High Energy edition
>'Check the exclusive EQ Masterclass Series in the Pastebin' Edition
>Production Resources: (Links, books, videos, articles, tutorials and stuff...)
pastebin.com
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Use clyp.it to post your tracks/WIP
NO SOUNDCLOUD LINKS
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finally got a decent computer and I can't wait to make music. wish me luck senpaitachi
>people still unironically using disableton
why
hello
>XDDDDDDDDDDDDDDDDDDD
are you okay, friend? do you have a clyp.it to share with us?
WHAT'S CLYPIT???? I JUST CAME IN BECUZ I SAW ALL DESE DANKASSS MEMEZ
u wuz memes n shit?
oh no
mega links in the pastebin are dead...
can i get some feedback? extremely new to this and want to know if this sounds like babby's first beat because I actually enjoy it.
You should learn a few scales.
critique my new song please
Actually a bunch of the links are dead...
>critique my new song please
It's shit.
>critique
learn what words mean
OK, I give it 0/5 stars.
also not a critique, holy shit are you ever dumb lol
oh god that fruity loops snare
learn some music theory
Hey I've been lurking these generals for a while, and I've decided to post my music here
Here's the link (critique all you want):
clyp.it
pretty cool. would you explain these sounds please?
ok these troll posts are getting very lazy
I wasn't trolling but I decided to delete it because it was a bit nasty.
Well I just usually make a bunch of little sound experiments once in a while, and I put them into a track (or more depending on however I feel about it).
This track used Fracture a lot on each sound, to make some "calm" textures. it didn't really turn out calm but I guess it worked.
I'm pretty sure I used a sample of youtube.com
>Where's the music?
Well I dunno, it depends on who is in authority on the subject I guess. It should probably be mentioned that most of the tracks I make aren't very focused on common musical structures, more focused on technical ideas in a way
I don't want to spend a ton of money on drum mics pls help
thanks family
no problem
CAD, Nady, Digital Reference
any jungle heads in?
Love a bit of jungle, post some.
AKG drum pack. theres more modern AKG drum mic sets however i really think the discontinued Drum Set Big 2 is great. I personally wouldn't use the "snare and tom" mics if i had the choice but they're actually good, i wouldn't choose them but i have used them before on some drums and they strangely sounded great.
the AKG d112 is a great kick drum mic, also good on bass guitars when paired with an SM57.
>also good on bass guitars
I thought everyone DIed basses these days.
well, a lot of people do. last time i recorded bass i did this:
AKG d112 slightly off axis
SM57 on axis
DI output
you would ideally take DI no matter what.
here's a pic actually.
Nice.
I bet you get a more individual sound.
I'm just as scared to spend this little.
this seems like what I'm looking for
my plan was going to be to do a 4-mic Glyn Johns setup but it seems like just a pair of decent overheads would run 300-400 and I got scared.
when people do cab and DI, do you have to use a splitter or do you pass through the interface? Or is that what a DI box is for?
was hoping for some advice on jungle production and break programming?
sounds good. only issue was that the bassist didn't really play consistently, he was very hungover, 5 string nice Ibanez bass, it sounded good man.
in fact, if it helps, i am uploading it to clyp.it so you can get an idea of how it sounded.
Well my friend.
Have you heard of...the amen break?
i suggested the AKG. i have done a 2 mic Glyn Johns setup before. However i wouldn't reccomend it. it's cost efficient BUT you can actually get a pretty slamming sound with just 4 microphones. Anything as simple as two overheads, 1 d112 on the kick and an sm57 on the snare
you could probably pull some Rode NT5s for cheap as overheads dude. If you're really desperate there's a SM57 clone made by Pyle. It's pretty fucking average but eh... it's like what £15?
Well that amp actually had a DI output built in but yes that's what the DI box is for.
also was for
Yes indeed
Ive just downloaded one of my favourite breaks the boymereng break.
I can never get them to sound right once i start programming the individual hits in though
What should I do if I want to start producing?
>Here's the bass sum:
Overall track is uploading now. Router is cunting itself
read. also depends on what you mean by producing? I don't do electronic anymore, sick of it, used to love it but now i just "engineer" or "produce" bands. I prefer that.
what kind of production do you mean user?
Either electronic or hip-hop instrumentals
I've got an sm57 I can use now to take the sting out of purchasing everything at once. Ultimately, I don't want to have to move mics around for recording different instruments.
I've heard D112 is a solid way to go for kick, and it seems reasonable.
What's your rec for overheads again?
I'm in that weird spot of "hey lets mic the drums, but not spend too much... but still get a good sound..." So many times I've kicked myself for trying to save a little money on equipment, only to realize I should have bought quality shit the first time.
ahh... i see, okay well youtube is probably your friend then. Check out RyanEnzed. about 5 years ago he did a lot of good tracks, maybe he's still doing a channel now. Youtube should serve you just fine.
>>Here's the bass sum:
>clyp.it
Were you purposefully covering "Come To Daddy" by Aphex Twin?
Thanks appreciate it. Which software would you recommend to start with?
nah man i was in the same boat as you, i'm looking to get a few sontronics microphones for my own personal use soon, use them a lot but obviously can't take them home.
the AKG c1000s series is pretty good. The Rode NT5 is a pretty good mic for it's price.
What other microphones do you have? I'm low on my own personal collection sicne i just use the studio ones. Buddy of mine has a good collection of nice microphones though.
Yeah overheads, Rode NT5 or AKG C1000s, they're both good. Used a neumann U87 pair as overheads once, worked quite nicely.
also if you can spare an extra mic, a room mic can really complete the sound.
never heard it. It's part of Mr Brightside - The Killers. hate the fucking song.
Well i use Logic and Pro Tools. Logic is great for electronic work too, the built in ES2 synth is genuinely pretty damn good. A lot of electronic producing people i know use FL but i'm not personally keen on it.
Thanks man, I'll check those out.
All I've got now are 3 sennheiser e835s for vocals and the sm57 for guitar.
I wanted to get a nice condenser for dual miking the guitar or as a room mic.
a lot of that early jungle you hear wouldn't have had breaks spliced into individual hits, m8. far too much work on early samplers.
if you want to re-arrange the groove you're better off slicing the break into discrete chunks (quarters, 1/8ths) and doing it that way. you can lay down a rough arrangement that way then spend a bit of time in a sequencer smoothing things out a bit.
when you've got a groove you want, you'll want to do a few things to make the drums sound more 'modern':
- layer (or at extremes, even replace) the kicks - this is almost essential if you want to sound 'big' by today's standards
- distort the break - grab a few good vsts for this (ohmicide, trash 2, fxpansion's maul)
- layer snares or hats as necessary
- parallel compress the breaks if necessary
- bus and reverb for cohesion. you want to be really careful here. short tails. if you want a dirtier, older sound you can get away with throwing the low end at the reverb but slap an eq after > set to mid/side > hard cuts to the side** + low shelf and drop levels quite a bit around the same range in the mids. a few people itt might have a heart attack reading this part, but as long as you control it well you'll be good. super clean low ends are gross anyway.
** easy way would be to just hi-pass around 150hz and call it a day. a lot of mastering engineers will do this as well if they're cutting wax but you can afford to leave a little in there. hi-cut much lower in the sub range and use a lo-shelf. you're allowed to get away with it these days.
its dat boi!!!!
nothing wrong with any major daw friend
okay yeah i know those. Not bad.
Okay well personally, for dual micing the guitar, seriously, two sm57s will do when it comes to that. Look at the "Fredman Technique". A good thought process is "is it working? no? throw another 57 at it".
2 sm57s, one on axis and one off can sound great but yeah, if you're low on money and want a condenser for the guitar cab, try an at2050 or even an nt1a. They're not bad and definitely not for the price. However also look up the Sontronics Halo. It's a nice little dynamic and personally i think it sounds better than the sm57, more brightness and more focussed. It's great on live vocals, guitars and snare drums.
o shit MAGA!
>A good thought process is "is it working? no? throw another 57 at it".
I wish more things in life worked this way...
lol, I'll try that. I'm not afraid to have an extra sm57 lying around, because I know I can always find a use for it
a drunk bassist i know threw an sm57 at the vocalist when he kept asking me to turn him up in the mix. Sometimes they do that dude.
Wish i could do that with my lady though
you can always find a use for a 57. Those things are great, they can be door stops or even tack hammers if you need them to be.
Solid as fuck
>implying trump would be half the leader dat boi would be
Thanks for the Help
I think cutting the break by detect into individual sounds is what has thrown me off a bit, just tried it on the beat into 16th and its kept its shuffle a lot better.
Thanks for the rest of the production tips too, I'm going to copy that to notepad and run through it once I've got some break chops down.
I've got a feeling as old as it is I'm going to have a lot of fun chopping and playing about with the Amen break.
Thanks again
shit c1000s are buy one get one free right now, I think that just made my choice
shit where?
i could do with my own pair to be honest.
I guess at their licensed dealers (B&H, Sweetwater, etc)
" BUY ONE, GET ONE FREE until June 30, 2016
Valid for the US only. Visit your local retailer to purchase."
kinda stuck on this song (no mixing still writing). it feels kinda empty and im not sure if i like the bassline.
tried to add an arp but it sounded too crowded, i need some kind of backing track that doesn't interfere with the chord
ah thanks man, shame i'm not in the USA. I suppose i could order some through some family though. Good thing i don't really need them just want them haha.
good find user
depending on what you want from the release, keep your tempos relatively low.
not a lot of people playing out jungle tempos these days. low 130s will get you the techno crowd.
ignore my bits about low-end side reverb if you're new to production tho - just cut hard at 150hz + low shelf some more. don't mean to sound like an ass but it's very easy to screw that part up. it gets mono'd on systems anyway. those tricks are mostly just for the headphone crew.
here's the full track, finally uploaded, no idea what the fuck is going on with my internet
So, my band is set to go record at a local (pretty well known around here) studio in a month or so. We just want a demo done, nothing too serious. Something to throw around while we make more music and get ready for our serious first CD. We have four songs- the total is a little less than 30 mins worth of music. The guy at the studio says we can record this in 2 days and he will mix/master in a couple more days and then have it done. Dude said he wants up to $500 to do this. At 4 days worth of hard work (assuming that's 8 hrs- which i doubt this guy will put in, because he keeps telling me how busy he is) that works out to $30 an hour, IDEALLY. Realistically, this guy will probably only put in 2-4 hours a day, hopefully, which will put it at around $60 an hour, at least. Am I whack or is this fucking whack? And he seems like he really just wants to do it in a few days, doesn't this process usually take longer? Even if it's just a demo? It takes a few days when i do it myself, and I'm an amateur. Yes I have other options but this seems to be the most desirable option, other than price. I'm not hating on the guy, we all gotta get paid, but i just want to know if this seems like way too much or not? I'm going to have to sell a shit ton of CDs just to make it back. And that's not counting the money I'll have to spend to put the music on the CDs, lol.
Please correct me if I'm wrong. I've never been in a professional studio before.
I've actually been producing for quite some time, but I could never really get my head around jungle production and the breaks. Ive been listening to a lot of old classic jungle recently and wanted to give it another go.
So thanks again for your help, will keep those tips in mind
i'm not too versed in the current going rates but that doesn't sound that unreasonable
and yes, he will very likely be able to do much more as a professional in a few days than you would as an amateur
Ive never recorded at a pro studio but the guys always seem busy. One thing ( i think) they will do is tell you it'll take a certain amount of hours to do something, but you must always assume that it will take a little bit longer than that (cus that means more money for him). Also make sure you've heard stuff he's done before and that it doesn't sound like shit.
I had friends that paid like 2 grand for this really shitty demo and didn't know the guy was just gonna rip them off cus they hadn't heard of him or his portfolio before
clyp.it
THIS is how you jungle.
anyone up for a soundclash? see if u can top this
clyp.it
it's about my dreams.
$500 isn't that bad. I'm not sure on the exchange rates but my buddy charges about £300 per track. £200 for friends.
I'm paid around £20 an hour when i mix/record.
I've seen a few local places asking around £500 a track and to be honest, myself and my buddy mix better. Just shop around a bit.
that's what I figured, but I've never even seen a demo that had "recorded and mastered in -a few days- at studio X" on it. But like I said, i'm not hating, I'm just wondering
some of the stuff sounds good, some doesn't. That's what i'm afraid of, spending my money for this guy to just pretty much rip us off. He doesn't seem like he likes us that much, anyway.
is there an advantage of buying a reverb unit over a VST reverb (ignoring convenience/space)?
would a higher end FX/reverb unit sound better than a VST reverb?
One thing I'm not sure about is when i chop a break (amen for example) using the by 16th it misses a lot of the actual drum hit start and end points, so when I go in and adjust them and then convert them to a midi track it all sounds totally out of time again?
all depends on your VSTs and your Reverb unit. The thing is, a lot of reverb units can be modelled with a convolution reverb such as the logic pro Space Designer, i actually have lexicon reverbs on my computer that i can use through the space designer. Personally the only outboard gear i like to use are nice mic preamps, EQs, limiters and compressors.
That's what i think at least. you're best off testing whatever you can get your hands on.
fucking gay dude
>would a higher end FX/reverb unit sound better than a VST reverb?
I always thought so until I used Valhalla vintage Verb, so not quite so sure now. Think I'm going to buy a hardware reverb anyway soon as kinda miss having one.
Been looking at the T.C Electronics stuff
what daw/sampler are you using?
come on does nobody want to make music with me
i fucking hate that song.
wanted to kill the vocalist also at times
Maschine.
It's alright I've figured it out. I just needed to adjust the bpm so the 8th notes were hitting on the drum hits. I'm a fucking idiot
tfw waves spammed the fuck out of my email for downloading that shit black friday trueverb there is atleast over 100 emails from them
How do I get roaring bass/808s
>limiters and compressors.
I've been slowly building a setup to move away from my computer and mixing on board. what limiter/compressors would you recommend, entry level but not noisy cheap shit? I make bleeps with some vocals
This is really nice. It's actually the type of music I'm planning on producing once I have my setup back. I like the layers of sounds and how it progresses naturally.
Not the user you're asking but my mate has 2 DBX 160a's and they sound so fucking good on drums
afraid i'm not big on bleepy kind of stuff.
some DBX stuff is pretty good, you can also get some pretty good Neve 1073 clones that fit a 500 series rack just fine. Around £150
Anything by TL-Audio tends to be pretty damn good. Especially their ivory series
Thanks, I'll be making more of this type of stuff, though it's going to sound more "different" than this track. I would send you links to soundcloud/Bandcamp for future reference, but rules I guess (it's the same name as the trip though so it won't be hard to find)
thanks dudes
clyp.it
cracked the code on how to sound like actress tbf
that's why you check your emails regularly and unsubscribe from shit you dont care about, ya dingus
How do I go about starting to make UK garage?
Cool, I'll definitely look it up after. The direction that I want to take is a more "active" (?) one, with some sparse or occasional percussion and my girlfriend singing. Reminiscent of Grouper or Inga Copeland, but not really similar.
Yeah if you were taking an ambient approach that'd be the best way to go if you aren't going for anything too experimental. Good luck on the future project though!
Thank you! I followed you on SC. I'll keep an eye out for your next releases as well.
don't mention it, /prod/ is good. least cancerous part of Sup Forums
sometimes it gets bad in here but not often
soundcloud kid usually ruins it with his anti-Sup Forums cuck shit but looks like he's out shopping for tendies today