>/prod/ wiki - still looking for contributors mu-sic-production.wikia.com There's a severe lack of DAW descriptions in the wiki. If you're good with your tool of choice, consider writing a paragraph about it.
Remember to use clyp.it to post your tracks/WIP: posting a clyp.it is just providing sound for a question, posting a Soundcloud link is making self-advertisement and the thread doesn't need that.
Remember to check other peoples' clyp.it links to keep the thread healthy.
This is an old as fuck paste so I have no idea if any of this is relevant.
For a topic of discussion: I have some minor experience with bro tools. I don't like it enough to want to buy the thing. What DAW would be recommended for minimal tweaking to have similar workflow/workspace
>vocaroo.com/i/s1N1tRpp9f7d Come back when you make a song instead of a drum intro that doesn't go anywhere
Jordan Parker
>vocaroo.com/i/s1N1tRpp9f7d I like it! To make it more bouncy/funky, try syncopating or moving around the deep 808-style kick. For example, listen to Smack My Bitch Up, how that kick is driving the rest of the breaks ahead.
vocaroo.com/i/s0SfHJZqwsrU Some weird beats / hip hop stuff I guess? I'm not sure about the structure of the song.
Nathaniel Fisher
What do you like about the Pro Tools workflow? I only tried it for a short time but it seems Logic can be made quite similar.
Evan Sanchez
It seems very visual to me. and relatively intuitive
Jose Gray
Howdy there praud. I'm getting an audio tattoo on monday. I can't wait. I made the design 5yrs ago and finally it's happening. Wooooooo
Deece. I've wanted an Amen break tattoo for like 5 years as well.
Nice synths! Comfy mid-2000s acid feel.
Charles Jenkins
I blew my load last thread so just browsing today
Landon Taylor
You should do it brah. The feeling's quite liberating. And thank you for your kind words. I was once working on that but gave up on it a long time ago. Like most things.
Dominic Murphy
Just get a fucking amen t-shirt then when you're sick of it you can take it off and wear something else, instead of tattooing it onto your skin like a fucking mug.
Why does my kick drum transient sound so much softer in headphones? It cuts through really well on speakers but is hidden on headphones.
Jaxson Butler
hmmm that is quite curious. post clyp.it pls.
Luke Reyes
Turn bass down at least 1db. Turn hihat and snares up by at least 3db. Also your bass notes sound wrong. Try just matching them up with the root note of the chords.
it's okay, the chords are boring and repetitive, the mix is pretty shitty even for a low-fi aesthetic. sounds like hip-hop vaporwave
cool, not my kind of music sound design wise, but you seem to layer the melodies quite well. i hate the kick these are all drafts, i'm looking for feedback
>Mug describes person who is stupid, or being treated like they stupid
mugging off - to take the piss out of someone "you fuckin mug" "you treating me like a mug m8, u can fuck rite off" "you mugging me off in front of my pals" - beat line in football factory
Julian Brown
>when your friend is better at marketing his music and knows how to build connections in the industry to the point of getting massive hype around his EPs while I'm stuck with 15 plays per track >my music is still miles better
the feeling of having actual artistic integrity instead of fake validation desperately built from snapchat hype is a strong one.
I have no equipment or music training, but I would like to start making music. What are the first steps I should take? What software do I need? What equipment do I need? I have a Mac and a willingness to learn.
Easton Ross
Firstly you need sunglasses, tight pants and a cool tshirt
Owen Fisher
Should I get a gay hitler youth haircut too? Maybe I'll look cool then
Blake Parker
>it's okay, the chords are boring and repetitive thanks a lot, this is what I was afraid of.
Tyler Thomas
Get any daw, yt tutorials
Adam Morgan
listen to , personally i recommend Live to start with
>edgy simpsons image cashmoneyap wants his gimmick back.
Aaron Bailey
I'll spend a bit in fl derping around with kick drums and then I'll make something I like but I never know where to go clyp.it/bmg5fj4u I'm working on some hardcore synth stabs and an ethereal pad at the moment but here's what I have.
this version does sound better imo i can only listen on headphones atm though
Isaiah Rogers
I see what you were going for here but the bass is really muddy which can really hurt your mix. Look into sidechaining to tighten up your bass + kick (but don't overdo it)
Gabriel Adams
here's a thing I just made, been working on it for a few days. trying to push more into jazz territory
but I did sidechain rip guess I'll have to do some more
Juan Jones
maybe my ears are just shit then lol idk it's tough to make bass thumpy and clean at the same time, just keep doing it
Luke Edwards
I don't know anything about production. Why is Rick Rubin bad?
Owen Nelson
as a producer (i.e. creative force for the artist) he's done some amazing amazing things. however he's just about the worst mainstream offender when it comes to churning-out loudness war garbage. a lot of the shit he's produced sounds worse after mastering, and even then a lot of the mixes are overcompressed as well. caring about the music and caring about the audio itself aren't the same thing but the two should be working toward the same goal and not against each other.
Ryder Turner
If I read all the book in OP about mixing, synthesis, theory etc. will it really make a difference, I can dedicate my time.
Kind of. A lot of artists just learn how to produce one type of song, like paint by numbers, and then they figure out one new thing or do one thing really good and that's it. Others become obsessed with everything about production. Of those people, some are good at composition and theory and others just steal pieces of melody from elsewhere. It's rare anybody becomes a master of all those things. Production is so much more possibly complex than what for example a member of a regular band is expected to master. So you'll have to choose which shortcuts you want to take. Trying to take none will just mean you never get anywhere
Bentley Ross
>I have no equipment or music training, but I would like to start making music. Welcome to the club. You should fit in just fine here.
Cameron Cook
>If I read all the book in OP about mixing, synthesis, theory etc. will it really make a difference, I can dedicate my time. I've never read anything from the OP, so I couldn't say, although I'd imagine it would help. Music production is a never ending learning process I've been /prod/ing for 20+ years now and I'm still learning plenty. I tend to read plenty of music related stuff but very little or none on theory. I guess it depends on what sort of music/sounds you want to produce? I'm more into sound design than playing/making songs so I tend to concentrate on sampling techniques, effects chains and mixing rather than the theory side. Obviously this would be useless to someone wanting to play real instruments/chord progressions etc.
Liam Miller
What do you guys think about this short loop, is there any potential? clyp.it/dhkk0qv2
Cameron Lopez
Well these threads really have died.
R.I.P /prod/
Owen Williams
stuff in mono sounds quieter on headphones than wide sounds. this auditory illusion makes it hard to get a mix to translate to speakers. widen the kick and itll stand out more. listen to reference tracks where the kick sounds big in headphones and i bet theyll be alot of side infomation
Jonathan Bell
In terms of stereo width, does anyone else mix your songs like an upside down triangle? What I mean is like bottom end is all mono and then as you go higher in frequency it gets wider and wider. I've been doing this for probably years now after I read someone suggest it and I'm just curious how common of a practice it is
Easton Young
Well done
Noah Morales
Yeah I do this. I don't want my lows stereo because I heard vinyl doesn't cope well with it though that could be a myth, and my music isn't beat focused
Dylan Ortiz
Is anybody here good at math? I have a sine wave that plays a melody and I need it to be a saw wave. I tried duplicting my sine many times and pitch-shift each one to the right pitch, but it's never precise and it takes too much time to do manually. It would be so easy if I had a list of how much I have to shift each harmonic and how loud they need to be, but I can't find anything that would give me such list.
Does anyone know something that would help me google it or something?
Ayden Fisher
Jesus fuck dude just use a fucking saw wave
Jordan Reyes
I don't want a saw wave. I want to turn the sine sample that I have into a saw wave.
Mason Edwards
I've always kept my sub mono because stereo sub bass is just asking for phase cancellation when summed to mono (and most systems have just one subwoofer), but other than that I can't really think of any reason why I keep getting wider as it gets higher besides the fact that I just kinda do
>The ratio 1/harmonic number means that the fundamental, or first harmonic, has an amplitude of 1/1, or 1; the second harmonic, therefore, will have an amplitude of 1/2 (half the strength of the fundamental); the third harmonic will have an amplitude of 1/3 (a third of the strength of the fundamental); and so on.
How do I convert this into dB values?
Luke Gomez
I actually don't really get wider, mostly I barely pan, usually if something's in the way a bit and only a little,10 - 20 and if I'm widening it'll be 10 or so. And I don't stereoise anything because I haven't learnt and mono compatibility is a thing also, perhaps I should
Adam Morales
-6 Db = 1/2
Joseph Bailey
what a fucken dikhead just use a saw
Jackson Roberts
Fair game. I make a lot of wide full spectrum basses so they're generally stereoized from unison or chorus type effects, and then I manually lower the amount of width in lower frequencies through mid-side EQ and Image-Lines Maximus. But I told the same philosophy with everything else, basses are just the easiest example for me
To use a saw wave I'd have to start over with a new project. I don't want to do that. I want to use the melody that I already have in te sine wave form, and turn it into how it would be if I used a sawtooth instead. I'm not asking for alternative solutions.
Juan Bennett
Just hot swap the synth with a saw one.
Kill your darlings as hemmingway would say. Meaning when you're writing you might write ten pages and later they don't fit so you have to burn them. YOu can't get too attached to anything otherwise you end up trying to make a refrigerator a broom or a sine a saw
Jeremiah Lopez
>Just hot swap the synth with a saw one. It's a wav file.
>Kill your darlings as hemmingway would say I know about that. I don't care. If I really wanted to use the melody I'd spend less time reprogramming it than to try this individual harmonics stuff. It's a sound design exercise, and all those alternative solutions are useless for my purpose.
Tyler Allen
I'm p sure that 1/8 is -18 Db and 1/16 is -24 Db but I honestly don't remember. I don't really think about it in those terms anymore. Once you get it to a saw you're gonna clone it 6 times and detune each one right? ;)
Tyler Russell
Record in MIDI next time dipshit, all you gain from this 'sound design experiment' is something you could have and should have already read
Noah Bailey
I don't think you understand what I mean. I don't care about that specific melody. It could be a single note for all it's worth. I fucking have the midi file, and the DAW project for it. I don't want to use it because I want to recreate it in a different way for learning purposes.
>Has the reading comprehension skills of a child and still calls me a dipshit I asked a question and if you have no answer for it, then I don't want to hear your opinion on why I'm asking the question in the first place.
It's like going to a cooking forum to ask what's the best way to make homemade burger patties, and people responding "just go the McDonald's dipshit".
Except you gain literally fucking nothing from going through all this extra work. It's more like going to a cooking forum and asking how to make an exact carbon copy of a burger from McDonald's and they tell you to go to McDonald's
Matthew Phillips
Motherfucking Phaser back in the house.
Jason Ward
I suppose they learn how to make a McDonald's burger, so that's something, but in this case (since they're unaware of how the db scale even works) they'd also have to be coached on how to use a spoon.
Elijah Sanders
Just because you're too stupid to find ways to use this knowledge to find new techniques and ways to think of sound design, it doesn't mean everybody is.
Either way, I don't care if you think I'll gain nothing. Keep being mad.
>It's more like going to a cooking forum and asking how to make an exact carbon copy of a burger from McDonald's and they tell you to go to McDonald's Except replicating other things, especially when you're a beginner, can be extremely useful in letting you see things from another perspective, and see the process in first person. Nobody who knows about cooking will ever tell a beginner that going to McDonald's is better than making your burger yourself to learn, much like nobody who's skilled in sound design will ever tell someone that it's better to not do the exercise when there's an easily-available premade result, instead of doing the exercise.
Ayden Watson
>letting you see things from another perspective, and see the process in first person but that perspective is useless because when you want a saw wave you just select a saw wave, you dont make it out of sine waves like a fucking pseudo-aphex twin
Jackson Brooks
I don't want to see what the result will be like (it'll just be a normal saw wave if everything goes as planned). I just want a saw with individual harmonics I can affect in one way or the other, so I can experiment with different sound design techniques on the individual harmonics.
I spend a lot of time doing sound design experiments like this, and they always start with something useless and counterintuitive like reinventing the wheel (or sawtooth), but they always end up sparking new ideas and through messing around, I always end up making cool new noises I can use in my music.
If I thought like you and said "no, that's a stupid Idea, it's better to use the premade stuff", I'd never make anything original or interesting, because I'd just be doing what everybody else is doing, and refusing to do things in non-mundane ways.
David Morris
Look man if you're autistic enough to have to go through that much work just to confirm that harmonic series is a thing then go ahead. But don't pretend that you're now gonna take this knowledge and make an additive synthesizer, or really do anything with it that additive synthesizers haven't been able to do for more than a decade. I offered you practical advice, because i thought you wanted to do something practical. Instead you did nothing but take fucking forever to make something you could've made in seconds. And be a huge cunt in the process
Jeremiah Cook
>Look man if you're autistic enough to have to go through that much work just to confirm that harmonic series is a thing then go ahead I don't. See this
Luis Wood
I understand this isn't a feedback thread, but I'm finishing a demo for a guy before he records over them. Please give feedback as to what I could add. Thanks!
