Welcome to /prod/, a place to discuss music production, sound design, engineering and all things related. Discussion is encouraged, ignorant assumptions will be mocked.
GIVE and RECEIVE feedback. The more specific you are about asking for feedback on your song, the more likely you are to get useful replies! DO NOT post Soundcloud, YouTube or any links where you are not anonymous. That is considered self promotion and will result in bad feedback!
>The Art of Mixing [YouTube] The Art Of Mixing (A Arte da Mixagem) - David Gibson (embed) >Intro to Synthesis [YouTube] Intro to Synthesis Part 1 - The Building Blocks of Sound & Synthesis (embed)
Im having a hard time getting the 808s to sit in the mix. I have an 808 a bassline and kick. Is there a specific order I should try sidechaining these in?
You're having trouble because they're all fighting for the same space. In the heavier part move the bass line up an octave and let the 808 take over, opposite for the verse
Sidechaining cant fix arrangement problems
Interesting stylistic idea, not meshing all the way yet though. The guitar also needs to be tighter
Seriously, the gold strip is just freemasons/illuminati, isn't it?
Angel Ward
No, they're just fixated on things that don't help them accomplish the end goal, or don't care about ending up with a good song.
People in that gap are often mistaken for the goldies when they tell you your recording sucks ass and there's a limit to cheap gear.
Elijah Cooper
Also that image is kind of bullshit because there are a fuck load of established guys giving out instructions or showing how they did something
Gabriel Carter
There are some unintuitive 'eureka' techniques that go beyond good mixing and recording practices that sometimes get let slip though. Just to give you an example, I'm not really a fan but there's a vid of flying lotus covering his laptop with his hands so the cameraman can't see what chain he's using. He's not hiding the levels on his mixer is he?
And there's an 'artist tips' thing with disclosure where they say their kick has that thump because it's just a 909 lopassed layered with an acoustic kick hipassed and tape hiss to fill out the sound but everyone does that now and it doesn't sound like that. Same with the ed banger stuff. It's something like them putting a pre-fx send to a slightly delayed reversed impulse response of a toilet bowl with a haas effect with the sub boosted but the dry kick has the low end taken out or something like that. I saw some guy on gearslutz who came to a very similar conclusion independently of me, obsessing over it and everyone was like dood it's alesis 3630 jus sidechain it.
There's definitely shit like that going on that they keep close to their chest.
Benjamin Campbell
hello /prod/ do you think the quality on this is good enough for me to be distributing songs with this recording method? the song itself isn't exactly the quality of playing (esp vocals) I want but this is proof of concept of my recording/mastering method; I am recovering from a repetitive strain injury of 2 years so i can only play for minutes a day for now
thanks
Hunter Foster
Hi /prod/ I'm just starting and have got Ableton Live Lite 8, I want to upgrade it because it's too limited but I can't afford to pay the full version because poor. I wanted to pirate it but I have things recorded that I don't want erased... Is there a way to do so? Like a Crack or something idk. What do you recommend? Should I just download a different DAW?
Bentley Smith
Well for individual sounds unique to an artist duh of course.
What's that eb kick? Sounds interesting I'm going to make some kicks like that low 8)
Distributing as in putting online or whatever, yeah for sure. I'm not sure what you're asking beyond that- I don't think this is all the way there yet desu, it's pretty roomy/same mix wise. Then again I can't judge this fully because of the music... and I've been awake for too long
Gn /prod/ sweet dreams tomorrow is another chance at making your best song yet (:
Oliver Kelly
Just export what you recorded and keep it dummy.
Yes just get ableton 9 suite it's killer. Ok gn for real this time
Isaac Peterson
reaching the storage limits of my shitty macbook air.
from a performance standpoint, would pic related combined with a 256sdxc card be adequate to use as a place to store projects, samples, and install plugins with huge libraries?
Dominic Kelly
Posted this in last thread, but still looking for more suggestions :(
I'm aware that if I want to make the kind of techno that I like, I need a TB-303. The problem is, any free VSTs I find are terribly hard to use. Is there any free, baby-tier VST that I could use to start getting a good acid/techno bassline sound?
Hello guys, does anyone know if the Steinberg UR22 MK2 USB interface is multi-client?
Jason Campbell
Chances are that the MIDI interface will have a multi-client driver, and since the USB controller is class compliant it'll handle audio streams from multiple programs in Windows Audio (DirectSound/WDM drivers) and CoreAudio scenarios - where you might fall down is when you're using an ASIO driver with your audio programs, Steinberg developed the ASIO standard and they purposely built it to be a single-client protocol, so it's likely that you won't have multi-client access to the ASIO driver out of the box.
They did develop a solution for using multiple ASIO-supporting applications simultaneously though and I've added the link to that below - you'd still be out of luck if you want to stream audio from a web browser and use an ASIO application at the same time though, since most (that I'm aware of) browsers can only use Windows Audio and ASIO by design locks that out.
I would be very grateful if you helped me identify how to obtain the second example's output. I have some idea of how can be achieved, but I don't want to influence your answer.
Wyatt Wood
Just send the artist an email.
Lucas Evans
zynaddsubfx
its standalone though not sure how it works on windows youd have to route midi to it then its output back in
Christian Mitchell
If nobody knows, who may I ask?
Hunter Perez
You know I've always been interested in the conspiracy theory that big label producers and engineers use certain sounds in their music to make the song addictive. It's subtle but it's there. Keep in mind these are world class engineers and they know more about sound than any of us so I wouldn't doubt it.
Michael White
first of all wtf
it's just a vocoder. not distortion
>use certain sounds in their music to make the song addictive.
sylenth supersaws and harmonizing vocals i tell you man
Have any more info on that? It sounds interesting.
Jace Kelly
You mean common chord progressions plus pentatonic scale melodies?
Camden Harris
Or rather, it's a vocoder, not just distortion
Jace Richardson
Hey guys, what is the best plugin to make a track more ambient.
Dominic Wood
>If nobody knows, who may I ask? >Or rather
you're striking me as a giant faggot rn and i can't put my finger on it
no, it's probably just a vocoder, or *very* subtle, inaudible distortion if there is any. white noise and feedback can get you sounding pretty fucked up.
more specifics required
reverb obviously
Blake Rogers
Do you know where to pirate it?
Sebastian Myers
it is a free synth stop shitposting
Brayden Garcia
Oh sorry
Josiah Price
Pros spend more on the listening environment than anything else, and they also work on music full time for years. You work on it part time on consumer gear...I mean you can still write good songs, but don't obsess over the mix because there's no point, it will never sound that good, especially on a wide variety of systems.
Liam Morris
True.
Sometimes it's not even the big guys doing that. For example I discovered/created a set of interrelated techniques that AFAIK nobody knows (and for how far I've looked, if they know, it's a very well kept secret) that's incredibly powerful for both sound design and mixing. I was completely mindblown when I had that "eureka" moment, and I've further developed them to a point where it can give me sounds that nobody ever heard before, and I'll never tell anybody.
I'm also pretty sure it's very hard that other producers thought about it, because it came from me wondering about something that very few people do, but I've been doing for many years.
Too bad the rest of my skills suck, so my music isn't that great, but I'm pretty sure when they'll be on a competitive level, these new secret techniques will make the difference and make my music stand out.
And this is just one guy in his bedroom. Imagine all those guys who have an extremely deep knowledge about one or more aspects of production and work on it for years developing their own way of doing things and exchanging them with other equally competent people.
I have no doubt there are techniques that only a few top-level guys know and don't share with anybody. But I'm also pretty sure that they're rarely gamechangers. It's mostly just ways of getting a specific sound or making something sound very good.
Carter Thomas
should i not tell anyone how i make my stuff if i'm getting gud?
Noah Mitchell
post clyp
Asher Wright
Can you post a track with your special techniques?
I should be good to start fiddling around and recording my stuff? My music is all acoustic and sometimes I sing with my instrument.
Liam Garcia
I'm not gonna post anything because I know you'll be analyzing them front to back, and I can't risk that. In fact, I'm even going to limit their usage on my actual releases, until the moment where I'll know they're going to get enough attention to make them "user's sound". Because if I use them too soon I'm afraid that someone bigger than me will reverse-engineer them and become famous off of them.
If they'll reverse-engineer them AFTER it's been made clear that it's my sound, then it doesn't matter because I'll still be able to make a carer out of it as "the originator" of it, like everyone who was first to make a subgenre or a "sound".
My music is pretty shit anyway, so it's not like there'll be much to listen to.
William Gomez
yes for sure
Connor Stewart
wew lad
Nathan Green
any good hearted one is doing nothing and could listen to something to me i'm needing 3rd opinion on which vocal take to use. or if i use both doubled, or double only at some point
Take 2 is much stronger and fits that backing better. But you didn't provide any context so I don't know what feel you're going for.
Kayden Barnes
I have a 200gb.... runs solid. I keep samples on there.
Carter Morris
I don't care if you don't believe me. I just said that to add to the conversation, not to brag or convince anybody.
But just think about it... If you had a revolutionary set of techniques that you think will be a gamechanger once out in the hand of the other producers, and you think will be the jolly that will make your chance at success realistic, would you keep it as secret as you can, or risk revealing it before you can use it to your advantage?
It's also possible that I'm a retard and they're not gamechangers at all for one reason or another, but until I'll be 100% certain of that, I won't risk my (realistically, only) chance at success.
Thank you my friend. Best of luck to you as well.
Juan Howard
best plugins for creating more atmospheric, spacey sounds?
Nathaniel Perez
Is there a sustain/expression pedal with just a switch on it, so you can plug it into a synth hit the switch and have it drone?
Parker Thompson
MXL 990/991 package JBL 305s Any 2in 2out interface (they are all the same) ATH-M50x headphones An extra pair of cheap headphones (when you get into that collab life)
Sweetwater and Amazon have a lot of start up kits that come in under $600 that you should check out as well.
Brody Morgan
context is its a cover, i suppose youve heard it before?
its a quite mellow song, but seems my cover went to a stronger feel because of electric guitars (only did it cause i dont have an acoustic). maybe i use the 1st take on the beginning, then change it to the 2nd take when it gets tougher with the full band?
Juan Sanchez
I remember a few years ago reading a series of Twitter threads (or chains, whatever they're called) by some big EDM guys talking about some supersecret technique that let you sample any kick from any song and have it almost as clean as the original sample. They were all "oh yeah, cool stuff, BIGNAME taught it to me" like a secret club. Then one of them tweeted something like "is it that multiband gate thing?", and from there it took anyone with a brain minutes before understanding how it was done, and the secret was out. Turns out some guy posted about it on some forum months/years before and got some "that's really neat, bravo!" responses, but it wasn't really popularized until the famous guys talked about it, and now there are several youtube tutorials about it or variations of it.
The same goes for another technique that either Madeon or Porter Robinson said the other taught him (don't remember which is which), about using phase inversion to get "mastered" stems for live shows from the final master of the complete songs, but I never thought too much about it so I still don't know how it works.
Just imagine how many of those there are and nobody says anything publicly about them.
Just think about all those artists that are mediocre until they get signed, they start touring, meeting, and collaborating with other pros, and suddenly their skills go up exponentially (both musically and technically). Of course the pros share tips and tricks with each other.
Jack Morris
I knew it was a cover, when I say context I mean how does it relate to the rest of your music/sound? But it sounds like you just solved your own problem right there
Benjamin Gonzalez
>clyp.it/ochmdsan I think the intro goes a tad long, maybe try distorting those 808's a little more. Cool Track tho. A little bit like rage.
Not really studio quality, sounds a little like it was all recorded in a living room all done live off the floor. That appeals to a lot of folky hipsters though, so you might have a shot in that market. I would try tracking individually next time.
Made this idea today, it's very rough and still empty in a lot of spots. the vocal shops in the build are rough and sloppy, still lots of edits to be made. Just trying out an arrangement and idea. If you ignore the mix and just take it as a musical template for an idea/song, what do you guys think? Just want some general feedback and if the contast and drops work with how light the intro is.
Sweet dude. I'm really tired of recording my shit with one little handheld mic. Also I already have M40x's and I just love em if anyone was eyeing em.
Michael Rodriguez
ah sorry >how does it relate to the rest of your music/sound i dont know
is it a good idea to do it that way, or take 1 is just too weak?
Carter Torres
I'm going to disagree with the other anons and say that it passes as studio quality. You have some nice natural (sounding) reverb that you could really do something with. Work on polishing it and you'll have something marketable.
I like the idea and the mix is decent. Here's my criticism: Trash the rising tone thing before the cool breakdown. Give that bass kick some more weight and move it around a bit more rhythmically instead of just "bup bup bup bup."
Gavin Morales
Take 1 is pretty weak, desu senpai
Isaiah Anderson
Anybody know of a good condenser mic for acoustic guitar and mandolin?
Jonathan Hall
can you tell me what time the rising tone thing is at? im not quite sure what you're talking about? thanks for the quick response
Colton Wright
i'm helpless
Joshua Anderson
Oh it was just that little transitional thing :37 - :41. Personally I don't like those as a way to get to the next measure. It's your song though bub
Jace Rogers
why not just use a sm57
since its a dynamic mic, it has a narrow focus, so you get one of those stands to get the instrument stand still and not cause oscillations on the sound the mic picks up
Zachary Wright
oh that filter sweep. Yeah I threw it in there because the transition without it kinda skipped too suddenly without that to distract the ears. I didn't do this song to a click or on the grid or anything. i kinda just follwed that sample of the girl and went from there so there's a few areas that dont really click together so well so i have to layer it up to blend those transitions. any suggestions for that part?
Justin Diaz
I hadn't even considered this, thanks guy
James Evans
you go do things and i stay sitting here wondering about stuff and not buying a stand to myself and recording by trying to keep the guitar still
Daniel Jenkins
seconding this
Blake White
reverb. what else could it be
Jace Bell
granular synth are good for ambient
Isaiah Watson
Go to one of those enormous, ancient churches in Europe and record in there
When information about music says it's "written by" someone, ar they talking about the composition or the lyrics?
Carson Flores
it's case by case
Nicholas Anderson
music production is difficult
Juan Garcia
...
Eli Harris
kind of a specific question, but does anyone know if the Korg MS1 microsampler has pitch change functionality?
What I mean by that is the sampler I currently use, Ensoniq EPS 16, has the ability to alter the pitch of a sample based on which key is played in related to whatever key on the keyboard you set as the "base"
I love the machine, but it's too slow and takes up too much space. I'm looking into alternatives, but haven't found anything that has a smaller footprint.
The ms1 looks like it has that functionality, but I'm not sure since most videos I've watched on youtube are for beats. I mostly want to sample something like a droning pitch/oscilation/whatever and make weird, warbly melodies to stay at the bottom of the mix as much as possible, but still be somewhat audible.
Should I just keep using the EPS, or would an MS1 do the trick (or any small footprint alternatives)
Thanks!
Evan Johnson
Thanks guys I guess when my hands (its really tightness in the arms though) is healed I'll do an albumn like this
in case anybody wants to know how it's just recorded in a tascam dp 008 eight track with both mics active (seems to make it warmer and nicer than just one) at once while a few good feet away then ran through landr's mastering tool
Jonathan Fisher
I don't see why key you set for the base for the sample matters that much.
If you want to know more about any synth/sampler the best place to go is the manual.
Dominic Howard
If you get all that for 600$ it will probably all be pretty cheap and you'll end up upgrading everything later. I would start out with getting just mics and an interface, and save the monitoring for later.
Oliver Murphy
no, the base key doesn't matter (helps if its same key as whatever pitch sample is, like sample is a note mostly C then base key for sample will be C, so if I play a key that's C# the sample is sped so its C#)
No manual, I don't have MS1 so can't have the manual. Why would I buy a manual and no machine? I already have and read the manual for EPS which is what I use. I'm a good reader and I understood what it told me to do.
Is it a 16+? If it is you should keep it I own an ASR10 and can't stop using
Carson Evans
>x new posts on thread >no (you)
Elijah Jones
Iktf man, what's your post?
Sebastian Parker
what's the difference between mixing and master?
Dylan Cooper
mixing is when you work with individual tracks (kick, snare, guitar, vocals etc) and get them sounding good together. That gets exported to a stereo file. Mastering is when you make that stereo file sound better using various techniques.
put very simply
Jacob Gutierrez
this one
Aiden Cooper
thanks
Benjamin Walker
it's 2017 but I feel like I'm in 2047 because I'm an old soul occupying a young body. The voice tending the light told me I have 63 years left on this earth.
Nathan Torres
>The voice tending the light told me I have 63 years left on this earth.
