>ATTENTION! DON'T post Soundcloud, YouTube, or any other links where you are not anonymous (unless somebody asks you for it). That's considered self promotion and will result in bad feedback.
>Syntorial (widely considered the best place to go to learn synthesis) syntorial.com/
>Mr. Bill (Ableton based, some of the best sound design tutorials on the planet. Aimed more towards IDM-type stuff. He also posts his music here) youtube.com/user/MrBillsTunes
I've heard songs made of pure distortion that weren't as loud and "hard" as this one, which is insanely loud but still rather clear (as far as distorted basses go anyway). Is this the hardest sogn of all time?
so, i got a new laptop for christmas and I have FL + Reaper still on my old one. Could I use a flashdrive/external hard drive and just move them over to my new laptop? I don't wanna lose the drum kits/VSTs I currently have on there.
Henry Jones
Install the programs on the new computer, then find the folders where the files are located on the old one and move them to the equivalent in the new computer.
Moving installed programs isn't a good idea because the installation process not only puts files everywhere around the computer, but also makes changes to the registry, so you'd have to manually find each and every file and registry key, and add it to the new computer, so you're much better off reinstalling and moving the important folders afterwards.
Same goes for the VSTs. If you had to run an installer (a wizard, a script, or whatever), then you should just reinstall them. If you just moved the .dll file in the folder, then you can just move that to the new computer.
If you're thinking about just using the old hard drive in the new computer, it's even less of a good idea because the system would be configured to work with the old hardware, and unless your new hardware is EXACTLY the same as the old, it's gonna give you problems 24/7. Some times even when the hardware is exactly the same, due to serial numbers and other small things that the drivers might need.
Logan Mitchell
the drone is a bit jarring. it doesn't really mesh together with the rest of the track and becomes a bit of an annoyance due to the distorted sound it has.
Anthony Anderson
How is the mix/levels on this? Anything that sticks out?
Any of you try a stylophone gen x-1 before? How's the noise for you guys?
Daniel Martinez
the stabs are sooooooo digital it hurts.
Daniel Collins
Ok niggers riddle me this. How is it that a track produced over 40 years ago still has the fattest fucking bass tone known to man fucking kind? How is it that nobody has been able to replicate this sound? What did these french fucks do to achieve this?
Nobody knows because it's their secret weapon that they never released.
Ryder Anderson
i've heard fatter basses in my time
Jason Torres
it's called moog
Levi Hill
Makes it harder to distinguish crap you can get rid of.
Evan Nelson
Any good FL tutorial channel that not seamless? This guy talking too fast and video is too damn long
Adam Ortiz
Probably went through some hi end limiter/compressor
Xavier Scott
Are there any sample-based drum machines for 808,909,707, etc sounds for house music but have individual outputs?
The TR-8 would be perfect if it had individual outs and the samples sounded better
Jonathan Adams
Moog or some fat modular going through a nice mixer (made out of older, finer, less chinky components), then going through to a nice tape machine, and then NOT being mastered to death in digital
Zachary Mitchell
I know millenial fags can't into attention span, but the the FL studio manual is seriously underrated. Just press F1, my dude
Henry Nguyen
Are you joking? It's a nice track but nothing about it is technically impressive by today's standard Waaaay fatter sounds have been made since then
Jose Garcia
Aside from proper transient shaping, it's all about balance between the low end and everything else. Too much low end and when you try to push into a limiter it'll distort in an ugly way Easiest way to achieve this is with multiband compression, just set all of the bands to the same settings and it'll even out the response of the mix a bit
Connor Morgan
MASTERING
Hello fellas. How do i avoid over mastering music? I'm starting to get OK using EQs, compressors, reverbs and limiters but in the mastering phase - which i can't really distinguish between the mixing phase + volume changing and VST on the master track - i don't really know my whereabouts. The problem is I don't want to make loud/EDM/digital sounding music. I want that natural, dynamic sound of good 80's records (Bowie let's dance for example) and the guides to mastering doesn't really tell in which spectrum there are on. So my question is: How to know your whereabouts when it comes tastefully mastering when you want and analogue-ish sound (read: Not like avicii and serum style)?
Christian Moore
I guess it could be, but everyone is doing that nowadays. How is he the only one getting these results?
Brandon Ward
This bias that ANALOG = GOOD and DIGITAL = CRUSHED DISTORTED BAD is dumb. The "character" you would get from analog is from the imperfections of the hardware, and the dynamic of the levels is entirely up to the instrumentation and how you mix things. If you want things to be quieter and more dynamic, then just turn the levels down. Automate volume to create dynamic. Transient shaping to give drums more dynamic. If you want things to sound like an older recording, add saturation, remove some high end, add light tape delay, downsampling, etc. Plenty of ways to deliberately degrade the sound.
Anthony Bennett
He's been around since 16bit so he's probably had time to figure things out. >How is he the only one getting these results? He's one of the only ones doing it his way, but that doesn't mean nobody but him can do it. Plenty of musicians known for sound engineering could probably do it.
Lincoln Davis
Any example?
Lincoln Allen
You mean just in pure RMS level? Alon Mor, Billain, Audeka, Frequent, Kursa, Noisia, Mefjus, really any of the mainstay "neuro" artists, take your pick Stylistically his stuff is unique, I don't think that volume is all there is to it
What exactly IS the difference between mixing and mastering, gents?
James Howard
This is pretty bad :/
Caleb Richardson
>You mean just in pure RMS level? Alon Mor, Billain, Audeka, Frequent, Kursa, Noisia, Mefjus, really any of the mainstay "neuro" artists, take your pick I listen to almost all of these names and can't think of one song that can compete in loudness and "hardness" (for lack of a better word). Any specific song that's comparable?
>Stylistically his stuff is unique, I don't think that volume is all there is to it I agree, but in this particular case I'm specifically talking about the engineering.
Liam Bell
As far as mixing goes, it sounds quite well put together. The only thing I'd touch is that trumpet-thing. I feel like it's too gritty in the high frequencies.
Daniel Reed
But the difference in RMS between the loudest any of those artists have to offer and moody good's music is only a couple of db. I dunno, off the top of my head I think the closest you're getting to that extreme, bordering-on-grating distortion is with alon mor. I remember metering one of his songs and the RMS was at like -2. I think it was Demons?
Ryan Thomas
Mixing is altering the balance between all the sounds and instruments so that they fit together cohesively. So, gain-staging/volume, stereo placement, that sort of thing. Mastering, traditionally, was a process used to make all of the tracks on an album sound cohesive, like they were all coming from the same environment and not an empty void or recording booth. Now, the easiest way of making a track sound consistent with others is by just making sure the loudest bits hit 0db.
Jackson Ortiz
What's the most effective way to chop samples in Logic?
My go-to is usually just drag an audio file in + put it in Flex Time + automatically convert it to a new sampler track, but the automatic region markers are usually kinda sloppy and I feel like going through a whole sample to manually add breaks is too time-consuming
Do I just need to get used to manually placing the sample markers or is there a better way?
Gavin Morris
It's not just pure RMS. Two songs can have the same RMS value and be perceived at different volumes (for example due to the Fletcher-Munson curves). The Alon Mor song is the kind I was talking about in my original post when I said it's basically all distortion, and yet, it feels significantly quieter than the Moody Good one.
You take a track you want it to be like and run it through an analyser / eq window. izotope Tonal balance control you can input any song and it guides you to what your bands should be. Magic AB allows you to compare your song quickly to like 6-8 others you've put in there.
So you want to see where the david bowie song for instance peaks, what its rms / lufs is in the loudest sections and replicate that.
Jacob Anderson
ask google
Sebastian Mitchell
Ask Jeeves
Aiden Nguyen
>Do I just need to get used to manually placing the sample markers or is there a better way? Well if the markers aren’t getting in as tight as you want then just do it manually. I’ve always made my chops manually as I can chop them how I like. I’ve not used logic for a while but most chopping software will let you chop by beat, or by transient as standard.
Alexander Scott
clyp.it/cmdnnt1m I made this, any tips for cleaning it up? Sounds like a total mess.
Thomas Jackson
Here's an album I've been working on for a few months. Thoughts or critiques? It's about addiction and loss.
>automatically convert it to a new sampler track Why would you do this? EXS24 is so shit. Just manually chopping with scissors or marquee is way easier, and more accurate than any algorithm or transient detection will be. If you're deterred by something being too time-consuming then you're never gonna make it.
Colton Turner
for time stretching in FL 12, is e3 generic better than e2 generic?
Christian Flores
Neither, use stretch
Samuel Thompson
How do I learn basic drum beats? I'm a piano player and I've just started trying to make beats but I have no idea what I'm doing when it comes to drum stuff.
Dylan Hill
nah that's what i use for your moms pussy already, i don't want my tracks to be as worn out as that
Camden Miller
Add Rick Beato to the Writing section
Alexander Brooks
school
Dominic Parker
upvoted xD simply epic comeback, bro :)
Kayden Scott
clear your bottom low end out.
cut anything below 30hz and roll off from 50 and down.
You dont need as much sub as you think to make it sound big and heavy.
In the link you posted, there isnt much bass really.
Adrian Watson
It is but for samples that are fairly consistent in tempo I figured it was the best option When I'm not doing that I usually just drag the endpoints of the sample to get it where I want it, and then copy/paste it into individual tracks. Is that really the most efficient option? If it is I have no problem with taking the time to do it but I have a friend who I've watched use Ableton and he seems to be able to do it much faster + more efficiently than I can so I was wondering if I was going about it the wrong way
Leo Ortiz
Yeah, I noticed. Well, actually there is a significant amount of sub and bass, but it's a bit overpowered by the mids and highs. But that's typical for this kind of basses, and it's nothing new really. Also your "roll off below 50 and cut below 30" is something everybody does. I'm not asking how to make my songs louder. I'm asking what's different in this particular one that makes it so much louder than the competition.
Evan Cook
what are the best drum kits on the entire internet and where can i get them for free
Easton Ramirez
reddit.com/r/drumkits No seriously, I'm not joking.
Oliver Kelly
>I'm not asking how to make my songs louder. I'm asking what's different in this particular one that makes it so much louder than the competition.
super harsh noises in the "telephone" frequencies.
how many african americans are posting here tonight?
Anthony Rodriguez
Google: why loudness is bad
Juan Thompson
Will do, but before I kill myself, what specifically is wrong with the track?
Nathan Russell
best piano VSTs? not spending 300 on keyscape but i need quality shit
Angel Allen
Did you post your clips to see if you could fool people? Is that the best you can do? Do you have ears? Are you stupid? etc
Jackson Parker
Trick people into thinking what? I agree that song in particular is not the best I can do, but that's why I am here, for feedback, retard. You're not being helpful or descriptive.
Lincoln Wright
Just pirate Keyscape.
Blake Evans
Trying to be intuitive with my production, it's not gonna be for everyone, then - but thoughts? clyp.it/tze2rdwo
Zachary Hughes
>Loudness war meme People that push the idea that loudness is bad make the assumption that you can't have both loudness AND dynamic (i.e. it gets loud, then quiet, etc.). Plus, if an energetic song stays at relatively the same volume the whole way throughout, then what's the harm in making it loud? Loudness sounds better, to a point.
Cooper Green
>clyp.it/hvbswlnf very monotonous, very basic synth patches, could need stereo widening.
>clyp.it/poyysxtv More happening here, but not very interesting in the long run, still very basic production, things dont feel glued together. Cool melody in the mid section.
>clyp.it/oh4lvmrw has potential, but the drums bore me to death. Hard to hear the lyrics. You need to make room for the vocal in your mix cause they dont cut through at all.
>clyp.it/rwkuzahj Good energy, but the composition is all over the place.
>clyp.it/c5c4rhqn Good,grounded, but again, the composition is very basic and not that interesting, but best use of synths and sounds so far.
>clyp.it/s2hli4hl Interesting synth, a bit to sparse for my taste. Maybe add a subtle pad in the background that doubles the chord in the first part. Also, your fucking noise floor man, it comes up everytime the compressor gives way. Second part was pretty nice, good use of reverb, the distant drums give it a melancholic vibe.
>clyp.it/jhivzm3p A bit more interesting synths here, still needs stereo widening. Long stretches of undynamic sound is fatiguing on the ears, try to work in some dynamics in the volume.
I think it's lacking in both composition and production, but I'm guessing this is more a personal project for you and not for everyone else.
John Taylor
What are examples of the albums produced completely at home without expensive gear, like using only FL? I only know of early Car Seat Headrest's stuff made with Garageband and an internal mic or something.
Dylan Wilson
cant find it for FL only for omnisphere and fuck learning omnisphere
Hudson Lee
Thank you, I'm starting to learn music theory in college so hopefully I'll come out with more interesting melodies. The noise floor thing was an intentional thing, I have brown noise sidechained to the bass synth, it's panning left to right throughout the song. I put it there to fill in the awkward gap of no noise between the bass hits. Should I ditch it?
Evan Carter
What's hard about Omnisphere? There's only so much you can do to a patch.
Blake Lewis
Interesting. I'll try that, thank you.
Loudness isn't bad in itself. It's just something that has pros and cons. You're just repeating a meme that comes from engineers who have been taught that dynamic range and clarity is everything, and have been echo-chambering this notion with each other all their lives, while completely ignoring the context of the music.
The truth is, like with everything, there's a time and place for loudness. If I'm taking an acoustic rock ballad and sausage it al much as possible, then the song would be ruined, because I'd take away something important (clarity and detail) and add something that's not very important (extreme loudness). But if I'm doing the same with a Dubstep or DnB track, then it's a good decision because I'd take away something relatively unimportant (clarity and detail) and I'd add something much more important (loudness and "power"). Can you imagine a Neurofunk song mastered for quiet dynamic range? What's the point? The listener of such genres WANTS the superloudness. And in a DJ set it's gonna make a difference.
Also, nobody is stopping you from having ultraloud sections and quieter detailed sections in the same song. You don't have to sausage the entire track. Hell you can even just make one sound super loud, and the rest just reasonably loud.
Furthermore, learning how to make a song extremely loud is still a good idea because you can use that knowledge to make reasonably-loud songs with much better results than you would if you just knew the basics of mastering a song for reasonable loudness.
The only lgitimate reason why you'd hate loudnes even for "loud" genres is the loudness normalization across multiple tracks like ReplayGain where if your song is too loud it ends up being quieter, but that's manageable by making different masters for different platforms, and it's not really a problem with loudness, but a problem with certain players that respond that way to it.
Aiden Davis
lmao fuck thought omnisphere was a daw kill me
Isaac Walker
it's okay I thought Reaktor was a DAW for a long time. pirate bay has omnisphere and you have to also get the update from pirate bay then lastly install keyscape. It's annoying to get running.
William Nelson
yeah doing it now, ty
Evan Rodriguez
Any famous album has likely been at least mastered with proper gear.
Liam Morris
>Rick Beato Yeah he's cool
Angel Campbell
dont think you should worry about that, just make the music. u dont need gear to learn. waste of money until you really know what ur doing (5-10 yrs experience)
Mason Robinson
Turn your volume down and you'll know the answer. It's just a saw wave through a formant filter.
Isaiah Powell
*BLOCKS YOUR PATH*
Nathaniel Morales
Is the formant filter making it this loud?
Kayden Diaz
I tried various techniques, compression, stereo splitting, stereo eq'ing.
I guess unless I have the same grindy synth patch as that guy, I dont think I will get even close, even though it's still loud as fuck. He works the distortion to his advantage.
Don't know who you're trying to convince, I trust the world not you though. Enjoy it, in ten years your ears will sludge
Gabriel King
I don't really worry, I just want to hear some of the best possible examples made with free daw/vsts/cheap guitars to know how it can possibly sound in 2017. There are plenty of lo-fi punk/garage rock records from the past, but now with the modern software, performant PCs and affordable external soundcards it's much easier to get more professional and clean sound, I believe.
Jason Rogers
>I don't really worry, I just want to hear some of the best possible examples made with free daw/vsts/cheap guitars to know how it can possibly sound in 2017.
Every producer on soundcloud? Most of them barely have 2 monitor speakers and a small room with a basstrap and a few home made sound difuser panels.
>There are plenty of lo-fi punk/garage rock records from the past, but now with the modern software, performant PCs and affordable external soundcards it's much easier to get more professional and clean sound, I believe. Sure, even I've done it. Even made music that made it on to international tv in my bedrom with a wonky guitar from the 80's, a soundcard, a couple of freebie plugins and a bit of knowhow.
Julian Powell
how did Trent make all dem sounds in Closer?
Bentley Brooks
Cheers! Listening to it again after some sleep, I hear what you mean and agree 100%.
There's already some high cut on it but I went a bit soft because I was afraid I'd squish the character.
Jonathan Walker
The kick is from Iggy Pop's nightclubbing lol
Christopher Moore
> Made in garage band in a flat in paris. I don't know if you're joking 2bh, it sounds great.
Lucas Lopez
Too much reverb and delay on stuff, needs to be more dry, needs better drums, not nearly enough high end. The main bass in the first section is pretty close though.
Jordan Jenkins
no seriously, they made that in garage band.
Might have been mastered elsewhere once, but the entire production and mixing was done in garage band.
Shows that you can make something pretty great with little if you know how.
Ryan Adams
i meant all the higher sounding sounds mainly, but thats cool to know
Adrian Moore
>(((proper gear))) We don't live in an age where you have to shell out tens of thousands to get shit sounding good anymore, gramps.
Brayden Johnson
and were talking 2006 garage band here.
It could barely be called a DAW by todays standards.
Parker Thompson
Thanks for the reassuring answers.
Ethan Smith
I don't think it's the synth patch, since he switches it with several other different sounds throughout the song. Also your song is loud, but it just sounds overdistorted like Alon Mor's songs. It's clearly a sound that has been ruined by distortion, while Super Lager sounds like the distortion is just a feature of the sound, and it sounds clear.
I'm not trying to convince anybody. I'm just explaining my differing opinion.
>I trust the world not you though >I have no brain of my own and only do what others tell me to do. That will get you far in a field where creativity and innovation are the main point of the whole thing!
And regardless, you're also wrong here, because you're not listening to the world. Only a part of it. You're only listening to old-school engineers whose education is geared towards non-electronic and non-superloud genres, which is great when you're making that type of music, but when you want to make types of music that's meant to be loud you have to listen to the best of those genres, who all understand that loudness (as long as it doesn't totally destroy the sound) is a core part of their music, and strive to get louder and louder because it's the whole point of their music. You can't group both sides into one group and only apply the knowledge of one to both. It'd be like grouping jet pilots with helicopter pilots together and only listen to what helicopter pilots say even when trying to fly a jet. Just like you can't listen to non-electronic engineers when you want to make loud electronic music (and vice versa).
And regardless, your point is still worthless because as I already said, learning how to do it makes you a better producer even if you don't actually make super-loud songs, so it doesn't make any sense to disregard everything loudness-related even if all you make is ultraquiet and detailed music (since the main objective of making things loud is doing so while mantaining enough clarity and detail).
