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 and people most likely calling you a faggot.
GIVE feedback and RECEIVE feedback. Upload WIPs on clyp.it/
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>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
--- my question: did anyone else have problems installing Ozone 8 with Live 10? Ableton doesn't detect cracked vsts (x64) for me at all, tried 3 different versions Neutron 2 works fine
Camden Thomas
A good foundation would be to learn about the actual beats, as in the percussion. I would recommend watching this guy's videos. They're simple and very informative. youtube.com/watch?v=0HhTTdhtbO8
The program thats being used in these video is Reason by Propellerhead but there's a lot of other music making software that you can buy or pirate.
Would FL Studio be a suitable DAW for recording guitars, vocals, and MIDI or should I try to make the most out of Reaper before switching over? I'm trying to make music in the vein of late Radiohead or Boards of Canada. Any other DAW recommendations would be greatly appreciated.
Isaac Butler
To all the """""producers""""" here: You can't do shit. I am an actual artist and going to change and mix shit with different samples etc to make not full songs, but whole albums that include bridges, intros, outros and many different technique's to approach the samples I find. To me it's disgusting how you wannabe artists come here, take three seconds from Rubycon for a loop and think you're the shit. You are nothing.
Levi Torres
>doesn't post clyp.itt Nice assumptions tho
Matthew Bennett
disableton 10/10
Daniel Wilson
recoding and editing audio in fl is really annoying reaper is much better for that
Nathaniel Kelly
>/prod/ >JUST edition doubt this thread makes it past 100 posts
Aiden Young
I'm having trouble too. I can get all my plugins (cracked or otherwise) to work in 10 EXCEPT Ozone 8. It won't even detect those .dll's for some reason. I made sure I used the x64 version, tried renaming them, deleting and rescanning, etc.
Anthony Ross
ye actually I'm kinda stuck on making actual songs I just like toying around in fl, I'll make a full song (that's not just looped ambient) someday clyp.it/t2qw2qoc
Camden Wright
I have to re authorize live sometimes after I install plugins or they wont show up and I have legit license
Michael Lewis
Thanks user, I'll give it a try
Ian Jones
How are you guys liking Ableton Live 10?
At first I didn't think it would be such a big upgrade, but pretty much every new feature and change has been for the better. Stuff like Drum Buss, the new keyboard shortcuts and the way automation lanes are handled now have been really great for my workflow, especially as far as speed is concerned.
Don't see myself using Wavetable since I have Serum, but it's cool to have anyway.
Lucas James
I like it so far, but I haven't really touched on all the new features yet. Groups within groups is awesome (even if it's long overdue). Love Drum Buss, and the way Utility handles the stereo separation is so much better now. I need to find a quick rundown on the changes.
Protools is the standard for recording. Cubase is also excellent. FL can do the job ok and if you're used to it, no real reason to change, but I would suggest Cubase for a beginner.
Mason Anderson
use some random recorded sounds with lots of delay and reverb. Use some smooth bass. perhaps some subtle pads (dark matter?)
This shit is really easy to make
Benjamin Collins
gated reverb, some old drum machine samples (808? 909? Yamaha DX7?)
Jonathan Carter
I mean the minilogue is polyphonic while the ms20 is monophonic. If you're gonna be playing more than one note at a time the minilogue is a better choice.
Anthony Perry
it's live drums tho and i'm not entirely sure if that's gated reverb.. i will try that
Hudson Richardson
that's not what i meant. i mean how do you choose what sounds would go well together in order to create such a unique and cohesive atmosphere? plus there's more than just delay and reverb, the use of noise and gentle distortion really adds something, as well as the general spacing of the elements
Joshua Brown
>the way Utility handles the stereo separation is so much better now Oh yeah, almost forgot about that. Makes mono'ing the bass in a project dead simple now.
Groups within groups was definitely way overdue. The fact that Live lacked this for so long was kind of embarrassing desu.
I wanted to make this sound like it came from a VHS tape because I'm a faggot who likes lo-fi bullshit like vaporwave. I used Izotope Vinyl's crackle and warp, plus added some light bitcrushing. Did I achieve my goal? Do you guys think it sounds retro?
Michael Ward
yeah it doesn't sound like gated reverb to me. there's definitely a short reverb but it's not gated try using distortion/saturation coupled with a short delay (10-35ms) to fatten up the sound, then experiment with a small hall reverb on top of a plate reverb. your original snare sample will matter a great deal as well, try using something that's nice and snappy to begin with
Jacob Thompson
oh and EQ and compress as always
Landon Ramirez
>I mad a poopoo moosics agen!
Chase Fisher
The pitch variation is a nice touch, but it might sound even better using a tape simulator (like Reelbus from Toneboosters). That'll take care of the pitch thing and also add noise, tape compression, and EQ.
Could you post it without the effects so I can mess with it?
I didn't do much to it, but here are two degrees of lo-fi for you using the same plugin. Hopefully that's along the lines of what you're looking for >kinda lo-fi clyp.it/pkvo3lbc >more lo-fi clyp.it/lve0hhee
Zachary James
Does anyone use IVOR or Xenfont? I've been messing around with them again, but I ran into a problem I forgot about where FL studio won't open the file with them sometimes.
This track I made has 13 instances of IVOR2 and won't open (the pattern is copypasted across them, descending down EDO tunings by one each repetition), though I was able to export this audio. clyp.it/nai3npyv
This track I made with 2 instances of Xenfont opens right, so it might just be an issue with IVOR, although this generally makes me afraid to put much effort into anything microtonal. Maybe someone knows some comparable solutions that aren't as buggy. clyp.it/giariu3n
Mason Lewis
"won't open" is actually not true. It opens, but won't play anything.
Aaron Bell
Testing around, as soon as I add a second instance, trying to play it causes my CPU to overload and my volume meter to peak and freeze. I could get around it by making each track of synth in a different project but that has obvious problems.
Charles Long
>Ableton 10 still doesn't support WASAPI on Windows 10
Landon Ross
does it work with asio4all
David Williams
Yes, but it mutes pretty much everything else running on your computer, including notifications.
Levi Fisher
sounds neat!
Samuel Sanders
Fucking around with this somehow ended up with my interface's MIDI in light lighting up upon plugging in and my computer not recognizing it or sending any audio to the speakers I have hooked up to it. Lovely.
Brandon Lewis
so if 440hz = A4 and 880hz = A5 then you can keep multiplying 440hz*2 until you get 483785116221440 hz which is ~483 thz and the frequency of red-orange.
so basically each color is equivalent to a musical note. which basically means that it actually matters which scale you use. a major is different from e.g. d major, because they have a different color as their root note.
David Cook
That's interesting. I wonder how this corresponds with people with synesthesia.
these are the colors according to Scriabin, completely different
Julian Perez
Gated reverb was the big thing in drum sounds in the 80s. I'd definitely recommend trying it. Use some old rock kit snare or something for the live snare feel.
They literally call gated reveb the "Phil collins" sound
not sure how he got the colors. multiplying by 2 is pretty good way to prove the colors yourself.
Andrew White
how do I make music? all I can do is make short 30 second snippets of chord progressions that I find, and I can't even produce so they are just on some preset that I find. how do I turn my ideas into actual music?
here is an example of a chord progression I think is good, but I have absolutely nothing I can do with it.
any and all help appreciated, thank you. :)
Eli Collins
Study composition - it will teach you how to string chord progressions together into actual pieces.
Blake Davis
Does anyone else get drunk and decide you need to work on music only to listen to weird garbage the next day?
Man my drunk ears are insane
Easton Roberts
by feeling, of course the thing is that synesthesia is not something well understood ncbi.nlm.nih.gov/pubmed/16683490 apparently there is a 1-1 correspondence between pitch and color among synesthetes but more research needs to be done if it weren't so hard to find actual synesthetes and not special snowflakes faking it, research could be done much more easily, but as it stands right now you need several tests spaced out between months because the only scientific way to test for synesthesia is for the examined person to have consistent results on tests months apart from each other, just one test won't cut it because it can be faked
Brody Williams
i know lots of music theory, is composition specifically different?
watch his tutorials. they are very well presented (with actual slides, sound examples and he only talks from a script and only what needs to be said, no time wasted with bullshit) he teaches you everything you need for composition.
composition is part of music theory, as is orchestration and form. Counterpoint and harmony is only a small portion of what there is to learn.
Read Schoenberg's "Fundamentals of Musical Composition" if you're interested. Its more for classical composition but will give you some very good ideas on how to create good themes and string everything together.
Learning about form will also help - look at the pieces you like and work out what kind of form (also known as structure / song structure) they use. Do they go intro-verse-chorus-verse? Or intro - b section - c section - intro+extras - b section + extras - d section - outro etc. ?
Nathan Watson
thank you user. does the first also focus on classical music? i think I'd prefer to learn from a classical approach as that's what I'm familiar with
Luke Lopez
This is a great chord progression btw.
The problem is it has a very final sounding cadence at the end - this should be reserved for the end of a piece or end of a section. try repeating the first 2 or 3 chords then the 3rd and 4th chords, then repeat the whole lot again.
After a few repetitions you can do the final cadence section, although an interrupted cadence or half cadence might be better early in the piece, you could leave the final sounding cadence to the very end, or quickly move on to a new chord after the final chord to prevent the piece resting too long on the I chord.
Jackson Cooper
I dunno, the one 17 seconds in was a little crunchy.
Elijah Cruz
"Jonathan Peters is an award-winning composer currently residing in the beautiful state of Colorado. Since 1990 he has worked as composer, director, arranger, recording artist, educator and author. Mr. Peters holds a B.A. in liberal arts from Thomas Aquinas College and continued his graduate work at California State University Northridge where he studied advanced composition, theory, orchestration, and film scoring.
Mr. Peters’ music has been performed both internationally and by orchestras across the U.S., having won many awards and recognitions including 1st place in the 1996 Composers Today Contest. He has completed nearly 50 works including 2 full length operas, a symphony, orchestral works, chamber music, choral pieces, and works for solo piano. Mr. Peters’ music can be heard on the radio, and his many albums sell in stores world-wide."
Michael Smith
I don't think /prod/ needs to worry about orchestration since it mostly concerns what actual instrumentalists are able to play and how the tambres of certain physical instrumets interact.
Jace Hernandez
They do if they plan on writing classical music (especially orchestral music). Even in a DAW knowing orchestration is a great advantage - knowing which instruments to double, understanding texture and dark vs bright chords, knowing which special effects instruments are capable of and how to use those effectively, thinking about foreground / middle ground / background, thinking about clarity and muddyness and when to use each or how to combine them.
I didn't recommend he learned it (although I have now in this post), just mentioned it in passing as another aspect of music theory.
Jose White
I've done that with Ambien before. It's like leaving yourself a little musical present you'll never remember making. But yeah, it's always weird shit.
also, post drunk clyps
Andrew Wilson
I'm of the opinion that very soon real instruments will have nothing on virtual ones.
I'm of the opinion that that will never happen, no matter how advanced computers get.
A real person playing a real instrument in a real acoustic space cannot be done virtually. The infinite possibilities of an acoustic instrument cannot be captured in a sample library.
If I ask a sample library to give me a violin playing with an allen key instead of a bow, or scraping the fingers over the bridge, or bowing the bridge or the tailpiece of a cello - it can't do it.
With a real acoustic instrument the only limitation is your imagination. With a virtual instrument, the limitations are the imagination and time / money of the people who made / recorded the instrument.
A virtual instrument can get close, but it can not reach the same level of acoustic integrity as a real instrument, there is no feeling and usually they have to cheat to make things work - adding reverb to make notes blend together instead of real legato playing on a real instrument.
Angel Roberts
>With a real acoustic instrument the only limitation is your imagination. With a virtual instrument, the limitations are the imagination and time / money of the people who made / recorded the instrument.
Henry Kelly
Yes, greentexting this statement goes perfectly with the image you provided. I can just imagine you trying to make sense of this and simply repeating it back in a retarded voice when you don't get it.
Isaiah Brown
Didn't that start with Peter Gabriel though? I know Phil Collins made it famous, but that sound was on a Gabriel song first I think.
Josiah Mitchell
was about to throw this big wooden crate away when I realized maybe I could use it.
is this a stupid idea? could I make a feasible vox booth with this shit? sounds very boxy-ish right now
Jacob Carter
>put it in a box >it sounds boxy almonds activated
Angel Wilson
clyp.it/ml0uokwx >autopan and echo on a synth fukkin rad the drums remind me of aphex twin.
Sebastian Cruz
IMO probably a better idea just to put some high frequency absorption around the room than to use a box or even a closet sized, deadened vocal booth. Small boxes and very small rooms create modal ringing in the mid range that's impossible to get rid of. Much easier to work with a dryish medium sized room recording than a dead box/tiny-room recording.
Isaac Rodriguez
Cool thing. Good on you for trying things instead of making some generic poopoo. Makes me think of Cowboy Bebop. If it were me, I might ad some street market field recordings or ambience of some kind.
Matthew Reyes
That is not a masterpiece, its fucking boring. All that stuff is pretty standard. What he's doing is putting the phase out slightly of the two channels, re: mild chorus effect on every element + delay and reverb. It's not hard to do even you can do it
Aiden Collins
>what are synths? you're comparing apples to oranges?
also we will easily have completely identical virtual 'instruments' in 10 years bc of neural networks.
Gabriel Smith
>street market field recordings or ambience of some kind I really like that idea, thank you.
Wyatt Carter
>Much easier to work with a dryish medium sized room recording than a dead box/tiny-room recording.
why are vocal booths a thing then?
Dylan Anderson
A few reasons. Professional studios have the money to hire people to build them properly to avoid modal ringing, and install professional acoustic treatments to flatten the response of such a small space. If done properly, the result is a very quiet, very dead room, which is a good option for some things.
Second reason - people have seen vocal booths in pro setups, so they think that's just what you're supposed to do, so they line a tiny closet room with foam ceiling to floor and create a dead space with weird mid spikes and cuts, but they aren't good listeners in the first place so they can't tell / don't care that it actually sounds bad.
Third reason - people expect to record in a vocal booth, so local small time producer makes a room that looks like what customers are expecting, regardless of whether he knows it's actually a good option or not and regardless of whether he actually has the money or knowledge to do it properly.
Fourth reason - it's the only option to get a quite recording in the environment where you're recording.
Jose Gray
Also - producer wants to isolate vocals from other elements of a live recording session and only has so much space to work with. Vocals require no equipment and it's most convenient to just put them in the smallest room.
Lincoln Turner
>that sound was on a Gabriel song first I think. Phil Collins was on drum on that track. It was the producer for Gabriel and Collins who came across the sound youtube.com/watch?v=Bxz6jShW-3E
Comparing virtual instruments to acoustic ones is comparing apples to oranges, yes. No matter how advanced an apple gets, it will never be an orange.
William Wilson
Yes that's a stupid idea because frequency buildup
Great explanation of why vocal booths are a meme
>people who don't play instruments think this
Tbh it depends mostly on the instruments
Pianos for example sound close enough. Guitar, not so much
Jaxson Richardson
The smart phone recording of the Florida shooting's gun sounds are pretty good, am I the only one, can I get an amen
Isaiah Moore
bump
Anthony Fisher
So in Ableton 10 if I want to see the grid behind samples and midi clips while editing them, do I have to switch back and forth with the automation mode, or there's a way to see it in the normal mode?
Jayden Hernandez
The grid is there, it's just faint. You can't see it? Might be an issue with your monitor.
Isaiah Morales
Ah damn you're right. I do have a shitty old monitor. Thank you.
Is it immediately clear on a good/normal monitor or you still have to squint or concentrate to see it?
Ethan Fisher
I don't have 10 but in 9 and previous versions you can adjust the brightness and color in the preferences. One of the settings in there might make it clearer.
I can imagine. But the lines in the screenshot here [] are clear without squinting or concentrating or are they still hard to see?
Chase Gutierrez
They're hard to see/ basically invisible on the expanded tracks with clips in them for me.
Easton Anderson
any guitarfags on /prod/ tonight
my playing is pretty rudimentary but i'd still like to have the ability to throw guitar tracks on my songs if the mood strikes.
I was wondering if it's better to mic a practice amp vs just running a DI into my interface. Any advice appreciated. They're basically the same price and I already have mics.
Brandon Perez
If you don't have a a good amp and mics, a small all-in-one amp like a micro cube is great because you can DI from it in stereo and it has some nice effects, amp models / distortions to choose from (and of course you can add to this these in your DAW).
This is how I do it, DI from micro cube, works pretty well. Also means I can record guitars without waking up the neighborhood.
Carter Allen
Completely depends on your current setup and what you're going for. Mic'd is preferable the vast majority of the time unless your amp sucks shit
Luke Walker
This is mine: If you like it, the basic workflow was: >make a few simple 1 bar or 1/2 bar midi clips of basic drum samples >play them back with some kind of basic midi randomization, triggering them whenever, basically just generating a few bars of varied beats >record that as audio >chop the audio in rhythmic chunks of whatever size (I probably did quarter notes) and put the chunks into a new drum rack (or any drum pad style sampler, I'm using Ableton so it's "drum rack") >make a few new short midi clips (1-4ish bars) playing back the chunks to make new beats >do some basic randomization with the midi again and record a bunch of bars as audio (same as before), and automate a bunch of the sample playback parameters to create stutters, looping, super fast karplus style looping, dynamic changes, etc.. Add effects and automate those too if you want. >record a bunch of bars of that >chop that recording into a new set of chunks >repeat as many times as you want
Depends on the sounds you want and the budget. For the best tones on a budget, since you already have mics, I would get a good sounding, small (5 watts, one speaker) tube combo amp. There are lots on the market now. Go to stores and try them. For dirt you can buy good quality overdrive, fuzz, etc., pedals as you need them. You can get very good tones with a set up like that.
Alternatively, if you want to do software, Bias Amp is by far the best sounding amp simulator I've ever heard. I'd prefer the small tube combo + pedals - it's more expensive and less easy /versatile, but I've found that it's better to have a few really great tones that are unique to your setup, than a million OK sounding possibilities in a plugin.
