Rick Beato Edition (Let's try that again with the actual name of the general)
>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
It doesn't sound like you've mastered anything. Not only are the sounds flat, they sound like they came from different tracks (while not being stylistically distinct).
Nathan Cruz
Mastering was pretty much just lightly smashing it thru Abletons multiband compressor.
All of the sounds are definitely pretty dry. I dunno what you mean about them sounding like they came from different tracks. They're not similar aesthetically? They're not 'glued' together?
Cameron Mitchell
that's called being a lazy faggot
John Stewart
Because I don't use VSTs? You're being kind of mean when I was just asking for advice.
Thomas Flores
It doesn't sound good. There is a lot you can do without plugins, it just takes a little extra work. But even adding some reverb to some of the sounds might be a nice start.
Cooper Ross
not that person. it defiantly could use some more/better eqing, compression, etc.. your synths get lost and muddied, so does the kick. maybe you have too much mid range or not side-chaining properly. it can all sound clearer and cleaner, you know what i mean
Gabriel Howard
There's a shitload of reverb on the track. I'm not trying to make ambient.
Thanks. You're probably right about the midrange and the kick getting buried. I'm trying to mix between headphones and checking on my laptop speakers and it's a tough balance, almost polar opposites.
oooo, interesting syncopation. Reminds me of Reich.
Michael Perry
is that good?
Oliver Edwards
for me, yes
Josiah Russell
this sounds fine. keep working on it! notice everyone pissing about over the mix vs the music because they can't actually write music. get off these threads and go work on something! noone here knows anything about music and are doomed to forever lurking YouTube tutorials and spamming radio channels with SoundCloud links. a good mix is important if that's what your going for but the people who will eventually follow you and support you will care more about the music and songs and not the mix. only these sample kiddies and vst soya think it's that important to a normie anyway. head up!
Ethan Smith
Not so fast, compositionally its interesting but not perfect and clearly not informed by theory. Like the diminished chord at 1:21 just doesn't sound good.
Juan Allen
here's something i made a few days ago. still feeling a bit smug about it but not fully satisfied with the drums.
That's not a diminished chord you melon. It's a major 7th chord. The melody line however is playing the root of the chord so there is a lot of instability, but it's only for a second. It was intentional and sounded better than changing the melody or the chord underneath.
Chord progressions and melodies that are always stable sound dull as fuck. Do you even jazz?
Luis Thomas
>people that know theory only ever play diatonic, functional harmony
nice meme kid
Connor Rodriguez
Nothing to feel smug about, harmonically its blase. Also your chorus fails to be very interesting, in fact it just feels like its waiting for a vocal part.
Michael Phillips
...
Ayden Allen
it just sounds like you should have played an F#
Connor Gray
I know that the whole point of these threads is anonymity but I wish I could hear the stuff these commenters make so I could know how much weight their comments actually carry.
I guess the problem is that too many people get sensitive.
Hunter Bailey
...
Lincoln Ortiz
Over an Fmaj7? Trust me I tried it and I should not have. It would have been diatonic to the key but it makes the chord unstable to the point of sounding like shit. You'd have an E, F and F# in the same chord.
Colton Butler
well I made the cacophony enclosed in
and I would do it agen
Levi Rogers
no over a viable substitute.
Asher Martin
Thanks for the input friend. I stand by my decision and I'm glad it rustled your feathers.
I'm surprised the chromatic top line in the first half of the chord progression didn't bother you.
Ayden Thompson
perfect is the enemy of the good. who said his progression needs to be perfect if most I ever see on here is 2 bar loops?
Colton White
chromaticism is fine. but ending the bar on a sound like that just sound amateurish.
Dylan Cook
I think the end of the bar is the best time for a sound like that personally, especially when the next bar starts on the tonic.
Gavin Martinez
filthy dubstepfag here, made something
it's way different than the other stuff I've done, it's raw and lacking, but I'm having trouble going forward from here, would appreciate your input
btw it's two buildups-drops tied together, not the actual structure of the track, it's just the most fleshed out parts of it
Asher Peterson
>instaud.io/1Ou6 Sounds way thinner than I think you realize. The idea was pretty cool with the lewd anime girls but I had to turn it off so my mum wouldn't hear and take away my video games.
Hunter Miller
I know, I don't mean it's fully fleshed out, it's just the more consolidated parts of the track as of now
also yeah I'm planning on replacing some of the lewd hits for something else since they're repetitive, just trying to get a good thnig going before getting to details
Henry Morgan
So, do I just pirate FL Studio or what
Logan Lewis
the sharpness of the percussion, the laser-y effect or whatever, gets very jarring after a while. The fade on this by the 2 minute mark was very needed. But you might want to use some other percussion in the middle of the song to "even" this out a bit. That, and adding some proper bass.
As for replacing some of the lewd hits I don't think you need to do so if you're changing up the percussion in the middle.
Keep it up my man.
Noah Watson
I don't care what you do faggoloni
Nathan Lee
thanks dad
Henry Walker
exactly why I don't post. Half the time feedback is pointless or flat out wrong
None of these kids know anything, and the ones who show any semblance of knowledge get smug and offer advice beyond what shallow understanding they have (most everybody who ever mentions theory and seems to be dying to discuss it, whenever that phaser kid was displeased with multiband compression coloring his signal, jargon so on)
Blind leading the blind as usual.
Ayden Bailey
What kinda track should we try to make?
Someone give us a vague description and we'll post something in a few hours.
Anyone keen?
Nicholas Wood
"Music Theory" guys are the worst and never give advice beyond "learn music theory". Yeah nah you're an idiot, be specific.
Ryder James
something with a latin rythm, snare hits on "two" and "three-and"
Colton Ward
something with a bunch of dindu sounds and microtonal piano with overly-distorted drums
Justin Green
MODAL INTERCHANGE mOdUlAshUn
(Sub a chord with the same root) (Change key)
Yep I hate em
Juan Russell
Confield era autechre don't pussy out
Chase Reed
I'm gonna try and combine these 2 ideas somehow.
Nathaniel Hill
>listens to confield for the first time ever >i've made a huge mistake
Jose Lewis
Lmaoo
I can imagine that pretty easily actually Takes a good while to get into the groove of both of those genres though, not a one night project my man :p
It didn't turn out very latiny, idk shit about latin music. Thanks for the suggestion tho man.
Jose Adams
Well done user.
Would you care to share some info on the creative process of this? I’m a big fan of autechre stuff but have never really tried making anything that is inspired by them. >sound sources, creative processes in creating theses sounds including explaining effects chains etc >arrangement tips, drums, fills and arranging in general. Also timing/tempo.
It would be really good if we had more of this kind of thing here and more people took part. I find it really interesting to hear how other people work.
Thanks user
Samuel Green
i don't know much about latin music either, i just like the way the rythm works. so when it kicks in in your tune it got me hyped up
Nicholas Watson
The main thing I did was dropping a sample (mostly 707 and 727 samples in this case) into Simpler in Ableton, then set it to loop and play with the start and end points to make a nice grindy/glitchy tone. I did this a bunch of times with different sounds in a drum rack and then started making patterns out of them.
I also used a lot of sinewaves in Operator with pitch envelopes for the sireny type sounds.
I used a lot of distortion and reverb all over the track. Lots of delays with very short delay times and high feedback. Try to tune the delay times to be in tune with the source.
As for arrangement I just made a drum pattern and stretched it out for 2 minutes. Started adding other layers to come in for a few bars here and there. Split the original drum pattern in a few places and added variations. Keep adding shit and fucking with it until you're happy.
Thanks for listening.
Julian Ross
I don't get sensitive, I just noticed that people use anonymity to be flat out stupid. I didn't post it in a prod thread but I made a shoegaze type song and someone said there was too much reverb and the vocals were mixed too low. On a shoegaze song.
Another example was a hip hop beat I made and I got roasted for it being too bass heavy. A hip hop song. Not only that, I got criticized for it sounding like it was underwater. it was meant to sound murky and watery. The concept lined up with what I made (including the title) and that was considered a failure by prodkiddies. Then of course you listen to their shit and it's just trite boring unartistic shit. Technicalfags shit on artisticfags no matter what quality their music is and then wank each other off for their shit unimaginative music. Now it's not so synth focused for whatever reason, now it's music theory. And what a surprise, theoryfags are just like those technical types; all right brained with no actual artistry. I'm not even saying you shouldn't learn this stuff. You should definitely learn about synthesis if you're interested in producing music with synths, and learn some theory if you think itll help. But don't be an uppity smug asshole about it. ESPECIALLY when you're sitting in the glass house with your trash music.
Kevin Rogers
>none of these kids know anything Yup. There was a guy who worked in a studio as a mastering engineer and he posted his music and it was horribly mixed and mastered and the writing wasn't that great. And once I posted an Idm song and some guy said "oh this is easy stuff for an experienced producer" not in like an asshole way, but just saying it's possible to make, and then went on "using the something something synthesis method" it was some scientific mathematical uber complicated synthesis method that I absolutely did not use at all. It was quite funny and kind of gave me that epiphany. No one knows what the fuck they're talking about.
Bentley Perez
Thanks. I might try some of those ideas out a bit later on.
>I also used a lot of sinewaves in Operator with pitch envelopes for the sireny type sounds
Could you go into explaining this process in a little more detail. I think operator is a fm synth right? I have FM8 but I’ve not really delved into using it much. This might well help me out
Jeremiah Brooks
Yeah I had this conversation at a party with this guitar teacher. We were laughing about dudes who were stubborn as fuck and saying music theory is for unartistic people. Then he starts saying everyone should know music theory. Like no. Both approaches are valid. Lots of dudes who know theory make some complicated mind blowing shit. Lots of dudes who don't know it make some awesome unorthodox shit music theory nerds could never make.
Why are people always advocating a 'right' way to make art?
Don't get me wrong I come here in the hopes of getting some feedback. When people are like 'mix it better' that's dogshit feedback. I know what EQ and compression are.
Jaxon Sullivan
>No one knows what the fuck they're talking about. Welcome to life. The place where, you don’t think you can do something professionally because you haven’t mastered it 100% and then years later you realise everyone in the industry is full of shit and hasn’t a clue what they are doing. Then you realise it’s pretty much the same in every industry.
Asher Nguyen
I was just using it for a sinewave, didn't use the FM. If you hear the whooping sound that comes n at 0:45 it's just a sine wave with an envelope controlling the pitch so it rises sharply and kinda chips. I then sent it thru a bunch of reverb to kinda accentuate it.
The main bass/kick sound is the same just lower and distorted. The little blip that hits with the snare too, except it's a square wave.
Camden Hernandez
My old manager told me her secret was just saying yes to everything. I could never have that kinda confidence but it's a good point. How many requests are you gonna get that you're not actually capable of? The world's pretty idiot proof. How many people put off getting their drivers license? Yet all of the dumbest people I've ever met drive a car.
Josiah Hill
I would have thought mix advice would be the best thing to hear because it's not getting in the way of a guy's artistry, especially when there are glaring flaws. Unspecific advice isn't helpful but like this guy's track is done to my ears apart from sibilance, he could de-ess the high stuff or eq it. Also doesn't help when people don't have good set ups and can't even hear what their mix actually sounds like, or have ear fatigue or whatever.
Damn he's good, generous, I have to set aside some time to go through those mode vids. Lucky internet people getting masterclasses for free
Logan Sanchez
I admit I'm just shit at mixing. I just try to make sounds I like, compose in a way that gives everything space and get levels to where they feel right. That track is full of nasty feedback and resonances and distortion everywhere.
It's hard though. Sometimes you want everything to be hazy and smooshed together and then some guy tells you it's muddy. Like that's kinda the point. Is it actually painful to listen to or is it just not the sound you would have gone for?
David Thomas
>Yet all of the dumbest people I've ever met drive a car. Yep. I know someone that got off of a prison sentence for suppling coke because the judge realised he was actually too stupid to know what he was doing. He has wrote off countless cars mostly by driving off the road or into parked cars ,but the system never once stopped him from driving, the last crash he had nearly killed him as he mounted the pavement and crashed into a stone wall. Still he was allowed to carry on driving until his dad decided not to buy him a new car. He is probably the stupidest person I’ve ever met and he somehow managed to pass a driving test. I honestly have no idea how. So yeah go do what scares you, start up a business you know hardly anything about (I’ve done this) and learn on the way.
Brayden Diaz
What business did you start?
Gavin Edwards
Just something in the building/construction trade. I'm in the process of starting something up in the music industry though if all goes well.
Michael Gray
Would you like me to compose it for you while we’re at it?
Connor Edwards
We’ll, If you’re not planing on performing theory might not be required.
Gabriel Torres
Anyone got ideas for weird genres to try and produce?
Alexander Edwards
Steel Pitchfork soothing melodies constructed from sounds produced by running various items against the teeth of a pitchfork and other ambient noises present at recording
[spoiler]or do you mean weird genres that already exist?[/spoiler]
Caleb Davis
Ive alwYs wanted to try and make electronic versions inspired by really heavy slow stoner doom metal. Electric wizard type stuff but somehow electronic and without vocals
Brayden Walker
I would try this but I don't have a pitchfork handy so I guess wins.
