>ATTENTION! DO NOT post Soundcloud, YouTube or any other links where you are not anonymous (unless somebody asks you for it). That is considered self promotion and will usually result in a bad feedback.
>LEARNING RESOURCES
(Obligatory mixing course) >The Art of Mixing by David Gibson [YouTube] The Art Of Mixing (A Arte da Mixagem) - David Gibson (embed)
(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 (embed)
How's this? clyp.it/sid2gprp I still feel like theres too much (high?) mids on the guitars even thou theres a huge 800 and 1k cut on them Feeling like it could use some effects or something, sounding kinda boring to me since it's not an actual live band recording.
Have any of you actually read the User Manual for your DAW?
Samuel Wood
ay its aleks
Hunter Lewis
no. should i?
Robert Adams
yes, lots of useful information and questions that are asked a lot on here and other places by beginners are answered in these typically so why wouldn't you read it
Jose Butler
I on my 3rd read. Saves me posting shitty questions on Internet forums about basic features and believe it or not you always miss or don’t understand something on your first read that makes more sense later on. Plus it reminds you of features that you’d forgotten about. RTFM anons
Jordan Walker
Yes, absolutely. You'd be amazed how much important knowledge is tucked away and there. Every time I've opened that sucker up I've come out more efficient at what I do. Even if it's only just a little bit
I'm trying to record me whistling but no matter how much I compress it/ fuck around with settings I can't get the volume to stay consistent. Any ideas?
Ethan Allen
How do you go about making the end of this track (from 04:00 onwards)? I'm interested in both the sort of industrial sounding bass sound and the higher one.
Are there any really good books for music production? Like for an absolute beginner? I've studied music and I've made some shit in FL Studio and Ableton but theres so much terminology and theory behind the actual production parts that I haven't the slightest clue about.
Jack Gomez
yes
Oliver Watson
The dance music manual is a classic reference, though it is a bit dated. My personal favorite read for mixing/mastering is the manual for izotope ozone (last one I read was for ozone 5, but i inagine theyre still just as good). You dont actuslly have to have the plugin to follow along with the manual.
Besides that, YouTube is your best friend. Watch some of Seamless's videos. Virtual Riot also has some amazing videos of him going through the entire process in about 40 minutes which many people find helpful to get the bigger picture
While I have time, I'd also love to answer any questions about specific terms you're curious about
Landon Flores
Thanks for the suggestions. I've been having a look at Youtube tutorials but I just fid it a lot easier to follow books and stuff. Uh I wouldn't even know where to start with a question to be honest. I basically know all my music theory and then some but am absolutely cluess about the tech side. I don't know what pads are or how to sample or how to build synths. Or even shit like how to record something longer than one bar before it starts playing over itself in FL
David Clark
Just type all that and your daws name into google, 1 at a time, do you know how to type?
Hudson Walker
>savant >aspergers Yah sounds accurate to me >403? What
Cameron Collins
Everything else is so loud it's drowning it.
Bass sounds like a highcut saw wave or something close to that. The other high-end one sounds like a metallic resampled sound (FM) with resonance modulation.
Read the manuals for all your synths/plugins and try to understand everything they're saying in depth, also you have to keep trying, nothing you'll ever read will make you good.
Grayson Allen
Sorry for the delayed reply.
Pads are a type of synth sound that is like a big slow moving soundscape. They get used a lot in movies, and you can make them by putting pretty much anything into a fuckton of reverb.
My favorite way to sample is to use audacity. Google how to route your stereo mix into it's microphone input, then you just hit record and play the sound on your computer and it will record it.
Building synths is a long and complex topic, but for now id say just open 3x is in FL Studio and fiddle with the knobs and buttons. It would help a ton to Google basic subtractive synthesis tutorials as well.
To record more than one bar, make sure you set it to song mode instead of pattern mode, then look at the buttons by the big record button and make sure loop recording is off, then push R
Noah Ross
how do you guys feel about this? i'm still working on the arp, and the foley needs a bit more tail/reverb, but apart from that is there anything else i need to work on?
Sounds a little bit uninspired, as if youre just playing it safe and going throuthrough the motions. Though that can be healthy to do. I'd suggest adding a piano playing some soft and moody like minor 9th chords or something
Kayden Foster
1. Either keep your mouth the same distance from the Mic at all times, or step back a bit from the microphone when you record
2. EQ out some space for it (as in put some dips on your other sounds at the spot this is at, which I think is like between 2 and 5k)
3. Put a limiter on it and crank the gain
Austin Gutierrez
I agree, but I just started on this so that's why it sounds uninspired atm. I want this to be a popular release some day though, so I've been trying to focus more on the pop aspect.
What you heard is just the groundwork for it all, and I'm actually thinking out a piano melody as we speak, but thanks for telling me the specific chords that would match it.
Isaiah Reed
Yeah no worries man, just letting you know what I felt from it. Try just experimenting with different extensions of the same chord. You'd be amazed how far you can stretch a chord by just playing the same chord but as a 9th, m7b5, add13, sus4, etc
Cant believe I'm trying to do this again even with this song
Dominic Walker
I'm trying to make house/ techno, how do I get that groove swing to the track that a lot of tracks have? My work sounds a bit too dull and robotic? is there some sort of layering or drum pattern I need to do?
Henry Davis
Holy fuck I'm just listening to this album. You have to have a good idea, then add tons of detail and groovy/detailed percussion to supplement it.
Joshua Ortiz
I've been looking for a cheap keyboard that I can play and use as midi controller. I live in brazil so i'm like 3x poorfag, so the cheaper the better.
Jason Brooks
its honestly probably the pinnacle of EDM for me. so much emotion and beauty in the progressions
Bentley Ortiz
magnet:?xt=urn:btih:b97e1333c7c2909b6a219f5ae03f79d366856afc&dn=Deadmau5+Masterclass+%2B+PDF&tr=udp%3A%2F%2Ftracker.leechers-paradise.org%3A6969&tr=udp%3A%2F%2Fzer0day.ch%3A1337&tr=udp%3A%2F%2Fopen.demonii.com%3A1337&tr=udp%3A%2F%2Ftracker.coppersurfer.tk%3A6969&tr=udp%3A%2F%2Fexodus.desync.com%3A6969 here you have it
I don't like much the vocal sample and how it fits into the song. It's too loud anyway and should be EQ'd I also think the lead... things ? are too loud and the thing that sounds like a dry flute could use some sublte effecting even in its first expositions. I like the way it was done in the outro. The main beat is very good and the effected delay lead is enthralling.
Carson Myers
Idk if it could be tighter but it sure is fun
Carson Cox
clyp.it/j13gi0qy?token=7e969ce60b40609b7f9ea652e1bb29d2 If anyone can let me know where to find a good reggae pluck sample to replace what I'm using in the second half of this id be very grateful Very cool. Completely unrelated but i hate that the volume's display forms a dick.
Owen Thomas
>clyp.it/ec2jbvm5 Damn dude this is actually really amazing, I'm downloading this.
Matthew Kelly
Thanks lads i'll try to do other things in this style
Colton Gray
Trying to clean up the mix a bit before recording the vocals. Advice?
Anything by Behringer Hell ya buddy, join our discord and we can talk about it, I make EDM too. discord.gg/cfwMgqU
Thomas Cox
what's your email user
Camden Evans
Yeah actually.
Andrew King
There's no vocal sample. I have no clue what you mean by "lead things" but I imagine it's the LFO effects on the bass line so I'll definitely fine tune that if that's what you mean. Thanks for the compliment as well.
Parker Fisher
The metallic noises are foley that I linked to the snare, but if I have no clue what I'm talking about and you know that then I'll just call it percussion.
Ryder Garcia
why?
Jordan Hughes
I was looking for cheap, but thanks.
Isaac Hall
>behringer >not cheap
Asher Foster
any DAWs where i can turn off the grid (both effectively and visually) ?
Blake Thompson
If you mean snap to grid for the piano roll and such, it should be possible in any DAW, at least effectively, not sure about the visual representation tho
Easton Walker
that high noise sounds shit
Jaxon Evans
pro tools
Cooper Ward
>looks like an even more autistic Jack White >has a coke labelled "Meg" on the table what did he mean by this
Jonathan Wilson
he looks like a mongrel
Brayden Clark
I have to read the manual for Iris every other day, but I'm using a sound design application to make an entire song, so I'm running into loads of problems.
>volume way too fucking low >can't draw in specific parts of the spectrogram >how do i even try to sequence this shit in a real DAW
Adrian Stewart
Is syntorial worth it?
Parker Richardson
i dont think its worth paying for if you want to use it get the crack version
Josiah Morgan
You're probably going to have to mix it again once the vocals are there
Nathaniel Wilson
Should add Future Music to the vids tutorials in op
Isaac Edwards
layer with sine or something else maybe
Jeremiah Ward
What's the best software to run my midi keyboard through?
Aiden Hall
just download whatever daw you want
Benjamin Moore
I did something similar once, only I sequenced it in a DAW and used like 3 instances of iris I think. Iris is fun, and for some reason it just makes you want to make noise lol. I'd suggest moving what you're doing into a DAW, just feed it a long ass C5, but then you can automate things like volume or like different noises and stuff
Parker Reyes
For violin the chris hein sample library is really good.
Michael Martinez
What are some different ways of composing on the mpc other than 1/2/4 bar loops -> song mode? writing in loops is starting to bug me.
Brandon Mitchell
do all you hacks throw mastering shit at your mix bus before uploading the clyps to /prod/? or is that how your shit sounds at -6db?
im kinda tired of feeling like a -6db cuck
Mason Gray
I usually do. It's not very hard to just put an LA2A on and turn up the gain a bit for a quick render. Not exactly the best master, but you don't really need one for a wip
Xavier Sanders
-6db is fine particulalry unmastered, look up loudness wars and the K system, k-12 etc. All the streaming sites normalise to -12, -14 db so apprently bro fuck warrior tracks sound worse when reduced than smooth sailors who k-14
Robert Brown
The K system is a little dumb IMO.
Loudness is a tricky subject in music, but I find that there are actually plenty of instances where having an absurdly loud mix is actually a benefit over a dynamic one, even when the two get normalized based on RMS. Certain things just sound better that way, and some don't.
Brandon Lopez
this. a lot of the anti loudness warriors don't seem to understand this, but especially with electronic music a certain loudness has it's place. that does not mean that everything has to be smashed at there's certainly a point at which everything sounds like ass, but that's partially also a matter of skill. just listen to some well done recent d&b like noisia, it's fucking retarded loud and it sounds fantastic, great punch and impact and it feels dynamic as fuck, while some generic illenium or datsik or whatever flavor of the month stuff tries to be as loud but fails miserably
Jaxon Turner
Anyone find composing naive-sounding music with soundfonts from old video games and plugins that imitate old soundcards to be a lot more liberating? A lot of them sound great if you're into that kind of thing, and there's a lot less to polish, just compose Either that or I'm just a lazy brainlet who can't into producing
Brandon Diaz
Can anyone help me with Max For Live?
In the first example I have a fixed value of 5 (input 2), and I want the [if] to output 0 when the Parameter 1 is below it, and 1 if it's above it. This works perfectly.
In the second example I want it to output 1 if Parameter 3 is below it, and 0 when it goes above it. This doesn't work.
It still doesn't work, and I've tried every combination I could think of.
Ayden Powell
This is probably better posted in Sup Forums, but does anybody here know how to get started writing your own VSTs? I have a limited knowledge of C++, but a huge knowledge of how audio works at a technical level, as well as an understanding of signals in mathematics. I just don't understand how to use the Steinberg VST API or whatever it's called, and how to ultimately end up with a .dll file that I put in my VST folder
Any resource suggestions? Bonus points for helping me create a line editor (like what you see in Image-Line plugins, or the LFO section of Serum)
Caleb Brown
>This is probably better posted in Sup Forums Yeah, you should open a thread there (or try the stupid questions one). I don't think you'll find many programmers here.
Noah Smith
might not have shit to do, but your cabling looks wrong, put the 5 box over the 0 and the 8 box over the if
Michael Johnson
desu i spend pretty much equal time working with korg wavestation presets than on my actual hardware
Gavin Foster
If you're worried about it sounding good streamed then could be a problem, but if you're making that kind of music, who listens to it other than a dance party
Kayden Reyes
The position of the input is just spaced evenly, and it doesn't necessarily have to match what's written directly below it. Or you mean reorder the inputs and rewrite it to match the new order?
I'll try that either way.
Bentley Kelly
so far (except for youtube, which transcodes) loudness normalization on streaming platforms is optional, so not a big deal at all
Matthew Sanders
im just looking at the two and the main difference is the cabling, then you got the variable scope questions that rise with your variable's naming, but i doubt is that
Matthew Perry
you could also try switching the comparisson operators rather than the vars placement, $i3
Tyler Collins
Wait, nevermind, I can't do that. I need the first to be empty, so I can ultimately do pic related (which is my actual goal here, and it doesn't work, so I try to understand why the 1st input works but not the third one by making them separate).
Perhaps I should've asked right away, how do I output 1 when the fixed parameter is within Parameter3 and Parameter1, and 0 when it's outside?
I tried that. Didn't work.
Jayden Martin
In that example when I increase Parameter1 to above 5 it lights up, and when it's below it shuts off. Parameter3 doesn't do anything.
Juan Anderson
lol lad wait a bit, this is another thing, is & an AND operator? did that shit you posted threw 1?
if it did then you are fucking up somewhere else entirely, also for the sake of readability put $i3
David Ramirez
I used && instead of & and now it works, but it seems to store the number and updates the result only when I change Parameter1 after changing Parameter3.
Until I move Parameter1 around, anything I do with Parameter3 doesn't affect it.
I'll try to use something that detects change to make Parameter1 send its value whenever I change Parameter3.
>lol lad wait a bit, this is another thing, is & an AND operator? Yes.
>did that shit you posted threw 1? I don't understand this question.
>are you sure parameter 3 is connected to the $i3 variable? is everything plugged in the right input? Yes.
Jace Walker
it shouldn't have returned 1, you were asking it is 10 bigger than 5? is 5 bigger than 7?
it should have returned 1 only if both of those were true
>I used && instead of & there you go
>Until I move Parameter1 around, anything I do with Parameter3 doesn't affect it. by the cabling it looks like parameter 1 calls the method, can you plug parameter 3 to the first input point as well?
John Young
Done. The problem was that I didn't notice that it only triggers the operation when Parameter1 changes, but now it works perfectly.
Thank you very much for your help.
Elijah Phillips
Why do it tho full stop, it sounds shit
Blake Campbell
if it sounds like shit then you went to far and/or fucked up
Joseph Nelson
I think the problem is you're doing all this abstract computer programmy hogwash and your 'music' will sound bad
