eddie kramer edition
/prod/ - production general
Michael Morgan
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audioz.download
clyp.it
clyp.it
clyp.it
clyp.it
youtube.com
clyp.it
youtube.com
youtube.com
clyp.it
youtube.com
youtube.com
clyp.it
clyp.it
clyp.it
twitter.com
Andrew Sanders
How's this guys?
clyp.it
Noah Martin
trying to learn how to produce what plugins should i get
Jackson Hill
learn to use the daw included plugins and then worry about getting others
Cameron Fisher
kontakt
u-he pro-1/5
dexed/FM8
valhalla, soundtoys, waves mercury
that's all you need
Blake Phillips
Rod Stewart tier. So, bad.
Ryder Hill
>waves mercury
doubt anyone uses every plugin in this
Kevin Scott
that isn't a head voice song, that is a chest voice song. You need to put more power in your diaphragm when you sing the words, take deeper breaths, belt it out.
If you are new to singing with your chest, practice by singing the song while laying down on your back. That strain you feel is the muscle you need to build up.
I've heard your songs on here before user, and i know you can do better than what you currently have. keep it up.
Brody Price
I wun fri souns!!!!!
Ryan Bell
Guys do you have any tips to subtractive synthesis? I'm getting better at it and the way i see it is like this:
1) Chosing OSC types is primary and easy.
2) CUTOFF and ENVELOPE and VCF
3) Master envelope
4) effects
It seems like all the magic is happening at step 2 with only two buttoms mainly: Cutoff and Env-effect. But i still don't get it at this point.
Do you guys have some tips? workways? or advice in regards to this? The other steps are easy enough.
Daniel Carter
I got Superior Drummer. There are five DVDs in RARs, each one has an ISO and a MDS file. Do I extract all of them with the MDS file as well? Can I use the program online or will I get banned? Anything I should know before using it?
Kayden Campbell
just figure yourself
Jonathan Allen
>Can I use the program online or will I get banned?
i don't know what you would get banned from but if youre worried just block outgoin conections in firewal
Owen Clark
When you cane tape op/SOS articles on the making of x record and it says we used a smashed neve preamp on the vocals or a dbx160 on the kick or whatever you have allegedly accurate emulations in there
I don't know if it's a scam run out of Israel but I just trust the marketing over my ears
Wyatt Gray
vst4free.com
also am i good at producing, guys
clyp.it
Justin Bell
what does it actually mean? somehow pushing stuff down and making the voice a bit thicker?
Easton White
thicker and louder
Seriously, lay on the ground and try singing the song a few times, try to sing it louder each time. Then after that, sing it again standing up.
Landon Cruz
>clyp.it
low pass some of the distortion, its a little harsh on the highs... same with the hats that come in
Landon Wood
6ix9ne collab when?
Jeremiah Martinez
The way to get good at anything is really annoying woodshedding which means buy or torrent books on synthesis and reverse engineer presets and do that forever and don't go months where you give it up and forget most of it because you won't get good
There's some stuff that doesn't get explained well for beginners.
Like the ADSR amp envelope of an average subtractive analog is setup so attack is the time for the amplitude to rise to the level set by the master volume, decay is the time for the master level to reach the sustain level (which is a level not a time parameter like Attack, Decay and Release) sustain is when you hold down the key... release is the time it takes to go from sustain level to silence. Also the amp env is very important and gets overlooked for the filter env when making snappy sounds, it's subtle but important. Don't always just set the amp env to instant attack and release and full sustain and do brassy waps with the filter env.
Think of a synthesizer like it's a song you're mixing, troubleshoot what you don't like about the sound, like is one osc too loud or is it an octave too low or high, get the right blend between the oscs and choose the right waveforms - don't always just crank them max into the filter as that changes how it self oscillates...
Truly learn what every parameter does, listen to presets you like the sound of and reverse engineer what makes it sound good
Thomas Ross
i went and got kontakt what is it for?
Jaxon Thompson
Playing samples, you just got yourself a fancy mp3 player nigga
Gavin Wright
why do i come here
Nolan Russell
Read the manual back to front
Owen Hall
>Make hundreds if not thousands of beats
>Have at least like 5 different styles I do
How do I reconcile this? People act like making music is the hardest part but I think curating your stuff and getting an overall aesthetic is way harder
Parker Garcia
anyone here know what vocal effect was used on Marc Bolan's voice on Teenage Dream?
Lincoln Evans
Good advice, thanks!
James Taylor
I am new to sound synthesis. From what I've been looking at , we have a few basic signals, like sine ,saw, triangle and pulse, then we can do either additive or subtractive synthesis. We could also do fm synthesis, and in each of these processes the resulting waveform in the time domain can be messed with using an envelope. For whatever reason people have figured out that this envelope consists of 4 parameters . And then this gets hazy, these four parameters are adsr.
Sustain is something I've played with and get to a certain extent .
Ok brain dump out, fill me in with how you learn all this.
Owen Robinson
youtube.com
watch this guys videos if you haven't yet
Aiden Anderson
meant for
Grayson Martinez
Watch the video here then download this:
audioz.download
After you follow the program you'll be able to use a synthesizer well enough.
Colton Robinson
How can I get the vocals to sit with the mix better in the chorus? chorus starts around 1:39
I've eq'd and tried a few reverbs but it's not quite right.
Noah Sanders
>at least like 5 different styles
release 5 different styles under 5 different pseudonyms, chances of blowing up x5!
Charles Martin
Are the other parts worth watching?
Hunter Roberts
maybe give yourself some backing vocals. sing the same thing again and layer them. could be eqed a bit better, some over powering effects would sound cool imo. maybe some delay and more verb. thats just my two cents tho
i've been trying out some different vocal stuff, like using an effect on one of the lines and splitting the vocals left and right on another line. shit like that i find cool
Christian Butler
if you don't know how synths work yes it is aimed for people new to them
Austin Ward
I was the same for years, I had heaps of music that all fell under different categories and styles and only ever really had a handful of each. Eventually I whittled it down to two separate projects - one that might be commercially viable (but in a style that I enjoyed writing) and one that is more of a passion project that I could work on at my own leisure. The rest of it (all the stuff that didn't fit either of those projects) became a portfolio for treatments/adverts/content, which, if you can get into it, is a p good way to get rid of those old songs you'll never do anything with. Tldr just focus on one or two styles and if you think the other stuff is good enough maybe try licensing it/getting it published.
Noah Jenkins
good ideas. I'll mess around with some slap delay and see how it goes. Mixing higher vocals+effects+distorted guitar+pads is a pain the ass lol
Jayden Hughes
i feel ya. mixing and mastering is my least favorite thing to do as far as production goes.
Aaron Cooper
re: FM synthesis
an LFO (low frequency oscillator) which is an oscillator slowed down so much that it is used as a time command signal of a chosen shape (triangle, sine, square etc) that you don't hear but send to modulate parameters elsewhere in the synth
the regular oscillators you hear are at much faster rates, you can hear a LFO on a modular synthesizer if you patch it in but it sounds like a metronome paced blip not a tone
you assign an LFO (inaudible slow oscillator) to e.g. filter cutoff to say 'sweep the frequency at this speed' like a dubstep wub wub wub, or you send it to a (fast audible oscillator) pulse wave's pulse width parameter which is like a square that gets thinner and fatter and back again at the rate and shape of what the LFO says
FM is where you use those fast/high frequency, usually audible oscillators but make them inaudible (they're called modulators) and tell them to change the pitch parameter of an audible fast/high frequency oscillator (they're called carriers) and this produces crazy tones because of how fast the pitch is being modulated so that instead of a noticeable vibrato it's a superfast modulation that becomes a tone in itself
Envelopes play a huge role in FM synthesis, you use them to tell modulators how fast to get loud and then get quiet which affects the carrier like an ADSR sweeps a filter on a regular subtractive. To get a square wave you do 2(modulator):1(carrier), saw wave is 1:1 with feedback turned up. You use ratios like 31:1 blended in slighty to get the initial attack of a cooking pot or something. Read the complete DX7 its on torrents
Nolan Cruz
anyone willing to post things they made when they were kids?
Jackson Perry
My mum's sending me the old household mac mini which has some godawful trash garageband compositions. Might post 4 the lols when it gets here.
Daniel Miller
Jonathan Price
Landon Harris
First track I made, pretty sure I was 16 years old
clyp.it
Jayden Moore
The funny thing is that this kind of sound is trendy now.
Austin Collins
lucky if you got to make when you were a kid I couldn't afford a computer until I was over 20
Jaxon Evans
Julian Ortiz
I was thinking more along the lines of Iglooghost
Jason Martinez
I didn't really do production. I just made shitty little riffs for synths in Garageband back then.
Levi Peterson
>spend the day remixing an old track
>it's somehow worse than before
Caleb Lewis
Yeh add- core and wonky are defs an upcoming trend
Xavier Bennett
>tfw your first song is your best song
Anthony Brooks
I always struggled with this same thing and felt like I was still a newb in many of the styles. I think you just have to dig into one style and stick with it and resist the urge to follow the latest trend.
Wyatt Morris
>clyp.it
digging this a lot
Easton Flores
Not sure if right topic, but can anyone ID a synth?
@ the 2:15 mark
youtube.com
@ the whole song, it's looping
youtube.com
Guessing some sort of digital Roland? I know they used Roland and Yamaha at different points
Xavier Brooks
Easiest way to do this is to make the songs you've always wanted to hear within one genre.
IME.
Nathan Rogers
that could be anything
Caleb Richardson
any idea on what kind of patch it would be then? I know nothing about synths but really like the "space" it occupies and "shape" it takes within the tracks, if that makes sense.
Sorry if it's a dumb question
Nathan Ortiz
first video sounds like a reverbed harpsichord probably played off a rompler and then a filtered juno 60 maybe cuz it has a divide downy sound
the second one is an electric sitar not a synth
Parker Ortiz
Actually the first one could be an electric sitar rompler sound just with the VCF cutoff on the sampler faded down, it's probably an electric sitar rompler patch on both
Zachary Perry
wait no first one definitely has a junoey synth come in a bit later after the 2:15 mark
Asher Ward
Thanks for the response, I wish I knew more about synths because a lot of that went over my head lol
Is there any reasonably priced synth that could make sounds like that? I've been playing piano since I was a kid but my only synth experience is with those critter and guitari toy synths and this thing called an emax but that was a sampler..
Aiden Green
Jordan Foster
How do I /into/ intricate, dense, texture-focused electro bangers ala SOPHIE and F//P-era Braids?
Lincoln Garcia
Yeah, learn to fucking greentext
Zachary Taylor
The U-he Diva VST's Juno-60 emulation.
The only reasonably priced analog polysynth is the minilogue and it won't sound like a Juno. Honestly I regularly reach for the Diva over my prophet 08 analog and that was nearly 2 grand new so I wouldn't fuss over true analog.
Old hardware samplers are really cheap on ebay last time I checked and they often get sold off with bundles of floppies full of instrument patches
But I use Kontakt most of the time and I just checked and there's an electric sitar library for it:
Asher Edwards
Anyone have a crack for omnisphere
Thomas Smith
google or go buy it faggot
Jordan Morales
i just found out about sophie i was justs wondering that
Adam King
Braids:
youtube.com
Highlight tracks: Victoria, Freund, Girl, Together, Ebben, Amends, In Kind.
Great tracks with a lot of intricate detail and fun experiments with texture.
Carter Jones
The manual for the dx7?
Bentley Miller
Any good inspirational sound synthesis videos? I mean something that someone has come up with that sounds great.
Carson Ramirez
>I don't know if it's a scam run out of Israel but I just trust the marketing over my ears
I’ve bought a few Waves plugins (Kramer pack, meta Flanger, J37 Tape (echo)) and I’m pretty sure the only thing that’s a scam is the 5 star reviews for everything...and there’s pages and pages of them...I wonder who gets the job at Waves writing them?
Waves do make very good quality plugins which is why they have been industry standard for so long.
>and this thing called an emax but that was a sampler.
The Emu Emax would certainly get you those sorts of sounds. Samplers are basically synths that you can change the waveform to what ever you like. You can sample a square wave and use it as a square wave synth. I have a couple of Emu ESI samplers and they are based on the Emax. Great fun messing with the Z-Plane filters. A sampler will teach you a lot about sound design also they can be picked up for under £100. My original ESI32 was £1200 new, I needed to replace the floppy drive in it and i found another ESI32 for £45.
Connor Peterson
>Samplers are basically synths that you can change the waveform to whatever you like
Please stop lol
Connor Price
How do I use big gigabyte VSTs like keyscape and such off of another storage device, like an SD. Do I just move the library files to the SD?
Colton Bell
i'm pretty sure you can do that, Keyscape will just ask you to locate the library
Wyatt Perry
There should be a directory of some type that you set up with those kinds of vsts. Or you know just try it
Ram intensive stuff might lag from other drives though iirc. I could be wrong
Lucas Collins
Live 10's Max 8 wants a licence from me. What do
Brandon Jenkins
Tell those Kraut bastards to go straight to hell!
Gavin Rogers
if I'm trying to make money with music on the internet should I even bother releasing this sort of stuff clyp.it
Nicholas Barnes
>kid
I guess if you consider 16 to be "kid"; This is the last song i've produced. A base track I never got to finish because my old comp broke down and the stems weren't backed up. I guess "song" may be too strong, it's more like a mashup,
Jaxson Smith
>Please stop lol
I’m not understanding your point?
Cooper Butler
Take a look at the architecture of a sampler. It has VCA’s, LFO’s, filters and envelopes as well as heaps of modulation. The same as a synth. Load up some single cycle waveforms and you have a 128 voice polyphonic synth
Cooper Peterson
>if I'm trying to make money with music on the internet should I even bother releasing this sort of stuff
How do you plan on making money with that sort of thing? I genuinely interested. I think it sounds quite good but I doubt I’d buy it, but then I hardly buy that much music and I’m quite specific about what I buy.
It might suit film scoring well though?
Robert Ramirez
I thought Kontakt was just for playing samples of a given instrument (that was recorded for different notes, "velocities", etc.). Am I wrong?
What you are describing reminds me more of ableton's sampler/simpler.
Grayson Reed
They really are.
Wavetable synthesis ring a bell? Romplers? COSM? any of that whole ball of wax?
Matthew Johnson
Sadly most stuff I made as a kid is lost to history. Good times, messing with Hammerhead and audacity and shit like that.
Logan Reyes
Alright I found something I made in 2008 with my neighbour
clyp.it
It's completely retarded though
Alexander Collins
You are joking right?
>I thought Kontakt was just for playing samples of a given instrument (that was recorded for different notes, "velocities", etc.). Am I wrong?
I wasn’t talking about Kontakt in perticular but yes they are “sample instruments” and were made in Kontakt which is a powerful sampler if you go behind the instrument interface you’ll see all the sampler stuff going on
>What you are describing reminds me more of ableton's sampler/simpler.
Hmmmm...could be a clue in the name there Bucko, why do you think it’s called sampler...simpler refers to it being a simpler version of ableton sampler I believe.
John Sullivan
do interfaces help with processing audio like pci soundcards do?
Connor Rogers
I know what a sampler is, but I don't use Kontakt, hence my question.
Tyler Price
they provide asio compatible hardware so the audio from your daw can be streamed directly to the audio device without passing through the operating system's audio api, therefore allowing lower latencies at lower cpu load, often with increased stability.
also many professional audio devices have some sort of of software controlled dsp/fpga routing and mixing capabilities, so you can create zero latency monitoring mixes and reroute all your ins and outs without having to 'pass through' the whole daw and it's inherent processing latency f.e. when tracking live instruments or vocals
Jacob Carter
The answer to your question is yes kontakt is a sampler. It is not a rompler although it is often mistaken for a standalone instrument. I think maybe a lot of people think of it like a pre made instrument due to the countless sample based instruments that are made on it. It has been the industry standard for making sample based instruments for as long as I can remember and this is mainly due to its powerful sample engine.
Brody Sanchez
interesting
why my friend's m-audio interface have like 1sec monitoring latency
>also many professional audio devices have some sort of of software controlled dsp/fpga routing and mixing capabilities, so you can create zero latency monitoring mixes and reroute all your ins and outs without having to 'pass through' the whole daw and it's inherent processing latency f.e. when tracking live instruments or vocals
do /prod/-tier interfaces have that?
Wyatt Richardson
>1sec monitoring latency
lower the buffer size
>do /prod/-tier interfaces have that?
depends. usually the good implementations are on the higher end side (RME totalmix is god tier), but for example some of the bigger focusrites have a pretty usable mixer, pic related
Sebastian Mitchell
>that pic
wtf i cant handle all that
Andrew Roberts
>think of considering the Slate virtual Microphones and getting a job
>shit costs like 10 months of minimum wage
Aiden Allen
>computer is blown and temporarily on a cheap laptop
>install reaper and try to produce some shit
>realize i'm addicted to the instant tones of the slate virtual mix rack and can't make a mix with just the reaper native plugins
Dylan Martinez
you sure can, it's not like you need to manage 192 ins and outs with it