/prod/ - Music Production General
Nobody likes this genre edition
>Pastebin - Links, books, videos, articles, tutorials and stuff
pastebin.com
>/prod/ wiki
mu-sic-production.wikia.com
Still needs work
/prod/ IRC is up!
To join, you can go to rizon.net
Choose a nick, put #/prod/ as channel. Enter!
No one needs your Soundcloud page. Use clyp.it.
Post tracks, express opinions, show templates, share stuff
And don't forget : TALK SHIT POST CLYP
Other urls found in this thread:
clyp.it
clyp.it
clyp.it
clyp.it
youtube.com
clyp.it
clyp.it
soundcloud.com
clyp.it
clyp.it
clyp.it
clyp.it
clyp.it
clyp.it
clyp.it
clyp.it
clyp.it
clyp.it
clyp.it
twitter.com
Old thread
...
how get glitchier drum,s?
I don't know user i use renoise
perfecto
are you running them all from the same machine, or with slaves?
Just make a list of things you want to know and search specifically what you need.
read the fucking manual. Ableton is a DAW. There isn't an "essential" tutorial video. Depending of what youre producing and what your workflow will be like (hardware? all soft synths? etc etc) makes "must see" tutorials retarded
tl;dr: read the fucking manual. then google specific questions. if you still don't get Ableton after reading the manual (which is hands down the best manual I've read regarding a DAW) then you're legitimately retarded
100% hardware lmao
Reaper?
clyp.it
Something I'm working on
>Reaper
Irrelevant
Somewhat dark, somewhat trip-hop, gib opinions please
Bit-reduction
Short bits of other sound, like taking a 10 ms sample of ... whatever
More turntable-like effects
Pretty nice so far
Same machine, somehow- But I'm just about at the limit of what I can add. Many instruments are not loaded into RAM until I need them, such as some of the oddball choirs and perc. The project uses around 29 GB of ram.
Currently using mac pro 2013 Quad core 3.7ghz w/ 32GB ram (the trashcan mac). Works rather well, but certain conditions will certainly cause problems, such as extremely dense projects that have tempo automation- for some reason that really shits the bed. Most things work out fine, though, and minimal mixing after the fact is required after writing, because the project is more or less "pre-mixed".
I would like to one day move to a server based / slave system like Vienna Ensemble Pro, but I need to make more money before that happens, lol.
the synth at 0:54 is not supposed to sound like that at all wtf
:(
thanks for the advice i wanna finish this before i crash hard
your track sounds pretty dope too but the bass should be grittier maybe and you need cooler hihats
i was typig about that synth when i saw your messag pop up lol
made this little demo, getting someone to rap over it, what do you reckon?
clyp.it
the breaks are abit weak and that synth at 54 really dosnt fit, try filtering it down with a LP maybe?
Kick and clap sound corny, it sounds more like a synthpop instrumental.
If that's what you're going for then you're doing fine.
I dont get it
any tips on programming shaker samples to enhance the groove? how can I get a more organic sound?
something like this is what I'm trying to get youtube.com
yeah defs gotta replace those, just grabbed some default ones for placeholders while I sort out the rest of the arrangement
if you have a swing function that will work otherwise recording a shaker will work best.
You can drag them a couple of pixels to the left on your tracker.
I know FL has a function called offset or something aswell wich makes the sample play a couple ms later giving that groove effect.
I'm the guy that posted the sprawling orchestral template in the other thread,
someone wanted me to post a clyp, here's some music from the last short I scored, some cues near the end of the thing.
How do i make stuff have an impact?
That's pretty good user
Which film
add bass cut mud
Thanks for the answers guys
I'm taking everything in consideration
Here is the version with the synth sounding correctly ( still counsidering lp-ing a bit though ) clyp.it
> cooler hihats
they are coming from an AD preset what do you mean by cooler?
Speaking of hihats, I think they're panned a bit too much.
tfw no basement walls filled with blasting modulars to help forget about the pain
where do you get your material for music to begin this type of thing?
where do you get packs of drum sounds, guitar sounds etc, you can download?
ive seen a few torrents of this kind of stuff
Did you forget to quote someone?
The Daw you download and use will probably have some kind of drum machine/drum sounds and some samplers/synthesizers to play with. It's the easiest way to fuck around with making music and learning unless you're really itching to use a particular pack/synth/etc.
If you're talking about samples in particular, there's so many places to get them online that people will put dropbox links up for. You could probably just google "guitar sample pack" and look around the links. There's also Virtual Instruments you can use that are synthesizers that you can fuck around with and won't need to import a sample pack or anything.
I live vicariously through this guy
ColinBenders on twitch when it comes to that stuff, his modular jam sessions are legendary..
>how can I get a more organic sound?
Tap them in live and don't quantize.
>clyp.it
What do you use for brass sounds? That's the best synthetic brass I've heard.
For all my brass, I use Sample Modeling Instruments, which are dead dry out of the box.
You have to create your own articulations, using modulation, unlike the normal situation with sampler brass libs. If you want crescendo, you need to draw that automation. If you want staccato, you have to draw that automation. This pain the ass gives you added dynamic control you don't get with Brass staccato number 587.wav in another library.
Methodology is as follows:
The Dry individual insts. are posed spatially using Virtual Sound Stage (basically a fancy panning utility). The Early Reflections in both virtual sound stage and in the sample modeling kontakt instruments are OFF.
Then, on the dry individual tracks, I have two aux sends (PRE FADER). Both go to an Altiverb Instance. The 1st altiverb would be Todd-AO impulse, at 13 meters, early reflections only. The 2nd Altiverb is Todd-AO Impulse, 13m, Tails only. This is so I can dial in predelay on the tails (normally you would predelay the early reflections, but Altiverb is backwards due to how it was sampled). At 13.5 meters, the early reflections in the Todd AO rooms should be delayed about 55ish miliseconds. So (remember, its backwards), I predelay the tails only Altiverb by 55 ms.
This is one reason why I split ERs and tails, but another is that you may need to do corrective EQ to either the Early reflections or the tails individually, depending on how the sample library reacts to the impulse.
So now, I combine the oriignal dry channels with the two Reverbs in another Bus, the Brass Sum bus. Typically the sounds are rather dark at this point, convolution reverbs are like that. I like to boost the highs with the Puigtech EQP1A, or a similar EQ.
I use this same method on each individual section (trombones, horns, etc) because they may need slightly tweaked settings vs eachother, but the basic concept remains the same.
Marketing
10/10 post, cheers.
I know you guys hate soundcloud, but the file is too large for clyp, so here you go.
soundcloud.com
It would be amazing if anyone took the time to listen to the whole thing, and give feedback, but any help at all is great.
Just to elaborate further, on why altiverb- They have sampled these various spaces at different distances. I use the 13.5 meter ER and Tails for the Brass, but also the Perc and furthest instruments on the virtual stage.
Conversely, I use the 3.5 meter impulses on the close strings, and the 8 meters on Woodwinds. So you are exploiting the fact that they have sampled these spaces at different distances as a mechanism for establishing depth. You still have to make corrections to the tails' predelay for each. The concept behind this predelay is that furthest instruments' early reflections bounce off the back wall soonest (shortest predelay on ER), closest instruments bounce off the back wall the longest (longest predelay on ER). Couple this with careful mixing of the dry channels vs the reverb sends (I should add that I always send to the tails at 100 percent / 0 dB from the dry instrument), and you are already building the 'depth' in your mix semi organically. The reason I use pre fader sends is that it will decouple the dry / original channel faders from the reverb sends. The overall volume would then be handed off to Virtual Sound Stage (the panning and placement utility on the dry channels), with the original channel (dry) fader controlling ONLY the dry contribution. All individual sections are summed in their own busses with their respective reverbs so corrective EQ and other FX can be applied.
how do u got that job?
much respect
quick edit for clarification- Remember when I'm saying predelay on the ERs- this is true in the majority of algorithmic reverbs, but in altiverb you actually predelay the TAILS instead.
Cheers, I'm making a note of all of this.
what do i need to get to start making retro wave synth music?
Why does Max/MSP destroy my computer so much ? Anything beyond a simple patch completely devours my CPU for some reason, and updating my OS made it about ten times worse. Do I need a new processor or a sound card or what ?
checking if i can post here
Sorry, I've had a word with the committee and we've decided you can't.
a dick on your head
spent 20,000 dollars on vintage synths, outboard gear, and some kind of vintage recording deck that was a value in the 80s but is not really pricey and probably broken. then watch the movie Drive and you're set.
clyp.it
waddya think
what else should i do with this
tips and stuff
ty ily
I think a frantic bassline- almost like the rapid plucky shit squarepusher does on his bass guitar would suite this well. I think the modulation effects you are doing are pretty cool. I can tell the arrangement is still rough, but if you kept building the intensity of that modulation / phasey shit in each section and really had it culminate in a big explosive section w/ bass it would work.
Going for some stereotypical action movie shit here:
how is the mix on this?
Is it true that you can get sued if you release music made with a pirated DAW?
i like beginning sound but it gets kinda played out with the weeeeeeeeoooooooooooooo and the hats sound off . not bad to be honest
mix is decent, careful with those delay times, in the middle they might be a bit longer than they need to be. Shorten them up a bit and everything should pop out more clearly. I know cause I usually do the same thing hahaha
nice intro
add a fat fuckin' bassline, with a pinch of reese.
Yeah there's a guy APRA has who can listen to a song and tell if any of its elements are pirated
...
Accidentally exported it on a lower volume but the gist is there. Tell me if there are any apparent mistakes and maybe some suggestions?
the chugging part in the middle should be brought up more in the mix imo, its a bit weak when it should be the driving of the song. great composition though
clyp.it
i was told to add more bass to this, and i gave it a shot, but i dunno if i did enough. also any mix help would be ace, its meant to be a bit distorted
def enough bass at this point, just ease down on the reverb
tried to produce something flylo inspired. did i succeed?
clyp.it
Chill Trap (i think)
This is like the 3rd thing I have ever worked on, I'm a complete beginner to music production so i'm really looking for tips that can help this project and help in the long run
>clyp.it
This shit bangs. Sounds great at high volume w/ my sub on. I can see why said turn down the verb a bit. What might also be worth exploring is picking one element like the plucky short decay synth and giving it barely any reverb, and let it sit distinguished in the rest of the heavily reverb'd instruments. You have made a nice atmospheric bed with all those layers, and I think if you had one or two clean, drier elements up top it would really give the mix depth.
Also thanks for the heads up re: the chugga chugga bits in I can hear what you mean after listening to it on a diff pair of speakers, especially.
For being so early in production, this is really rather well put together. Main advice would be concerning the mix, just making sure the drums don't get lost in the mix- you have given so much real estate in the freq spectrum to the music box-like sounds that it almost makes it impossible to add anything else.
What you may consider trying out, for fun, is to clone that melodic instrument, and making a slgihtly different effected version of it. Maybe this one has more reverb, maybe its got some other interesting effect, and feeding it only the lowest octave notes, or maybe the highest octave notes, or maybe it only plays a few per bar and sorta outlines the underlying basic melody. Something like that can help you add interest to the tune. It can be something that only comes in when bars turn over, like at the end of a 8 bar section, for instance. Something to keep folks guessing as to whats coming.
To build an intro you can drop out 80% of the notes, and slowly build up in complexity.
I can't tell if that's what the lowest octave is already doing, but a Vibraphone, xylophone, or other mallet instrument may be a good one to form a call-and-response type section for a breakdown.
Despite being relatively minimal, it still is a well put together tune.
Loving what you did with the bassline in this. Really interesting sound design.
The extra incidental percussion is a nice touch as well.
Great work on the transitions.
At 1:34 (again at 3:37) this synth that you have been teasing prior, that finally opens up does start to walk over the bass and some of the other sounds. Nothing major, just reign it in a touch with a lowshelf or something? Very minor complaint but if you follow some of the other elements as that is introduced a few do get buried under it. Its a great sound though, so you don't want to remove too much from it. I can tell that was a tricky mix.
All in all this is a really great sounding tune, and was fun to listen to.
tfw you go to master and JUST your track
baka desu senpai
pretty hard to do that
>baka desu senpai
This shit gets me everytime
can someone post that eq frequency chart please
cc pls and thx
clyp.it
>fl
>renoise
>audacity
>hardware
all fucking perfect
check out this piece of shit i've left to dry for a few weeks, probably won't finish
I liked the parts at 3, 5, and 9 and a half minute mark. Didn't really care for the collage stuff in between. I would suggest making that shorting or more coherent. Also tried to figure out what that fucking Morse code at the end was but all I got is gibberish.
Prob finishing this today. clyp.it
Wtf is the popping around 25 sec?
clipping...are you dumb?
guess so. Didnt hear till it was exported
So I mixed this down but something sounds off, mostly the low end (esp the drums which sound lifeless after my mix down idk why tho)
anyone wanna chime in?
When it comes to mastering how often are you outsourcing that process, like getting someone else to do it. or do you do it all yourself?
I've been doing everything myself but i feel like i might get someone else to do it since i don't know shit. people said I am ok and i am just doing it as i go along when really i straight up don't even know
If you exported this from your DAW to MP3, and that was the first time you heard it, then it could be an MP3 encoding artifact. The waveforms on clyp are misleading, but It doesn't look like its clipping to me... What were the levels like in the project at that time? Below 0dB or pegged at the top?
just add a banging donk on it
If you can afford it, and its a tune that is important / getting a proper release, then yes, getting someone who is experienced in mastering to do it is worth it. Can you just fuckin' wing it for your soundcloud shit? Sure. It just depends on what you are willing to pay for, and the importance you place on the project.
Sometimes having a second pair of ears on the project- and a second pair of gear in front of those ears- can have a profound effect. Just don't expect the mastering process to do anything more than the final 3 percent. You need to bring the other 97 percent at its full potential. A lot of folks think that its the mastering stage that will save their shitty mix, that's just not true. The goal of mastering is just to get the tune sounding a bit more balanced when heard on multiple mediums, from cell phones, to cars, to computers, to the big ass club system- that final 3 percent.
what this guy said. it could be mp3 artifacts, but it could be something else. did you add any effects to the master track when you were in the eq process? maybe play around with that
and side note, when rendering or exporting a track always have it WAV, 44.1KHz, bit depth of at least 16 bit. thats what i do
Mainly at this guy, but how long would it take to learn all the ins and outs of making realistic orchestral scores, effects, EQing, mixing, and mastering, the whole deal?
I definitely wouldn't be learning from scratch, I think I have some good experience when it comes to production but the specifics of producing orchestral is what's intimidating me. Namely setting up the soundstage and realism of a human orchestra playing in a concert hall with all the details accounted for, but also choosing the right sample libraries.
I'd really like to learn this over time but if the time comes and I really want my scores produced, I'd probably end up going to professionals or if there is such a thing as a cheap orchestra for hire.
Thanks for the help, I think it may have actually just been a limiter that was set wrong, I've changed that but Im not 100% sure. I'll try to export again with your advice ->
can I get some feedback on this?
clyp.it
Not really sure where to go from here
Kind of a vague question (maybe I'll come back w/ more specific questions if I run across problems), but I need to score a short 3D-animated commercial. Need to do some sound design (make some sounds for actions [like whooshes]) and then also make a score for the background. I'd imagine I'll make it kind of ambient-ish and subdued. If this makes sense, I plan to try and make it a cross of a dark romantic kind of ambiance w/ some electric tones here and there.
So...any random suggestions? Tutorials I should read/watch on sound design and/or making ambient/drone/soundscape-type stuff? Any things to think about that I'm probably overlooking? Any suggestions on specific techniques to keep in mind when making a score to run through a commercial (there won't be any dialogue or anything, just images and my production). I'm not sure if this is going to be easy or harder than I'm thinking. I suppose the music part of it will be easy enough. I've got plenty of VSTs and Ableton, blah blah blah.I pretty much know what I want to create, I'm just worried about the execution. Especially when it comes to doing sound design for weird things...like making crawling sounds and a sound for high-fashion garments randomly growing out of nothing on top of statues...no idea how I'll approach that yet.
I came from drum n bass, and have been chasing the orchestral sound for about 2 years. I think I've always been a bit better at the technical side over the orchestration side. I had experimented previously with some strings in breakdowns, etc, but did not try to adapt a rigorous or thoughtful approach to the thing until about 2 years ago.
What motivated me was a technical challenge. We won't ever get our virtual instruments to sound like a real orchestra, but these days you can get "close enough" that it really won't matter in media music or low budget film stuff (which has never demanded particularly rigorous orchestration). So of course, my goal has been "OK, well won't sound real- but lets see how far we can go". The rabbit hole is deep, and I'm definitely still on that journey.
My template has evolved a lot over the years, culminating in what I have now, the virtual sound stage + altiverb approach that uses ONLY the close mics from all the various sampler instruments, with 100 percent constructed reverb. You definitely sacrifice the beautiful rooms that some of these libraries were recorded in, in trade, you get the opportunity to marry libraries recorded in different rooms in a way that they (ideally) sound like they go together. Which, I think is worth it.
My approach to tuning the template was to take recordings of scores I thought represented the sound I was after (Holst - The planets) for instance, entering the full score into my DAW, and tweaking my mic mixes and reverbs until I got as close as possible. This then becomes the "template" after I remove the midi. Do it for a few different scores, and you slowly approach settings where there is at least a measure of balance. I still have a way to go in that respect, my template is far from perfect. But here's the good news. Once you get the template figured out, you can just open up your DAW and score something, with ltitle concern for mixing (its already mixed by the 'room' you have made).
And one more thing that may help inspire you, That film, Elysium that came out a few years ago- Scored by Ryan Amon. Yeah, guess what his studio looked like- pic related (OK, its nicer now after he got that Hollywood money). Realize that the same Kontakt Libraries and tools you use now are being used to write film scores in Hollywood blockbusters. There are people on this thread right now with nicer setups. Its amazing what you can do in the box. Now, he has the opportunity to record his strings in Abbey Road, but the point is- these tools are powerful enough to do the job.
On rutracker you can find a significant amount of Foley material- check out the libraries by "Boom Library", "Hollywood Edge", "Sound Ideas". These can be great for manipulation in your sampler for exotic sound design. Not the answer you may be looking for, but worth exploring. Sound Ideas also has a PDF series on their actual website that has a searchable index of the content from every one of their library disks (example: Mud Splashing sound number 589, twigs breaking, etc).
Well I see it will definitely take a while if you're not complacent. Do you feel like you're at a "good enough" point at the moment, or you've long passed that and now you're really getting into the nitty gritty?
This balance of "close enough" and "good enough" can be something I could chase, but do you think that can just be achieved with a good convolution verb like Altiverb and any old sample pack? Or is the panning and bussing verbs in a certain way so subtly important that I would need extra plugins to giving it that extra touch?
If not the plugins, it's mostly the quality of different packs that I'm worried about narrowing down, I can decently handle articulations in my DAW and I'm not making anything so control-heavy as to automate EVERY articulation like you're doing so most libraries would work but none are created equal which makes it hard to even start thinking about the 'room' mixing.
Oh trust me I've heard a wealth of magnificent computer-produced scores which makes me know it's possible. I plan to be doing everything digitally as music is just a hobby for me and I don't have the money to plop on remotely expensive gear; currently I've only got a MIDI keyboard lol
i've always wondered how other people name their tracks or albums
I just lay back and wait for a random word to pop in my head and then i am like yeah that's the track.
Not the user that you replied to but I found your reply inspiring, I have often thought of trying to get in to scoring. I have been producing for over 10 years now so I'm also not a total noob to production, but scoring and orchestrated stuff seems way out of my depth!
How the hell do I start? Are there any "getting started scoring" tutorials you'd recommend?
going from fl to ableton and i feel like a caveman, reading the manual right now lads
that was me when I went from logic to ableton
it feels going from driving a car to riding 4 unicycles at once
did you benefit from the change senpai?