Upload WIPs on clyp.it/ and please ffs show a little effort with your posts
>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.
>RESOURCES:
Sound Design: >SeamlessR (in-depth music production and sound design tutorials, based on FL Studio) youtube.com/user/SeamlessR
>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
Anyone well versed in Eurorack that would want to answer a few questions?
Noah Cox
Ok.
Jaxon Thomas
Semi well versed. I have a eurorack.
Blake Peterson
anyone have an efficient method for keeping on tempo while playing an instrument
Jackson Myers
Keep the metronome on
Lucas Collins
Practice. Listen.
Luis Diaz
thanks. will do
William Harris
>love music >hate math is there any worse combination
Josiah Gray
Sometimes I open all the envelopes in their own lanes to make the project as a whole just look more complicated.
Robert Sullivan
I’ve just gotten interested in euro with an 0-coast and maths and think I’d like to replace the 0-coast with a DPO and Yarns so my main setup would be DPO, Maths and Yarns sequenced via either my Digitakt or Analog Four. Does this sound reasonable for an initial setup or am I overestimating maths a bit and would also benefit from getting an additional envelope or something? Also am I overlooking anything else I’d be missing from the 0-coast to Yarns switch in terms of utility that I’d need? I also plan to get a filter and dedicated LPG down the line but I’m tryig not to rush in too quickly before getting a firm understanding of these.
Justin Lewis
I would keep the 0 coast. You get a lot of functionality for your dollar.
What is it that you're trying to gain by getting DPO/Yarns/Maths? I'd maybe just get a simpler oscillator like a SPO or Dixie and then you can use that along with your 0 Coast for complex FM and sync stuff. You should have plenty of modulation for the moment with Maths and the 0 Coast. If you want a filter look at the Mannequins 3 Sisters, I love mine.
Isaiah Wood
Didn’t want to ramble too much but forgot I should add my intended usage. I’m not too into drones or ambient soundscapes as much as rhythmic techno patterns, EBM type sounds and melodic sequences
Hunter Martinez
I do love the 0-coast and feel it would definitely benefit from a second oscillator, and I’ve been planning on getting the STO, but in my searching the DPO just seemed capable of more complex timbres, but the 0-coast + STO could be just as good of a combo which is what I’m trying to figure out. Yarns is primarily for the midi interface as I prefer sequencing from the digitakt, but it seemed like it’d be more useful down the line.
Levi Thomas
Can't you just use a MIDI>1/8inch cable to sequence the 0 Coast from the Digitakt?
As far as the DPO it's basically just 2 oscs and a wavefolder yeah? You'll get more flexibility by adding another oscillator and a standalone wavefolder I'd think.
Dylan Watson
Yeah, use a metronome. Yeah, how about >love music >be deaf
Dylan Long
Yeah 0-coast and digitakt work great together. I meant if I sold the 0-coast to fund the DPO I’d want to still be able to sequence via midi and would need a dedicated module. I’ve had my eye on the STO and Topobrillo TWF and those two used would be about $100 less than the DPO so I’m going to have to look into these and read the manuals and see how they compare.
Jacob Lewis
I’d keep the 0coast personally. Like the other user has mentioned you get a lot from it and it works great as a starter set up to slowly build on. I don’t own maths but I have a befaco rampage and it is always compared to the maths module. The rampage works as an envelope, multiple pulse trigger, clock, LFO, filter, osc and a bunch of other stuff. I’d probably go just getting the maths to start with and using that with the 0coast, but that’s just me. I think you could have a lot of fun with the 0coast until you have a much bigger setup and then maybe start thinking about replacing it.
Lincoln Phillips
you don't really need to enjoy math to make music
Adam Phillips
>hurr you don't need to know theory hurr >it's limiting hurr
Samuel Collins
stupid brainlet
Jeremiah Ward
you don't even need to know a lot about maths to understand theory and anyway most music that isn't classical or jazz has very basic theory behind it
Jose Sanchez
Yeah, I'm looking around a lot and that seems to be the option I'm most returning to. Thanks for the feedback, your setup looks sick. (If you're the one that chose that poster look into Daido Moriyama, you'd likely love him)
Oliver Bennett
>Yeah, I'm looking around a lot and that seems to be the option I'm most returning to. Thanks for the feedback, your setup looks sick. I think it just makes the most sense when you are starting out to get a semi modular synth voice. I would have gotten the Atlantis as my start up if I had the money, when I first started, but as I didn’t have £600 plus rack and power, I decided to go the DIY build route and build 1 module a month...that got a bit out of hand and less than 12 months later I am where I am now, although I did build a lot of these modules with the intent of selling them, which I still plan on doing. >(If you're the one that chose that poster look into Daido Moriyama, you'd likely love him) Thanks will check it out. It was given to me by a photography friend who took it.
I gotta go to work now but I’ll check in later if you have anymore questions or just want to talk about modules or music prod?
Here’s a better photo (hopefully) of the Euro rack.
Hudson Roberts
Think I'm gonna sell the rings and disting and maybe clouds and mangroves but idk what to replace them with. Part of me just wants to start a new case instead.
Easton Rogers
how much did this cost you think
Wyatt Mitchell
...
Adam White
Sounds fucking horrid in every demo I've watched so far. It's a gimped Operator with P-Locks. Has nowhere near enough parameters to get the best out of FM and FM in general sounds horrible when tweaking/jamming.
Robert Cruz
I think there's a high cut / shelf on the whole thing
Lincoln Harris
It has a multimode filter followed by a HP/LP combo thing.
Landon Anderson
I like my Digitakt, but the lack of overbridge support and os update is pissing me off (i had to reset it three times in the last hour because it froze up after I changed the tempo in Ableton). Otherwise, it's great. The Digitone looks cool, and I love FM synthesis, but I have no desire to own it until it's at least $200 cheaper on the second hand market, and even then I doubt it. I prefer the sound of my DX synths. I do love this new compact format, new screens, new encoders, etc, to the older boxes, but they're gimping them in such retarded ways (lack of individual outs, effects, midi retrig, lfos, etc) that it just feels weird.
Eli Long
Of all the things to come out of NAMM this is one of the only ones I'm excited about. Behringer has been killing it lately and this thing sounds so good.
It's sad that it was the most interesting thing from NAMM and it's still boring as fuck. Including a bucket brigade delay is cool. Besides that it's an uglier, slightly more feature rich Mother 32 without a sequencer pretty much.
You should read the manual, it's gimped as fuck. Only 4 op instead of 6 but it's really closer to 3.5 since there are 2 'B' operators that are kinda linked. The envelopes are also really basic rather than the typical complex Yamaha type with a bunch of break points and stuff.
Austin Young
If that is the worst, then it doesnt sound too bad to be honest. 4 ops is just like operator. I thought the envelopes were a bit weird as well, but you can do alot with two lfos. I'm remaining cautiously optimistic
Josiah Diaz
Use a metronome but when you don’t use a metronome count out loud.
Michael Wilson
My main issue is that FM is not fun to jam with, personally. Not a huge fan of lots of the clangy metallic sounds you get with FM. It's ok when it's more on the sinewavey end, fat basses and electric pianoy type sounds or pads, even some chimes and plucky type stuff. Not the best stuff to tweak live. That's just like my opinion though. If you're seeing something in it I'm not then have at it.
Jayden Johnson
What if I told you Gsinth 2 is my go to synth now
Lincoln Allen
*blocks your path*
Thomas Myers
...
Kevin Parker
thanks for the smirk
Carter Nelson
I’m honestly not sure as I have built multiples of certain modules in the hope that I could sell them and essentially have the sold modules pay for my eurorack...obviously I’ve not sold a single one yet plus there are more modules kicking around the place that aren’t in that picture. At a guess I’d say between £3-5k.
Jace Butler
Does anyone happen to know how to make decent sounding bass synths in Serum?
Lucas Foster
there are more serum tutorials on youtube than there are interpretations of the bible
Henry Ward
HAHAHAH thanks, user, for pointing me in the right path or something
James Bailey
where's/what's the best place to learn synthesis and all the effects that are with synths?
Noah Gomez
pirate syntorial
Jonathan Roberts
sound on sound synth secrets
Cameron Thompson
is this the same guy? I mean for holy fucks sake dude you cannot be serious. There are a plethora of resources for learning the rudiments of synthesis that you could find in seconds from a youtube search, or hey, I dunno, the mcfucking OP which is oversaturated with links. GOD why am I so buttblasted over your laziness you are a retard and you don't even deserve to know how to produce.
Evan Allen
here, pretty sure there's enough lazy people to fill up an entire general really makes u think huh
Parker Sanders
Looking into getting one of those novation usb mixers, but don’t like the idea of my faders becoming out of sync with the daw
Are motorized fades the best solution for this? Do led touch faders exist?
Jordan Martin
Behringer BCF2000 can still be had for much cheapness, has motorized faders.
Gabriel Russell
I just use pickup mode so nothing happens until I turn the knob/fader to the same value its set in the daw
sorry for soundcloudfagging but i dont have the audio file anymore to upload to clyp
Joseph Barnes
m.youtube.com/watch?v=YnQAnsJ7ozg Basically the compressor will start compressing 20ms before the kick hits, and reach its maximum compression exactly when the kick starts, no? Isn't this the same as a 20ms lookahead?
Jackson Scott
I'm just starting out with this. I dunno what I want to make really, perhaps some electro and idm. How do I go about learning how to do that? Most tutorials I found are about EDM or trance or shit like that.
Jayden Howard
Well then you can't work on it anymore anyway.
John Rivera
i can try eqing that 7~10k range on the master
Kayden Perez
Yeah, except that she's tied herself in knots there seeing that she didn't mention that the track she's using for the sidechain input (the recorded kick she brought forward in time 20 ms) should only be triggering the compressor - it shouldn't be heard - and the original kick has not been re-instated.
Oliver Nelson
Oh so you have an audio file. Weird that you didn't rehost that. Heeeee
John Robinson
I promised myself to make one track each day next week. Not necessarily good tracks. Just more than a loop. Will I make it?
Owen Rivera
goddam it that picture is designed to get me to reply to you isn't it fuck you i won't answer your question but i am rolling also what do you mean by make it
Caleb Ward
Come on, Ashley
Jonathan Rivera
i had to log in to soundcloud to download it. and i still cant post it to clyp cause dont have a mp3 converter on this pc
Lincoln Diaz
I can't even do that if I tried. Kill me.
Evan Long
looks like you get swaglord
Jaxson Lopez
FUUCK
Charles Russell
>also what do you mean by make it create one each day
Carson Martinez
Oh, yeah, definitely, if you really keep to your goals. They most likely won't all be that good, since it's kinda taking a quantity over quality approach, but what you can do is filter out all the bad ones and keep the actually decent loops.
Jack Wilson
How do you guys make your tracks? Make one big loop and spread out parts from it into a track or do you have other workflows? Elaborate, please
Leo Moore
hey guys i'm looking for ways to make this chill trap beat less boring. i know it needs a sub-bass so you can leave that out of your criticisms. i'm thinking some one-off melodic hits, a mid-frequency pad, and improved transitions between sections. in return i'll give my thoughts on every bit of music posted before me, as well as the rest if i don't tire myself out
dude if you're going to shill at least be blatant about it. You can post file types other than mp3 to clyp, instaudio, and a number of other anonymous uploaders. If you really are not shilling, you sure are stupid.
Adam Anderson
only one of you fuckers actually posted a clyp, and surprise surprise it's a post-and-run. i'll give my thoughts anyway.
learn how to pan your drums and bass (convention dictates that hats go around 5-15 right, snare up to 10 right, ride up to 15 left, crash up to 10 left, and kick and bass - especially subbass - stays in the middle) look up sidechain compression to give your kick more oomph, and also learn to EQ your drums against your bassline the bass keeps panning left and right really abruptly which is jarring as fuck, and there's too much distortion for my taste tone down on the orchestral hits. once at the beginning of a phrase is ok but randomly scattered throughout the phrase is not
jesus christ excuses excuses. just download a converter, post your damn clyp and let me shit all over it
you'll find it hard to run across many IDM tutorials. I'd say start with learning synthesis and experiment with different types of synths, it'll help you refine what kind of sound you're looking for, what you like vs dislike etc. then sit down for a few hours doing nothing but creating patches and interesting sounds by playing around with all the knobs. not only will this provide you with a (mostly) unique library of sounds, it'll also help you learn what all the knobs and sliders do. even if it's not the kind of music you listen to, a lot of music uses some of the same basic principles with regards to production, so even watching a neo-psychedelic jazz production tutorial will have at least some useful information in it for you. the most basic and most important techniques to learn as a beginner are compression and EQing. they're invaluable in getting all your different parts to play nice with each other
I'd find it more useful to make one fully-fleshed out track, every week, or even every month. it'll train your drive to complete what you start, instead of making a bunch of mediocre tunes and never touching them again
Jeremiah Allen
dude get this shit out of here c'mon man
Jonathan Ramirez
Every prod thread >Creative types post music of varying qualities >Technical types nitpick every little thing from the creative types and then post some of their stuff if you're lucky >It's always incredibly boring >The rest of the technical types wank it off and circle jerk each other
Leo Gray
I tend to have a musical phrase in my head before I start working, whether it's a cool drum rhythm or a melody or even a unique bassline. then i design the rest of the parts around that and modify the original phrase if I have to, making sure to keep its character while getting it to play nice with the other parts. my general technique is to listen to what I have so far and "feel out" anything that could go with it and yeah, I do tend to make one big loop but I always make sure it's at least 4 bars long, then I copy/paste it up to 16/32 bars and add some variation to keep it fresh. once all of my parts are laid out I begin the "chopping" process where I experiment with different arrangements
Adrian Turner
hi
Sebastian Hall
this. i feel so fucking disappointed that I began producing after /prod/ had already begun its slow descent into shit. there's probably so much i could have learned if i had just started earlier. now i have to dig around youtube videos and spend hours turning knobs and sliding faders to see what they do
i know this one is flawless though. and the guitar solo is killer isnt it clyp.it/dzvh0zic
Charles Green
>GOD why am I so buttblasted over your laziness you are a retard and you don't even deserve to know how to produce. I got this butt blasted a while back about the daily “I’m thinking about getting into production, what’s the best daw to pirate?” question. I guess with a bit of retrospect if you have no idea what the fuck you are doing and know nothing about production then a bit of guidance might be helpful. I mean I don’t even look on YouTube for any kind of tutorials due to the sea of shit that you have to wade through to find a half decent tutorial on anything.
I’d recommend the synth secrets articles from sound on sound magazine
Blake Thompson
actual autism. everyone here pirated ableton you mongrel
Lincoln Lee
>I feel fine i have zero experience in mixing vocals so i can't tell you how, but i can tell you that they don't stand out enough and they're kind of muddy get better recording equipment or use a semi-acoustic (for the general "steel string" sound, otherwise use an electric) and record directly into your DAW use some reverb dammit, there's almost no sense of spacial distance in this track work on your guitar skills, esp. rhythm and dynamics
>mr tambourine man much better than the first imo, but still could benefit from the above advice the strummed guitar needs more body, compress that shit again, sense of spacial distance is pretty low, although it's an improvement over the previous track
>black diamond an even greater improvement. i'm not a kiss fan but it sounds more "alive" than the original and the mixing is much more exciting. that could just be down to the difference in technology though. your guitar playing is much better in this one but still not "perfect". the timing mistakes aren't noticeable enough to complain about though.
>wild world the best one out of the lot. again, not much experience mixing vocals but I feel like they need to be "separated" in a spacial sense from the backing music. the solo is nice but like the vocals it doesn't really stand out from the rest of the track
Josiah Baker
i dont get it thats not your song what are you trying to achieve
I have a behringer uphoria um 2 and audacity. I know these are very basic tools but I'm broke, bad with tech and want to get a few songs down to motivate me and show me it's worth the time. How can I get direct lines to record through this thing? I can get it to record through my mxl 990 but that leads to lots of sounds imperceptible to the human ear somehow being picked up, I think it's me moving slightly in my chair. I want to record direct instruments but I only have the kind of jack instruments usually use, like a really big auxiliary plug. My plug plugs into inst 1 with that weird 3 prong plug, do I need a converter to plug it into inst 1? Can I just record on inst 2
Colton Sanchez
You can you either, input 1 is a dual one for both instrument jack and XLR. I think you might be legit retarded though.
Nathaniel Edwards
> you might be legit retarded
Maybe. Thanks for the advice though, do I need something coming out of the output? It would record with the mic. I have a chord that goes from the guitar to the amp, from the headphone port of the amp to Inst 1 and from the audio interface USB port to a computer with Audicity. What am I doing wrong?
Dylan Rodriguez
>do I need something coming out of the output?
From the output of the UM 2? You'd connect your monitor speakers to those sockets, but you could just as easily monitor through the headphone socket of the UM 2 instead.
If you're not getting any signal detected at the 1/4" mic/line 1 socket on the interface, ie: no signal LED blinking on the interface when you play, then check that the headphone socket on your amp is putting out a signal, check that the cord you're using to connect the amp to the interface is working, and check that you're not simply sending a very low signal to the interface, by increasing the input gain at the interface first and checking again, then by increasing the amp level (by little amounts! If you're using a headphone socket on the amp you would already be sending a comparatively hot signal to the interface) and checking again.
If you are getting an indication on the signal LED then your interface is getting audio and your issue lies with configuration, either of your interface control panel or with your recording software.
