you'd have to spend a long time making it happen digitally, and still wouldn't be near the same as just micing your drum set. So, in a nutshell, the differences are huge, but in creative possibilities, which may or may not be relevant to your sound. The endless discussions of X sound better than Y are just mindless wankery by people with too much time in their hands.
Blake Lopez
>I did this just in fl Studio Sounds pretty neat, and you're exploring different sounds and fx there in a very musical way. Vibe is very real, and the arrangement and textures are pretty varied for such a minimalistic set of instruments. Very cool. If you want a tip to grow, would be learning more about EQ and understanding the frequency range. Decide more carefully the mix presence of each instrument having in mind what place of the spectrum they sit at. Everything that is brighter will sound louder and more in your face than lower sounds simply for being brighter, so your mixing should compensate and balance that out. Having a huge saturated snare screaming aggressively on your ear, with only a faint kick on the background can be fun for a few seconds, but through a whole track becomes really exhausting, and limits your possibilities to do more with the track. Each instrument needs to have their fundamental and one or two harmonic sweetspots coming out very clearly, with no other instrument fighting for that space. Think you could improve your sound a lot by checking a few videos or articles on EQing and thinking of mixing more in terms of balancing everything together than in terms of making stuff sound cool here or there.
Jacob Rodriguez
i haven't actually used it but judging from the price (50$ for an interface) i'm gonna assume that the pre-amp in this thing isn't all that good.
Austin Garcia
guess you are using XLR - TRS cable. right? you have to use XLR - XLR cable. those two are different input-levels.
Asher Lewis
>got a bunch of waves software once in a huge sale >tried using them for a while, had constant problems because their auth software was insanely bloated, conflicted with everything made no sense with what was supposed to be doing >email support several times, each single time the person responding has a clearly, obviously israeli name Hmmmm...
>Waves Audio was founded in 1992 by Gilad Keren and Meir Sha'ashua in Tel Aviv, Israel
Joshua Perez
>mfw pirated waves bundle and it just werks
Robert Foster
That was one of the experiences that made me give up on buying stuff and just go full pirate. It was so pathetic, because I downloaded the plugins before and tested them in demo mode, and they were working perfectly. Then I bought and activated them, but the auth software crashed because of graphics compatibility lol Meaning, I was unable to use the software I bought, and which I could run perfectly in itself, because my computer, which is solely dedicated to make music and programming stuff, didn't have a powerful enough graphics card to run a stupid bloated auth software. If they made a plugin for sound that in itself asked for more advanced graphics, that would already be bloat and pointless. But it was just some gay flashy graphics on the auth software, and they couldn't offer any alternative to authenticate. Simply beyond parody.
Luis Howard
No EQ addiction whatsoever outside of sound design, just reducing everything proportionally then balancing gain back with subtle saturation post-EQ. Path to textured heaven.
As soon as you trigger the clip it'll stop recording and go into play mode. Arm the track, select the clip and hit enter to record, hitting enter again stops recording and plays the clip.
Easton Flores
huh? this isn't a battlestation thread
Elijah Bailey
get a barp odyssey, tape machine, old epiphone + sick fucking old pedals and shit, a concept and alot of creativity eyeball head optional
Hunter Carter
nice wig
Easton Reyes
i'm impressing the hell out of myself right now. this song is blowing me away. we're gonna make it, bros.
