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First for let's try to summon Phaser so his autism can keep the thread afloat.
How many reverb send channels do you guys use?
>Percussion Reverb
>Small Reverb
>Medium Reverb
>Large Reverb
>Huge Reverb
Starting to think it might be a bit too much.
How many tacks do you use, cause you may as well just insert the verbs instead
I think you should have as few reverbs as possible, both for providing an actual space to your mix for cohesion, and because reverbs are easy to overwhelm the spactrum and muddy up the mix. Especially when there are many overlapping ones.
I personally only use a long one and a short one (that's the same as the long but with shorter decay), and when I need other special ones for creative reasons, I try to use them when the two default ones aren't working in that frequency region (or at all).
You can automate the send amount to have more control over the sound, and you can even automate the reverb's parameters throughout the different sections. This will give you a similar effect to having many different reverbs, but without the loss of cohesion and clarity.
>How many reverb send channels do you guys use?
I've only got 4 aux sends so my normal set up is:
>Huge reverb (Valhalla vintage verb)
>Spring reverb/Delay (space echo)
>Delay (Replika XT)
>Flanger (Waves meta flanger)
Are you trying to make songs that sound like they're playing in the distance
>dedicated channels for audio FX
I don't know, but in Ableton I usually have a reverb/delay/whatever FX in pretty much every single channel, and then I turn the knobs like a motherfucker when I need that particular effect
everything is more smooth, and I'd rather control a single channel instead of the whole thing
Once you start doing this with more than 40 channels it gets messy real quick.
What gives you that idea?
For the guy in the (now deleted) thread asking for an Ableton Download:
Here are the official download links:
cdn2-downloads.ableton.com
cdn2-downloads.ableton.com
Get the x64 if you have more than 4GB of ram and your VSTs are compatible with the x64 architecture.
Otherwise get the x86 (32) one.
Here's the crack:
www8.zippyshare.com
mega.nz
Both links are the same.
Follow the instructions inside the crack folder before doing anything.
Thank me later.
I guess you could record the automation and then it's not messy
Depends on the track. If I'm working with few tracks I usually load one reverb on every track, but it's generally one for bass, one for drums, one for the rest of the stuff, then special stuff, such as tiny bells ringing in the distance, that gets it's own reverb.
If I'm using voice that gets it's own reverb as well.
Just two. One room and one hall. I also have two ping pong delay sends set at 1/4 and 1/3
I don't think that's what he meant user
That's the worst possible way of doing it in 99.99% of cases.
Can you please post a song where you did that?
why is it bad? they are usually very similar aside from dry/wet, mostly cause bass is kinda huge and if it has the same reverb as everything it kinda drowns it
Because each reverb creates its own frequencies, so they all overlap reducing clarity.
Instead of that, you should have one or two reverbs on a buss (100% wet) and automate the send amount like you would with the dry/wet knob.
Try both on the same song and see the difference yourself.
this is cool, thanks user
You're welcome.
I'd rather have no thread than one full of pointless autism.
hit me with that feedback /prod/ senpai
Why is it called 'granular synthesis'?
Shouldn't it be called 'granular sampling'?
no, not really
Anyone emailed a producer and asked how he did something? I'm sure most would be glad someone noticed. I really like the distorted drones in the film Gravity and True Detective scores. Been thinking about emailing them
Why?
. when I do it it sounds like shit, mess aroudn with everything eq etc, don't know which band / freqs to let rip with distortion and which to leave alone, can never get it
Do it and see if it works.
that's why I usually work with 20 channels max
less is more dude
Haven't done that no.
Why would you.
Don't do 40 channels that's stupid especially if you're starting out
Depending on how busy, high-profile, or rude they are, their responses might go from a detailed explanation to an insult, to just ignoring you.
So you should contact every producer you think can teach you something and try your luck with the shotgun approach.
In the "4 Hour Workweek" book by Tim Ferriss he explains how to contact celebrities of any kind to get advice from them.
>Why would you
Because granular synths are more similar to samplers than to synths.
I've actually read that section. I know when I worked at a video prod place and some guy emailed something liek that it was 'forget it' then come the afternoon we're all writing the reply email to him.
Also I emailed Chomsky about something and he replied in a day, apparently he replies to anything that is legible.
Oh wait, I've talked to Grant Kirkhope and he was extremely fuckin chill, went on about his Kontakt libraries and how they recorded the score to Amalur with the Prague orchestra.
Hm maybe, but they still generate sound from scratch.
>from scratch
They literally don't though.
They play sounds extrapolated from the sample you put in them.
>I know when I worked at a video prod place and some guy emailed something liek that it was 'forget it' then come the afternoon we're all writing the reply email to him.
What did he mean by this?
Do you care there's a k in know? me neither
Granular resynthesizers do, there's actual synths that utilize granular manipulation (Absynth is the first one that comes to mind)
>Granular resynthesizers do, there's actual synths that utilize granular manipulation (Absynth is the first one that comes to mind)
And how is that closer to synthesis than to sampling (like what a sampler such as Kontakt does)?
Granular synths are more like samplers with a few added features that change the sound according to the principles of the thing called granular synthesis.
But there's nothing being synthesized.
The same goes for wavetable synths, but at least the only difference there is in the inner workings (the rest is basically a synth) so they're more like synths that cheat by using samples, but granular synths work basically like samplers both in the inner workings and in how you use them.
Why do they call FM synths FM when it's PM.
Some things are just meant to be, stop it.
>Why do they call FM synths FM when it's PM
Because it only uses PM to achieve a simulation of FM, for the purpose of providing something that can be used as an FM synth to make FM sounds.
>Some things are just meant to be, stop it.
No they're not.
Some asshole just decided that, and it's wrong.
If I play the same note on two strings at the same time it sounds very different than if I play it on only one string. How can I imitate that effect with synths?
Semantics user, semantics.
Same way you do it with your guitar.
By layering.
Take a synth, double it, and make slight changes to one of them.
Or use the unisono function in your synth, set to two voices and little spread.
As long as your oscillator isn't set to restart each note at the same phase (which would result in heavy phasing), it should result in a similar effect.
If I put the same note twice at the same time in a synth it'll sound the same as putting it once. I don't know what makes the difference in the physical instrument to imitate it in the software.
I know.
And I know it's not important.
Just wondering why it's called in a wrong way.
this works, thanks
You're welcome.
It's because they're different strings, you have to layer a square and a saw wave for example and see what happens then ;)
I only use reverb in my hardware synths, mainly for sound design purposes. Otherwise I want clean for everything and build it up accordingly in mastering.
I'm a Sequoiatude user though
oy vey! no bad goy you must pay
Which one?
The layering or the unison?
Both but the unison is not as useful as it affects every note and I only want to do it at certain points. Duplicating is less of a hassle than automation and allows more detail.
Cool.
Just so you know, some synths allow you to modulate parameters with keytracking, so they can change depending on the note.
Maybe the one you're using allows it, so I suggest trying it on parameters where you don't want every note to be affected with.
It's probably useless here, but it's still cool for making things less robotic and more human.
I'm finishing up a prog metal album. Lots of opeth influence, this is just an instrumental intro. Let me know what you guys think or if there's anything i can fix in the mix because I'm a fucking noob at /prod/
clyp.it
lots of static there
how to ambient percussion? I have an interesting harmonic development but I have no idea what to do with it.
Make regular percussions, lower the volume until you can barely hear them, then put a medium reverb on them with 100% wet.
Bump
About to purchase a mininova. How are they? From the demos it has some nice presets.
ayoooo
Do thisBut also roll off the high end as it will make it sound more distant. Rule of thumb, high frequencies dont travel very far, low frequencies do. That's how you make it sound far away.
Radical !
How do you decide what genre of music you want to make?
You don't.
Its fucking hard so you have to like what you're doing and have fun
anybody else /ipad prod/???
literally anybody?
house / garage ppl - does anyone know how to get the bass/pluck/synth sound from "kylie minogue - cant get u out of my head"?
its 4 this lol
clyp.it
other good wavetable synths besides kontakt? only ever used kontakt and the ipad garage band one
I think you can do better than that
Zebra 2
The pluck is "Perc Organ" preset from the Korg M1, used on shitloads of things from the early 90s
at 2:20 on this clip:
Why the hell would you want that sound, there's some sick fucks on this site
if you have yet to encounter this preset on any softsynth I would have to guess you've been a producer for about ehhhhh maybe like 7-8 hours
>using presets
>living in an imaginary world where there is no producing learning curve
presets are helpful for beginners as templates of sorts
if you have yet to reach a threshold of preset and sound listening that you can't remember everything you've heard then I guess you've been a producer for maybe like not long
Sometimes, but I always export or record into a daw
sound design isn't rocket science, anyone not retarded should be able to dive right in
You're grossly over-estimating average human intelligence
serum you can also get the massive wavetables
Its the same as running. Anybody can run, but only a few can win the olympics
im real new to this is the composition on this decent or is it lame
Reminds me of Justice instrumentals but with way less reverb.
So I'm just lurking here and thought I'd say it's cool coming from here ages ago to my second album out in 3 weeks. Thanks /prod/
Anyone know good sample pack with human sounds like caressing, kissing, nail biting etc.?
Uhh ears bleed
The learning curve isn't the same linear procedure for everyone.
For example I didn't care about making songs in the beginning, but only about learning everything so that the songs would come later, so I learned sound design first and only made noises and little clips for a while before actually finishing my first full song.
For this reason I never used presets and always made everything myself (except drums when I wasn't good enough to make them).
And I did exactly the opposite
I just took presets and composed shit, because inspiration is fleeting and songs need to be composed fast
Hell I always start with a piano/standart drum kit with my songs and then tweak presets
can someone check if this is to trebly
clyp.it
Wow start is really really good but the whole song kind of lacks tension and gets played out to the end
Finally finished a song again, would love some feedback.
Also, I know it's not healthy to look at the audio image, but I've noticed that other songs are far more "sausage-y" and have fewer "spikes." Any idea how to achieve this effect? I'm assuming it has to do with making the RMS a lot more stable.
Sorry deleted it cause I thought there was something wrong with the url, posted it again though.
Any idea on how to add tension? I've been messing around with white noise, transitions etc, but I feel like it isn't really enough to hype it up. Maybe decrease volume during the mastering process and then increase once the meat of the song kicks in again?
>because inspiration is fleeting and songs need to be composed fast
I'm talking about the first month of picking up a DAW and learning music production.
I was in it for the long run so I focused on learning instead of making songs.
As for capturing the inspiration in the moment I've always used voice recorders and hummed the music in (and explained eventual additional details) then recreated them afterwards.
ultra super draft, what u guys think
rough draft*
Can I learn song structure with just Rhythm patterns, or should I learn melody and harmony first?
If yes/no, what book do you recommend for song structure?