Wolfgang Palm edition Previous /prod/ thread GIVE feedback and RECEIVE feedback. Upload WIPs on clyp.it/
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Sound Design: >SeamlessR (in-depth music production and sound design tutorials, based on FL Studio) youtube.com/user/SeamlessR
how do i make the low vocal at the end cut through better
Ryan Howard
....
eq and turn the volume up wtf
Cooper Bennett
thx
Aaron Robinson
should i feel shame of singing these lyrics on the internet?
a question has my mind sold how can we live, if we fear getting old? How can we live if mistakes are not made? When in essence, those mistakes eventually fade? Yet the lessons to you they lend until the very end
Jayden Sullivan
jfc just do it you already asked fag have some confidence
Daniel Smith
cant
Gavin Miller
if you're not making at least 7 beats a week you fucking suck and you should find a new hobby. you're obviously not passionate about producing if you can't make a beat a day. you're probably in it because you fantasize about making money with it.
Robert Rodriguez
beats are for fags
Robert Thomas
i know you're probably the same guy who posts all that other dumb shit trying to provoke people but i unironically agree with this
your posting it with the intention of making others mad indicates that you think this is an unrealistic standard- that really says a lot about how mediocre you actually are and i'd even venture to assume you substitute the possibility of ever accomplishing anything music wise by trolling /prod/. you're pathetic
Jose Anderson
holy shit this is too accurate. please get out of my head, im just fucking around
Nathan Murphy
desu the shitposts are only mildly annoying at worst
2 or 3 songs a day AT LEAST user get to work
Ryan Bennett
Should I use LMMS or should I just crack FL Studio/Ableton and run it through Wine? I don't care about which is easier for a beginner or is free I just want to make good music.
Thomas Scott
i torrented FL 12 and i would recommend
Logan Ward
Any particular reasons why it's superior to LMMS?
Nolan Adams
bitwig supports Ubuntu but I never really used it so I cant tell you if its good or not
does anyone here use Audiotool? I got into /prod/ by playing with it at work and I'm at a point where i want to move on. Anyone experienced with this know what a good choice would be? Am I shit? heres some sounds i made audiotool.com/track/6ulzxn2q/
Isaac Parker
I can't afford anything other than $10 earbuds to listen to what I produce. Is it possible to learn mixing/mastering and become decent enough so that when I get to work with proper equipment I can get good results?
Josiah White
can't even sugar coat it- no you can't, it's like trying to paint in the dark
Jason Young
any resources on programming drum beats?
Tyler Cook
lol.
Ian Hughes
So what's the best I can do in my situation?
Aaron Taylor
save up for good gear but in the meantime just do the best with what you've got
Samuel Gonzalez
I can't save up because I have no source of income and I'm unemployable.
I'm currently focusing on composition and sound design. Is this the only thing I can do? Is there really no way to improve my mixing skills?
Joshua Roberts
There are other ways of getting income man but that's for you to figure out
No there's nothing you can do
Andrew Moore
well dude you need the right tools to do that kind of work. its like trying to make a film with a really fucked up camera and cracked lenses etc
Blake Ross
But I'm not trying to make a well produced song right now. I'm just trying to build my skills.
Ayden Price
Great keep working at it Can't work on your mixing skills
Nathaniel Anderson
Not even a little bit?
Alexander Lopez
What does /prod/ think about Splice? Does anyone here use it? splice.com/
Carson Foster
Hey I'm sort of new to this, and I have a question. Do you guys usually focus on sequencing/recording first, and then making all the sounds/samples sounds like you want them too, or do you start with getting the sounds right and then sequencing? Is there a "proper" way to go about it?
Jordan Turner
No
Sounds first
Or I'll play piano and guitar to have an idea first.
No there's no proper way, unless you make experimental music in which case the answer is always sound design>>>>
I will indulge this shill core post
I love the idea personally. I don't use it personally because my sample library is already pretty decent but if I were just starting out I would pay for a couple months. Paid samples are completely worth it but buying whole packs is a gamble- splice is ahead of the curve but there will likely be more competition in he future
Austin Nelson
>been assembling a solo studio in my room for like 6 years >have loads of money saved up and a healthy supply of gear >planning on converting basement into a legit studio and trying to make rent recording local acts this summer
anyone got any tips for having a guitar double as a bass? octave/pitch shifters always sound goofy to me (granted i am using amplitube so it could just not translate well in the vst)
Juan Turner
Try out another pitch shifter with a different algorithm
Set guitar tone specifically for the bass
Bass cabs/tone shapers made for bass like sansamp emulations etc
Also go buy a bass man lol
Ryan Cook
Okay goodnight /prod/ I hope more people show up tomorrow don't die :p
Angel Miller
Yes, layer it with midi, giving those layers differents setups in panning, eq, and compression.
Thoughts on vcv rack? Using it right now to get a little bit into the modular synth thing.
Jace Fisher
What are some good sites get get free wav files for random FX? (without having to make an account and all that shit)
Asher Morales
GEAR QUESTION:
What are some good MIDI controllers for beginner to intermediate musicians?
I'm thinking for pads a Novation Launchpad or Push 2. Or is there something better?
Is there a small MIDI mixer and a 49 or 61 MIDI keyboard combo that complements the pads?
I'm asking because I'm not sure I want to invest in a one in all like the Akai MPK249s or Novation Launch Key, Arturia 61, Alesis VI61, etc. Unless they are good starter kits.
Any tips or websites to point me in the right direction would be nice.
Evan Morgan
>Is there a small MIDI mixer and a 49 or 61 MIDI keyboard combo that complements the pads? M Audio Keyrig 49 Korg Nanokontrol2
Justin King
i do tho but i scrap them because they're shit
Xavier Bailey
It’s painful and slow to use in comparison to a real modular, but can get the job done and teach you the basics of cv
Dominic Miller
anyone ITT have experience with subpac? some folks i know rave about them but i'm generally skeptical of how useful it could be for mixing. on the other hand, i know i wont be in an apartment that will allow convenient sub use/placement for years, and i know my low end needs some mild tightening, especially between subbass and kick thoughts appreciated
i pretty much hate it. i find it ugly and clunky and wildly inefficient. the patching is easy though, but there's still some cable salad. I use Reaktor blocks and am unlikely to ever fuck with real modular because Blocks are incredibly flexible and sound amazing.
why would you want a "static" fader level? do you mean that you are having to automate the volume of the channel?
weird
try sidechain compression to cut out some of the density of the pad. try /fewer/ effects like reverb and delay
consider reducing the stereo field or making it really wide, rather than "stereoizing" (which i put in quotes because im not sure what method you are using, but it's possible that you're essentially doubling the signal and eating tons of room in the mix.
you might just be trying to do to much to your pads and should focus on the mix over all - ie, noting what sits in which frequency band, where things sit in the stereo field, and level etc. the pads are probably not the problem
also, consider drastically changing the patch you are using.
also, consider scrapping it all together.
Jonathan Thompson
>why would you want a "static" fader level? do you mean that you are having to automate the volume of the channel? static or as close as I can get to static, because every pad I listen to in a song sounds stable whereas mine are warbly as fuck no matter how much low end I scoop out this doesn't including automation of course, I just mean the core sound itself is bouncing up and down, left and right, even in mono I'm not using a pad as a main instrument here, so it's not got any evolving properties or filter modulation anyway I just want it to glue to mix together, which is why I want it static, but I just can't get there
>try sidechain compression to cut out some of the density of the pad. try /fewer/ effects like reverb and delay I already sidechain everything else to the pad so it doesn't get in the way, I can still hear problems with it, I've tried A/Bing whatever effects are applied
>consider reducing the stereo field or making it really wide, rather than "stereoizing" (which i put in quotes because im not sure what method you are using, but it's possible that you're essentially doubling the signal and eating tons of room in the mix. that's what I mean when I say stereoizing, perhaps I should've said de-stereoize or monoize, if that's even a word
that pad is definitely the problem, I can never get any pad I make right it keeps poking in and out of the mix and any way I spin the compression settings and carve out the low end it still refuses to stay at one volume for more than two seconds
Carter Harris
>I can never achieve a static fader level
don't mix with your eyes
Sebastian Harris
dude fuck all the effects and processing talk, what are you using to make the pads? it shouldn't be that hard to just "glue the mix together" (pad it out) with a pad sound
Trying to learn music theory and I have a question about this song
From my basic knowledge the song from the verse goes VI - i - VII - VI - i - VII - vi
Then the chorus switches to a major (?) key which is something like I - IV - III - VI
I don't know what happens in the chorus theorywise, all I know is the verse is in Cm then the chorus is all major chords but I can't if figure out what's going on, can someone explain?
I've only learned about secondary dominants and the circle of fifths from mr silver coke werewolf i dont know what this falls under
Angel Hall
>the core sound itself is bouncing up and down
>I already sidechain everything else to the pad
Um...your pad goes up and down in level, and you're trying to fix that by using a technique that will cause your pad to go up and down in level?
Kayden Phillips
>VI - i - VII - VI - i - VII - VI*
oops
Jonathan Powell
well what major key did it switch to? that may or may not be relevant or worth discussing
using all major chords like that is just modal interchange, otherwise known as "fuck your chords i'm just going to play whatever chord i want so long as the root is on the scale"
other than that there isn't much to explain
also wire is a cool band. that major chord thing is pretty common for punk bands like that.
Sebastian Bailey
share a clip of your shit so that i can give you a better assessment honestly.
if you're actually reducing to full mono, you might get weird phase issues that result in uneven volume if the original sound is very wide with modulation (including spacial fx) and pads aren't really what you should normally be narrowing but depends onthe rest
srs, share a clip
Juan Cooper
I think it's C# minor in the verse e major in the chorus, chorus goes E - A - G - B but the third chord of the key which would diatonically be a g#min is a g major which is the thing i don't get
I know that it works I just don't get why it works
Henry Russell
Good work with the subtle harmony with the pads, maybe put layers witch octaved to give a more deep reach. I think your drums needs dinamics. Maybe some kind user can tell you how to do ir with a compression job i like your rythm composition with that bass at mid song. Try putting melody, maybe winds or strings with little attack.
I need help to fix this bass. And dont be rude with my shitty metal.
We'll all that's worth pointing out os that e maj is c minors relative major.
The III doesn't have some magic explanation, it's just a borrowed chord that sounds cool.
Jackson Richardson
I'm not too familiar with borrowed chords but the wiki page says it's borrowing from the relative minor/major
If the song is in C# minor or E major is the G major borrowed if its not diatonic to either?
Charles Flores
Looking it as c# minor yes
Honestly when I see that shape of chords I don't even think of it as a transition to a major key because of the relation of the first and third chords- If somebody was playing a guitar solo there they'd be playing e minor pentatonic lol. I mean the use of an e major there specifically makes sense there because it's relative, but that doesn't have to necessarily define the key.
I have no idea what you call it but you can throw major chords all over the place like that, if you listen to a lot of punk or more interestingly, David Bowie, that music is just riddled with that idea. The most common thing to do is to take a minor scale shape and just play major chords along it and say every one that should be minor is a substitution, which is why I say I don't think of it as e major in this song even though that's what the chords would tell you.
Brayden Perry
>is g major borrowed
Sorry I fucked that up I was thinking of c major
No i don't think the name for that is borrowed actually because like you said there's no g in either key- or at least I should clarify: I would think of it as c# minor and e minor. The transition using an e major sounds smooth because it sounds like we'll go into the relative major key, but really it's just doing the major minor thing I already described- so the g really isn't out of place or borrowed at all when you look at it as belonging in e minor
I switched to bitwig and the envelop system drives me crazy. the envelop always change without me interfering with them. I feel so stupid
Samuel Ramirez
I've been making music like every fucking day for months non stop should I take a break or someshit I can't feel I can put down something decent anymore
William Foster
is a vocal range from C1 to A4 impressive?
Zachary Bennett
no dude that's what you're supposed to be fucking doing
take a break if you think you need to for some reason obviously.... not just because you feel like you're *supposed* to take a break though
Michael Young
it depends on how you feel when you're sitting down to work on music and how you feel about the process and outcome. are you finding that it feels like a chore or that the outcomes aren't good? are your intentions not lining up with the results? it's usually worthwhile to take breaks, not even necessarily longs ones, but it's valuable to get out of the habits for a little bit and return with a slightly more open-minded approach. i would suggest taking a day or two off and just getting fuckin ripped and the nsettling back into the routine. that said, it's a good sign when you're spitting out so much material - it means some of your skills are at a point where they don't demand too much brainpower and you can operate on instinct and habit -ie, real skill
Nathaniel Russell
yes when I sit in front of the DAW it's like my brain goes on his own and then like I wake up and think wtf I've done this beat a hundred times now maybe I should just take a break and learn new techniques
Jose Ortiz
Are you working on different projects? I usually need one day of not hearing something, then I come back and realize a bunch of it sounds awful and I can be super productive.
Jackson Robinson
I make at least 1 beat a day then finish everything off in the weekend I do hip hop so I need a pretty high output
Chase Clark
Ah I know shit about hip hop so can't help much there. What's a "beat" anyway? Is it just drums, or drums+intruments/samples for like 4 bars?
Liam Russell
KYS
Charles Carter
a beat is an instrumental finished or almost finished
Wyatt Sanchez
wow helpful. anyone else have any thoughts? ftr, some of the folks who swear by them in my extended circle are producing for massive systems and their tracks are seeing regular play at festivals. not my scene, but they know what they're doing, hence this being a serious quesiton.
Sebastian Bennett
Can someone explain the purpose of using compression?
David Williams
holy shit dude sorry to not actually provide a useful answer but holy fuck
Gavin Watson
Initial use was purely to restrict instrument levels, to tame peaks, producers soon noticed however that when they tamed peaks they could turn up the overall instrument/voice level, so perceived loudness increased.
More recently compression is used as an effect in its own right, rhythmic gain reduction or "pumping" became a thing. In addition, many vintage compressors added their own character to a sound when saturated, so there's a tonal thing happening with the classic units.
Aaron Gray
haha what a faggot
Carter Price
Fuck off What about attack & release, compression ratios, and all that good shit?
dude it's such a general question about such a fundamental utility that you should have expected a lashing. i get wanting some advice about something confusing but when your question is that fucking inane you're better off with googling it a hell of a lot more than asking for user's opinions that are probably not that professional and colored by personal habits and experiences. tl;dr: no u lol
attack and release are how long it takes for the gain reduction to reach its maximum amount and then return to a zero state when the input signal crosses the set threshold. the ration is how how aggressively the gain is reduced, ie how much is reduced relative to the amount over the threshold. ie a 4:1 ratio means if the input goes 4 dB over the threshold, the signal will be reduced to 1
now fuck off and play with the devices more until you get it on your own. ultimately no amount of technical explanation will make up for lack of experience.
Henry Hill
I'm still getting the hang of it, it seems like it could potentially be pretty powerful if people start making mods for it. once I start making enough to get physical equipment I'll probably drop it tho
Christopher Watson
don't go modular lol
Jacob Kelly
I already do glitch w/ fl studio but I want modulars because I enjoy working with hands it's just a hobby br0o0o0o
Jack Fisher
Seems like a big money investment for just "working with hands" It seems to me that modular invites that thought "I just need that one mod more to make the sound I really want"
Noah Myers
Yeah, I probably should've ask a more specific question.
