(Obligatory mixing course) >The Art of Mixing by David Gibson [YouTube] The Art Of Mixing (A Arte da Mixagem) - David Gibson
(Obligatory synthesis course + additional related videos) >Intro to Synthesis by New York School of Synthesis [YouTube] Intro to Synthesis Part 1 - The Building Blocks of Sound & Synthesis
why can't you fix the links for the mixing and synth videos this is the second time
Angel Cox
What are some good resources for building lyric writing skills? I have this song but I can't write any lyrics to it. Everything I write sounds so mediocre. >clyp.it/bd1jbodq Here is the song. Feedback on the mix and overall "professional' feel of the track would be much appreciated
only critique: the piano sound that enters at 0:24 could be better; if i got correctly what you were aiming for, find another one, layer it a bit with some filtered saw to add some weight, drench it in reverb, and change the hihat sound so it adjusts to the vibe, maybe some less high end
Juan Watson
that arp pluck at :30 sounds subpar compared to other elements of the song, which is a shame. the kick needs some tweaking to fit the theme too, i'd personally lower its pitch
Ryan Green
yep i agree, i was mostly asking for the main textural feel that its beginning to imply, i can't agree with myself if its detuned crap or detuned goodness
sounds good on headphones, and detuned as fuck on the phone speaker
1-sample an industrial fan, make it loop for the extent of the track add some light reverb mostly to give it stereo width 2-use a substractor(or easier, an operator) synth to generate fundamental-based sounds with long attack and release, mostly saws i would guess, filter/eq them to mix well with the rest you are doing 3-automate their volumes (make them come and go) and filters (i would guess mostly ADD harmonics to mesh with the noise), but never go "over" the industrial fan (except for the voice samples) 4- add different reverbs (should go from far to fucking far) and panning to the sound, delays can be good too 5- compress it all together (and maybe also dd a return with the compression and mix it with the dry one) 6- reverb it all together but not to far 7- now mix that with a version of itself compressed to shit
also use minor scale
mostly the game is you have a single transforming sustaining sound, you bring things in and out by meshing it with the noise that serves as foundation, you are basically "pointing" at frequencies inside it, and by it you are making it evolve harmonically in the short term, while implying melody in the long term
Adrian Davis
thank you so much, wow couldn't ask for a better tutorial.
Evan Brooks
obviously thats just a basis then you got to add your drone-knowledge to make decisions to make it actually good
James Wright
also its the other way around, "melody" on short term and harmonics on the long term
Jacob Lopez
hey lads trying some jazzy shit for the first time. though i think the melody is kinda hard to follow, nad there are too much going on. what's your first impression?
WOW I recorded my fans and made a sample loop then just by adding reverb it already starts to sound close to what I want.
Carson Martin
...
Samuel Murphy
I feel that in 0.16 it could use some lyrics sung like the way Turner sings in Balaclava like a pseudorap but with a voice
Ian Bell
seriously, I never thought of sampling my fans, I'll try to sample my vaccum next and do some shugazi type of thing lol
Juan Rogers
come on i was being hyperbolic, but you know i mostly got it right, the track you posted uses a sustaining kind of pink noise that sounds like what you would hear on a place with industrial fans; its gonna take you a while, maybe you should add resonators, or mix the fan with some pedal-apocalypse guitar feedback, but thats the recipe, you got the main noise and you substract freqs and exchange them for reverbed repetitive filtered melodic loops with long release on that same freq
Nathaniel Gonzalez
How is this sounding? It's a little repetitive at the start, still need to add a few things. Thinking of just removing the snares starting at 1:38 cause it sounds basic?
Yeah that's the point. I want to put my vocals throughout the track but I come up with boring lyrics with boring melodies
Juan Cooper
I wasn't being sarcastic my dude, I had no idea I could use fans like this. It makes sense too since the guy that made the song made his album in a psychiatric hospital. He must've used some fans there. I still have a long way to go though, all you that you said about resonators, fundamental-based sounds, transforming sustaining sound, etc... makes no sense to me yet. I'm still a beginner in all this.
Justin Diaz
bass sounds out of key rather than jazzy desu
>sample an industrial fan lol'd hard
definitely caught my interest
I didn't start to feel the repition until 0:45, then it quickly fell off... i would've preferred to hear some quick sonic fuckery and some quick intricate rapping drop in. i would've lost my shit lol. rest of it pales in comparison to the beginning
well it made me uncomfortable so good job i think?
Christopher Rivera
you didn't even listen to the whole thing you don't know what a true lack of comfort is
Joseph Phillips
im sorry then m8, i thought you were suspiciously effusive
best you can do is look for info on google, what i gave was just the quickest recipe i could think after hearing the track on my laptop speakers, i could be completely wrong but thats the way i would approach it for the first time, then i'd give it more tries by learning of my past mistakes and reading more on it
a resonator => en.wikipedia.org/wiki/Resonator fundamental-based sounds => youtube.com/watch?v=FzeZbJceKZE transforming sustaining sound => a sustained sound, that gets "transformed" in time without stopping to sustain itself, if it makes sense. Like get a vst , put attack decay and release down, sustain up, make it play it for X bars, and then automate the filter, thats a "sustaining transforming sound", its not a technical term, just a way to explain that, in my view, the kind of drone you posted in based in having the full spectrum sonding on sustain and then editing the character of specific frequencies, by superimposing other sounds in the sections of the spectrum you want to work in, along time
yea still working on the chords. the thing i'm worried about is the complexity though. were you able to figure out what was going on during your first listen?
Brayden Gray
alright, thanks again. I managed to do something, it's not as good and a lot more simple but you've been very helpful!
Aaron Reed
Hi /prod/, anyone got any leads on some quality drums for lo fi hip hop? Friend asked for a generic lo fi Hiphop song for some cheesy travel video he is making. I only make lo fi beats for shits and never finish them, definitely going to need some new drums.
pics related is my bedroom setup currently, tv and vhs are for sampling.
Cooper Russell
just keep learning and don't expect to finish tracks in marathon sessions, biggest mistake is doing a 16h drug fueled session per track, work like 4hs per day a full week, then don't listen to it for 5 days, then come listen to it, figure whats sounding off and do another 4hs per day full week, etc, etc
Juan Ramirez
Some time ago i heard that ableton doesn't have real panning, is this true or did i just buy a meme? I remember the solution was to use an audiorack with two -6db channels and the pan was the inverse relationship between both channel's volume?
Isaiah Adams
That's a good advice too, I definitely have the tendency to rush my stuff. I can't really work 4 hrs a day on a single track but I'll try to do 1 hour on average per day.
Asher Adams
4hs is max before ears stop working, 1 is perfect, i would push to 1:15-1:30 to have some time to acclimatize before the hour is up
James Gray
>not producing 16 hours a day seven days a week not even trying baka
Jeremiah Richardson
for real, if i don't get at least 4 i feel like i wasted the day
I feel like i'm buying a meme just replying to this
process your own..? i found a "flying lotus" pack on /r/drumkits that would probably work if you don't want to put too much work into it.
what part are you worried about? it's not that complicated sounding imo. the lead and bass clash too hard at 0:29 tho
The criticism (and the meme) comes from Ableton not having true panning on stereo sources, which when you think about it is not what you'd want anyway - think about it for a moment.
Ableton (and most mixing consoles) have a left/right balance control instead of a panning control for stereo channels - the balance control reduces or increases the levels of the left or right components of the stereo signal to shift the stereo image but it never pans the right signal to the left or the left signal to the right.
This is intentional - pseudo-stereo effects rely on phase shifting a lot of the time to achieve the stereo separation, if you used true panning (separate panning for left and right channels) on a pseudo-stereo source you'd be able to send some of the left channel to the right, and it would phase cancel with the right-hand signal due to the pseudo-stereo processing. Vice-versa with the right channel being sent to the left.
Not all stereo sources are pseudo-stereo, but even with true-stereo mic recordings you'd run into issues with cancellation when using separate panning controls for left and right - not saying that these issues are impossible to avoid but what I am saying is that it's one of the reasons most stereo channels use left/right balance rather than true, independent panning.
Jordan Cook
so your saying its true but its good?
doe i have one more question, i don't comprehend how panning is achieved if its not by balancing the volumes of l/r? or are you saying ableton does this but it also prevents phase cancelation?
Eli Collins
iirc whenever i wanted to pan stereo sources (almost never) i just through on utility and shifted panorama. not that big of a deal lol
>even with true-stereo mic recordings you'd run into issues with cancellation
only if you're a noob at recording tho
Lincoln Wilson
Even with mono signals panning is achieved by reducing the left or the right yes but it's a single signal being replicated on both left and right channels, think of a stereo channel as being two mono channels - there are different signals being sent through the left and right channels and the whole point of stereo is that these remain separate, panned hard left and hard right. employing true panning on them would mean that they are no longer separate.
